Monday, November 22, 2010

Imitation of Life

One of the films we have recently watched in class was Imitation of Life by Douglas Sirk. Overall, I found myself enjoying the film and its message, which was acceptance of oneself.

Imitation of Life portrayed the aspects of melodrama very well. There were many internal conflicts among the characters of the film in which one huge problem was mother-daughter relationships. The characters were either overdramatic, over gracious, or just extreme in any emotion to the point of annoyance in some cases. For example, when Annie was showing gratitude for every little thing, it seemed a little superficial. It made me ask myself, is she really that nice to never have any ounce of anger in her? I thought of the word “imitation” being in the title of the film at this point, and thought maybe she was hiding her real emotions, especially when Sarah Jane did things that upset her.

Apart from that, I thought the actors to be well-casted except for Sarah Jane. It was peculiar for me to believe that she was actually Annie’s daughter. I think I would have appreciated the film more if she was at least a small percentage black. I feel as if the filmmakers overemphasized her “whiteness,” to the point that made her character as a black woman’s daughter unbelievable to me. The director clearly exhibited the difference in the quality of life between the film’s white and black characters, making Sarah Jane’s entire persona a bit more believable, although I find myself hating her in the end for the way she had abandoned her mother.

Monday, November 8, 2010

Blog Prompt: Singin' in the Rain

In Singin’ in the Rain, there are scenes that draw the attention of the audience away to other spaces that do not buttress the diegesis. The use of other spaces in this musical function differently from Mary Ann Doane’s theory in that they do not support the credibility of the first. One example would be the sequence of flashbacks at the beginning of the film. In this flashback sequence, the main character, Don Lockwood, takes us back in time to view his development of becoming a rising star. The non-supporting second space is revealed to the audience, and we are able to see something the people within the film do not, which would be the visual truth behind Lockwood’s exaggerated dialogue. Lockwood is able to make his rise to fame sound more luxurious than what the audience sees. There is no evidence for the third acoustical space playing a major role in this part of the film.

This use of the second space opposing Doane’s theory of first space support works within the narrative since this film is meta-filmic or meta-musical, so the point of this scene shows us the superficial characteristics of a typical Hollywood actor that make up the film world. Lockwood is lying straight to his fans faces, or rather he is acting for them, but we as the audience know better, since we are able to view his actual “mental images” of his past put on display for us.  This would also be known as the truth.