Representation of Class in Two Media Texts - Titanic and Notting Hill - Essay Example

To compare and contrast representation of in two media texts Since the very advent of civilisation, differences have characterised its development, and indeed the very structure of human society. In this paper, we trace the visualisation of class trends in two sample movies, comparing and contrasting them through different scenes, and applying established class theories in relation to define present media sensibilities in relation to "class". The movie themes we shall focus on, are, "Titanic" and "Notting Hill". In the modern age where the difference between haves' and have-nots' is so clearly pronounced, the media especially Hollywood can't help but project class sensibilities in its most crudest form, in narrating stories, showcasing characters, expressing themes and emotions, and justifying movie endings. Set in a post-industrial society era (early 1900's), Titanic depicts the wide gulf that existed between the bourgeoisie (the first major industrialists of our age, e.g. among the main characters in the First class berth, it included a "Pittsburgh Steel tycoon, the owner of the fleet that commissioned Titanic and the nouveau riche e.g. a character called Molly Brown) and the proletariat who sell their labour power (the stokers in the boiler room, menservants and most steerage passengers depicted as people who harbour dreams of emigrating to the USA to better their lives). The differences lie everywhere, from the treatment meted out to passengers based on their class, from the snobbish upper-class attitudes and stereotypes about steerage passengers, to the final sinking of the ship where upper class passengers invariably, enjoy first privilege in rescue efforts. Where it concerns applying class theories, there's hardly a more monumental movie ever built than Titanic. Notting Hill in comparison, is a humble and subtle portrayal of the same class sensibilities with a modern, urban twist. It's about similar attitudes in question here, only the message is more indirect and attributive. Both movies are immensely popular in their own right, and hold a special place in the genre of Romance cinema. So inevitably, in this paper, we shall explore class depiction in media through the perspective of the universal theme called "Love", of opposites attracting, poor guy meets rich girl, and how class differences come in the way of their strong craving for each other. The most significant work on class studies was performed by Karl Marx, a famous German philosopher, along with Engels. It is important to know that Marxist class theories drew heavily on the political science beliefs of Adam Smith, the father of capitalism, the only difference being in the perspective of opinion. Whereas Smith justified his theories on "wealth creation" as a cause for the common good, Marx looked down upon it as the root cause of all evil. Seen from this end, we can apply class theories of Marx to connect audience sensitivity with the poor male protagonists in both movies, as must have been aimed by the moviemakers. The fundamental tenet of Marx class theory is that any class identity is forged in relation to means of production, of wealth (Wikipedia). That because of wealth creation, there exist two distinct classes, the bourgeoisie (those who control means of production), and the proletariat who must labour in order to survive. This, Marx argues is the fundamental reason for all class differences to originate. Since the proletariat must strive hard to get their salary, they contribute value surplus to their efforts. This invariably leads to more riches for the wealthy, and ultimately, becomes the cause of "exploitation" of the poor and the middle-classes. An important concept described by Marx that directly follows from the definition of "exploiters" and the "exploited" is "Class struggles". According to Marx, "The history of all hitherto existing society is the history of class struggles (Wikipedia)." Analysis of class struggles is necessary from the vantage point of defining and describing social relations in the movie case studies mentioned in this paper. The two primary social relations are: 1)work and labour and 2)ownership and the means of production. These economic factors ultimately shape the attitudes of the rich towards the poor because of the wide gulf that separates them, subjects that have been elaborately covered in the movie case studies herein. Finally, class studies by Marx have focused on the "forces" that define the mode of production (Source:Uregina), an argument that takes into account the interrelationships and interactions between contrasting social groups. It says that, classes do not emerge from the distribution of products (income, lender and borrower), social evaluation (social honour) or even political or military power, but directly emanate from the source of wealth, and production. Fundamentally speaking, classes describe "division of labour" and thus, ultimately, shape "social hierarchy." In describing various societies, Marx delves on a number of antagonistic social relationships, e.g. "freeman and slave", "oppressors and the oppressed", etc. These hierarchical positions influence the means of production, and thus differences between the bourgeoisies and the proletariat. Through its myriad characters and screenplay, Titanic contains numerous metaphors and allegories to showcase varied forms of "exploitation", directly visual and also layered, as an affirmation by the director to portray the validation of different class groups, and their social relationships. Right from the first scene, even the most indifferent viewer can't help but notice the starkness with which exploitation of lower classes continues in every manner possible. First-class passengers are shown to be pampered and feted by the hospitality wing of the ship from the reception point itself. They are provided with exclusive suites where Rose in the movie narrates, "The China had never been used. The sheets had never been slept in. (Source: IMDB)." In comparison, there are separate "unwelcome" entry berths for steerage passengers, and also they are shown to undergo medical examinations failing which they could be "quarantined". And towards the last scene, steerage passengers are made to bear the brunt of class sensibilities as they are offhand ignored by the crew in salvage efforts. The rich, are able to buy out their privileged lives as in an understood agreement, the poor are left to die. Other depictions in the movie are as reflective of class values. The workers in the boiler room are shown to work round the clock amid cloudy smoke emanating from burning coal, in the "grandest" ship of all times whereas the owner, Bruce Ismay, and Chief Engineer, Mr. Andrews, are shown having a fine dining experience with the movie's central character set, bragging their marvellous achievements, the "chic urbane" who party, dance and gossip in their own world, oblivious of what goes around in the world below, the steerage. The people in the steerage are depicted as crass, unruly, unsophisticated and shabby in their clothing, manners and general outlook, typical "class struggles" impact due to a 1900's industrial society. An Irish steerage character, Tommy Ryan expresses his revulsion with the class-consciousness, with a pithy statement, "That's typical. First-class dogs come down here to take a shite. (Source: IMDB)." The most humorous intercourse is shown between Jack and Ruth, Rose's snobbish mother. When she expresses her "concern" about the accommodation in the steerage, Jack quips amidst everyone's sadistic pleasure in "enjoyment" of class distinctions, "The best I've seen, ma'am. Hardly any rats (Source: IMDB)." Tommy Ryan's offtake and Jack's retort reflects the consciousness of the proletariat in taking pride in their "class identity", which is an important characteristic of Marxist "class struggles". The love story in Titanic, depicted between Jack and Rose deals with a significant moment of mistrust due to "class consciousness", interjected between them by the conniving and jealous, fianc of Rose, Cal Hockley. After hatching a plot to make a police complaint of a necklace "theft", Cal has the property retrieved ingeniously from Jack's pocket in everyone's presence. When Rose protests the dubious allegation, Cal's condescending remarks on Jack finds an instant echo with everyone in the room, such an automatic assumption made on a person with a qualified poor "label", "Why not He's enough for a professional(Source: IMDB)", and "An honest thief, would you believe that (Source: IMDB)" In an earlier scene where Jack rescues Rose from drowning in her suicide attempt and incidentally, lies over her at the point of discovery by the crew, without even sparing a second thought, the crew automatically assume that he might have tried to "rape" the blue-blooded upper-class girl, and immediately he was handcuffed. Cal was even more indignant, "What do you think you were doing with my fiance (Source: IMDB)", these upper-class attitudes clearly describe an "antagonistic social relationship" between Jack and all those above his station, especially Cal Hockley. There is clear "competition" for "wealth" in this case too, between a lover and an estranged fianc. In contrast to Titanic, Notting Hill is a very subtle but potent expression of the same different classes that exist in Marx's theory although the focus shifts to the differences lying between the "ordinary" and the "privileged", the celebrities, and the means of separation that exist between them. William Thacker (Hugh Grant) leads a monotonous life as a book-seller, and has to put up with a noisome Welsh room-mate considering his wayward expenses. Life changes dramatically when Hollywood starlet Anna Scott (Julia Roberts) chances an occasion to grace his company, accidentally of course. William is least knowledgeable about movies, and doesn't quite understand Anna's overwhelming appeal, seeking to be close to her oblivious of the wide gulf between the two, a typically foolish lover boy with a heart of gold. Anna, in comparison is a flamboyant personality, on for a movie shoot in Britain. Her whole life is hectic, and in control of PR agents and movie producers. Desperate for a break, the gorgeous but humble diva finds the refreshing William a really enjoyable person to be with. And they spend some golden moments together. The differences between the rich and the middle-class, the glamorous and the commoner, details much of the events that take place in the movie. Class differences raise their unwelcome head in a medley of romantic possibilities. In one situation, William has to pose as a magazine reporter just in order to gain Anna's attention again, a clear metaphor for "class struggles". His non-entity status is purported by all the coterie surrounding Anna Scott, her PR publicist lady, her producer, her co-stars, and for the sake of pure "affection", the poor guy takes everything in his stride. In one touching scene, Anna's boyfriend from Los Angeles comes to her, and mistakably assumes William to be a hotel concierge, and asks him to clear the "trash" in the room. Marxist theories would call this phenomenon a subtle form of "exploitation" on account of wealth differences. Although this could have been a non-issue with Anna clarifying that William was indeed, a nice acquaintance, she does not do so. And also, William is too shy and unassuming a character to clear the misunderstanding, so he does what is asked of him, as a poignant reminder of the wide gulf that exists between him and Anna, and something that cannot be breached. In a way the bourgeoisies dictate the means of production (human living standards and norms in this example), and the proletariat have no choice but to follow the code. It isn't the only occasion when Anna fails to identify William in public. On many other situations also, e.g. when meeting Anna's manager, William has to continue putting up with the faade, and Anna would do nothing to discourage him. A clear case of "antagonistic social groups". Both individuals are grossly aware of the difference in their true worlds, and it strikes them both at the core, making them vulnerable, guilty and unhappy. But, there is like nothing that can be done about it. Class differences are there to stay, and the disaffected William quietly marks his exit from Anna's life, forgetting the whole episode as a pointless dream. William penchantly mirrors his indecisive predicament with a piece of worldly wisdom, "I live in Notting Hill. You live in Beverly Hills. Everyone in the world knows who you are, my mother has trouble remembering my name (Source: IMDB)." In this paper, we have observed two romance movies in detail, and verified thus, how "class theories" described by Marx can be used to account for the contrasting cinematic portrayal of this issue, made by respective moviemakers on the subject. The complementary situations in both movies present a meaningful contrast in several ways; Titanic pits an American guy Jack with an English socialite girl, Rose. In comparison, the nationalities are reversed for both sexes in Notting Hill where William Thacker is a typically middle-class book-seller in love with Hollywood celebrity Anna Scott. Both movies have the poor male protagonists almost eulogising the women who suddenly beautify their unimportant lives with transient dreams of eternal love. Of course, they continue to remain in the eye of a storm because of their lower class status, and upper-class "antagonists" mince no words in disparaging their unwarranted involvement with someone way above their social class. The key difference between the two movies, lies in the presentation of the theme on "class values". The differences between the bourgeoisies and the proletariat is more glaring and fundamental, as portrayed in Titanic. Notting Hill looks at the other aspect of class divisions, concerning human ego, and thus, is more subtle in its message. The contrasting movie case studies in the two examples mentioned above can be generalised for media's portrayal of class in every genre; cinema, TV, press releases, etc. Trivials surrounding the rich and the famous grab every slice of media attention compared to everyday issues that often, go unnoticed. Movies only reflect the reality that is a derivative of popular taste, and perception References Class Theory (Undated). Retrieved 5 June 2006 from http://www2.pfeiffer.edu/lridener/DSS/Marx/MARXW2.HTML David A. Martin, Mr.SmartyPantsMovies (2000). Retrieved 5 June 2006 from http://www.mrsmartypants.org/movies-nottinghill.html IMDB, Box-office-collections-worldwide (4 June 2006). Retrieved 5 June 2006 from http://www.imdb.com/boxoffice/alltimegrossregion=world-wide IMDB, Quotes of Titanic (4 June 2006). Retrieved 5 June 2006 from http://www.imdb.com/title/tt0120338/quotes IMDB, Quotes of Notting Hill (4 June 2006). Retrieved 5 June 2006 from http://www.imdb.com/title/tt0125439/quotes Wikipedia, the free encyclopedia (4 June 2006). Retrieved 5 June 2006 from http://en.wikipedia.org/wiki/Marxism Uregina (1999). Retrieved 5 June 2006 from http://uregina.ca/gingrich/s28f99.htm Other articles http://www.tompaine.com/articles/2005/09/09/the_titanic_of_our_era.php http://samvak.tripod.com/titanic.html http://www.homepages.ucl.ac.uk/uctyjow/EST.doc http://archive.vindy.com/article.phpsid=46295 http://www.notting-hill.com/ http://en.wikipedia.org/wiki/Notting_Hill_%28film%29 Read More