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Suture - Essay Example

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Name: Instructor: Task: Date: Suture In numerous films, several aspects remain unexplored because they are not understood. This is because, in cinematography and the study of film, issues of ideology and the message are unexplored. Similarly, the scope of film studies is beyond the normal understanding of the film spectator hence limiting him/her in the correct interpretation…
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Download file to see previous pages Suture was a neo-noir film of 1993 directed by David Seigel and Scott McGehee and it features actors Mel Harris and Dennis Haysbert. On that note, the photographic image both constructs the character’s identity and undermines the identity for the film viewers in several ways. For example, after Vincent Towers kills his father, he decides to fake his death (Grieveson & Wasson 98). Similarly, he attempts to murder his half-brother, Clay Arlington acted by Dennis Haysbert as a mechanism to change identities. This aspect helps in establishing the photographic image traits of Vincent in the context of the cinematic disparities. From the movie, we see that Vincent is white while his identical brother who is forced to suffer amnesia after a bomb to protect him is black. This incident supports the Apparatus theory that insists that, by nature, cinema is driven by ideological mechanics. Therefore, this is apparent because through the Lacan’s Mirror Stage effect that expounds on the value of self-identity and consciousness. On that note, while there is an element of a photographic image construction, there is also distortion of identity for the film viewers. For example, when Clay loses his memory and suffers amnesia, Dr. Renee Descartes attempts to quicken his recovery but his brothers comes back to kill him again. This results in the murder of Vincent Towers instead of his half-brother thus prompting Clay to adopt a, genuine permanent, identity (Chaudhuri 83). This decision affects most film viewers because it does not concur with Lancan’s notion of the Mirror stage that insists on self-identity and consciousness. Alternatively, there is a way in which the strategy of dis-identification in Suture undermines what Laura Mulvey calls the normative ‘visual pleasure’ of the film spectator. For example, Laura expounds on three different techniques of viewing a film that entail watching as the camera records the real events of the film, watching the film and interaction of characters in the film. Therefore, as observed in Suture the loss of identification of Vincent Towers who fakes himself is manifest of the violation of the visual pleasure. Similarly, the loss of Clay Arlington’s memory after suffering amnesia prevents the film spectator from interacting with the main characters in the film because of lost identity. In addition, the themes of betrayal and denial that are espoused by the main characters are an indication of the manipulation of the normative ‘visual pleasure’ fronted by Laura Mulvey in her essay (Grieveson & Wasson 109). Furthermore, after the recovery of his lost memory with the help of Dr. Max Shinoda, Clay is undecided on how dispose of one of his identities. This continues to complicate the aspect of ‘visual pleasure’ because the film spectator is denied the chance to think on the loss and recovery of identity. Therefore, because Suture takes away pleasure, there is a social function concerning race and class that is at work in the film. For example, Vincent Towers is a white who murdered his brother but tries to cover up using his black brother, Clay Arlington. This is an example of the disparity of racial boundaries because a white brother compels his black brother to suffer in order to get away with crime. On the same length, there is a determination by Vincent Towers to murder his ...Download file to see next pagesRead More
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