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This way, art would become beautiful and wide enough to accommodate every thought provided it is well conceived and has an absence of reality by borrowing certain concepts from the real life. Introduced for the first time in film making by Director Luis Banuel and artist Salvador Dali in their debut Un Chien Andalou , the concept in the film misses reality in the plot in relation to the conventional world. This therefore gives the developers the authority to stretch the truth but still obtain some relevance among their target audience.
Discrete charm of the Bourgeoisie is yet another film that borrows the concept and develops a plot that has a minimal semblance with reality. The sequence of ideas in the film is unrealistic and can only occur in either a dream or a film in which the developer directs the ideas and the series of events, as he deems necessary. Otherwise, the plot of the film is unrealistic and cannot claim relevance in the real society. The director develops a systematic yet illusionary plot that addresses a number of themes most of which are real. Just as any other work of art, films must always represent the societies in which they exist. The directors and scriptwriters exist in the society. Furthermore, they target the society to provide an audience to their creations. To earn effectiveness of representation, they must therefore ensure that the write scripts and develop films that address familiar social issues. Such therefore earn their creations a degree of relevance with their audience thereby appreciation.
Following this understanding, the directors and developers of the film address familiar themes but they attempt to create a society in which the events flow oblivious of the normal social provisions. The film has several linked thematic areas that it addresses in an exciting twist of events. The first part of the film is more realistic and immediately earns relevance among any audience group. This early part of the film addresses the five gatherings of friends who try to find a meal but face a number of challenges all of which succeed in obstructing their meals. The latter parts of the film on the other hand take the audience from reality by introducing the dreams of the characters into play. It is unrealistic that the dreams and illusions of the characters influence their actions in real life as the director tries to portray it. The film uses the middle class thereby obliterating the lower classes in the society. This is the first illusion that the developer deliberately ignores. By ignoring other social classes, the developers of the film create an illusionary society only achievable in a dream state. The societies consist of different social classes, each of such class face different issues and solve their problems differently. The social status is an important determinant of the social structure. An ideal society must therefore have the poor, the middle class and the rich. The development of this film deliberately ignores the other classes thereby creating a conflict. By doing this, they address issues that affect the specific class thereby ignoring other social and economic issues affecting other classes a feature that results in bias. Throughout the film, the groups of friends share ideas that are only familiar to their social class obviously ignoring other issues affecting the other economic classes. When the director later introduces the bishop, they treat him with conspicuous contempt owing to their lack of understanding of other social classes. The first theme that comes out naturally is friendship and relationships. There are different forms of relationship that the director develops in the film. The
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t with the Magistrate’s pain recollection of the irony and how the native’s suffered from the onslaught of Colonel Joll and his empire which was supposed to be civilized whose idea of civilization was to corrupt the inherent culture of the natives. In Philip K. Dick’s Do
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