'Films should be made to escape from reality, not to remind us of how grim life is.' Argue for or against this statement.
Major theatres such as Hollywood and Bollywood have had their films become ubiquitous worldwide, while developing cinemas such as Southeast Asia’s are growing at a rapid pace. With films being easily available for consumer consumption, it is no doubt that they have become one of the most popular activities, whether for work or for leisure. Films can offer an escape from the harsh realities of life, particularly the capitalist rat race that has plagued even lowly-developed countries. Yet to claim that an escape from reality is the only value of films would be to dismiss the significance of films to not only the passionate people who make them, but also oversimplifies the viewers. Therefore, films offer a wide array of richness, of identities and passion, far beyond merely a simple retreat from reality.
Indeed, it may appear as if films simply offer an escape from reality due to their ability to construct an alternate world, often romanticised to allow viewers to temporarily forget the bitterness and hardships of real life. For example, the popularity of superhero movies like Captain America and teh Dark Knighttaps into our inner desires for a messiah to swoop down from the heavens and salvage us from the dark, cruel world we live in. Many films, but especially superhero movies, condenses all the evils of life into a single, defeatable entity – the villain. The seductive appeal of these films allows the viewer to position themselves into the movie’s ideals, where there is often a ‘happily ever after’, momentarily drawing the viewers away from the fact of life that there are no superheroes with superpowers that will miraculously solve all our problems overnight. Moreover, such romanticised films are usually Hollywood blockbusters, thereby distributed worldwide. Enjoying pervasive influence, the perception that films seem to offer nothing more than an escape from reality is propagated.
However, the claim that films offer nothing more than an escape from reality comes from the point of view of the consumers. For the film makers, films are not just an escape from reality (though they sometimes may be), but are also a medium communicate a passionate message. Films are often used to translate social commentary and social experiences. For Tanwarin Sukkhapisit, Insects in the Backyard held a lot of symbolic meaning. Far from being an escape from reality, the film was loosely based on her personal experiences as a transwoman, dealing with the haunting effects transphobia in society has on individuals. Film allows her to speak about her experience when the government tried to silence her. (Insects in the Backyard in banned in Thailand.) For the viewers, plenty of insights and understanding about the inner thoughts of a typically marginalised person can be found in the intimate nature in which film presents their characters. Thus, besides offering an escape from reality, films are also able to convey the social experiences of film makers and even bridge social gaps.
Furthermore, films also present an outlet in which national identity can be expressed, being symbolic of national pride and cultural uniqueness. For governments keen on building national unity, films are able to remind people of a shared social experience through common points of identification. For instance, many Chinese films with nationalistic sentiments such as Ip Mantake pride in having withstood the onslaught of the Japanese army in the Second Sino-Japanese War, and international ostracism against their communist system, led by the United States of America (USA). The vivid imagery film permits, combined with the rousing jingoism as viewers are able to relate and identity with symbolic icons in the films. Thus, more than just providing an escape from reality, films are able to select parts of reality viewers can relate to, (innocuously) planting icons of shared identification into the films, thereby able to fortify a national identity.
Moreover, films can also be educational, regardless of the viewers’ age. For children, the moving images permitted in film are able to capture their attention, particularly when learning academic subject which may be difficult to grasp when they are learning them for the first time. This is evident in the numerals children’s guide to alphabets (to learning prepositions, and even to learning how to be kind to their peers) populating video shops and bookstores. For teenagers who are likely to be learning to make their own decisions, sometimes even rebelling, are unlikely to heed advice provided by their parents or teachers. They may turn to film to learn the behaviours as a conventional parent would by taking a moral high ground. Shows such as Hormones paint relatable characters for teenagers, trying to empathise with them in their journey instead of judging them or dismissing their curiosity. Even for adults, films can also be educational, especially in documentaries that are solidly grounded in reality, allowing viewers to learn in-depth about the world around them. For instance, documentaries such as Undercover Asia and Crimson are able to explore the hidden parts of society and expose the sympathetic plight of the world’s victims. Instead of merely reading about it (for which our perception is determined by each individual’s limit of imagination), films are able to record moving action as if it were real-time. This allows the viewer to feel the atmosphere, which can be produced through appropriate cinematography, as if they were really there to witness other people’s lives. Hence, far from being merely an escape from reality, films can also be extremely education about the realities of life.
In addition, films are also an outlet for creativity and breaking boundaries. Independent film makers are able to operate even on a small budget, allowing new ideas to rise up and even introduce social change. For example, the first commercial film in Laos, Sabaidee Luang Prabang, was able to foster a change in the trajectory of Lao cinema – from strict government-controlled propaganda to independent films driven by creativity and passion. Noy: Above It All explores the status of the Hmong people in Laos, and even the traditionally-taboo topic of homosexuality. Films provide a comprehensive outlet for exploring new ideas. The fact that some films are banned (as Insects in the Backyard is in Thailand) already demonstrates that more than just entertainment purposes, films contain much political symbolism as well. The development of films to become more diverse and democratic is also vital to the development of a country and region. The states of cinema is reflective of cultural development, Southeast Asian cinema must also become more open and less subjected to the meddling of political agendas that aim to silence voices. Hence, beyond being mere entertainemnt as an outlet for escapism, films can also be a channel for creativity and breaking political boundaries.
In conclusion, it is extremely reductive and ignorant to claim that films can offer nothing beyond entertainment value to momentarily pull us away from the harshness of reality. Films can offer so much more due to its ability to alter and present reality in a vivid manner. For film makers, films are often their passion projects, their heart and their soul that is definitely not just made to allow viewers an escape from reality. Films can lend a voice to the voiceless; power to the powerless. From constructing identities to fighting for freedom, films are able to portray so much more than the question dare suggest.
Major theatres such as Hollywood and Bollywood have had their films become ubiquitous worldwide, while developing cinemas such as Southeast Asia’s are growing at a rapid pace. With films being easily available for consumer consumption, it is no doubt that they have become one of the most popular activities, whether for work or for leisure. Films can offer an escape from the harsh realities of life, particularly the capitalist rat race that has plagued even lowly-developed countries. Yet to claim that an escape from reality is the only value of films would be to dismiss the significance of films to not only the passionate people who make them, but also oversimplifies the viewers. Therefore, films offer a wide array of richness, of identities and passion, far beyond merely a simple retreat from reality.
Indeed, it may appear as if films simply offer an escape from reality due to their ability to construct an alternate world, often romanticised to allow viewers to temporarily forget the bitterness and hardships of real life. For example, the popularity of superhero movies like Captain America and teh Dark Knighttaps into our inner desires for a messiah to swoop down from the heavens and salvage us from the dark, cruel world we live in. Many films, but especially superhero movies, condenses all the evils of life into a single, defeatable entity – the villain. The seductive appeal of these films allows the viewer to position themselves into the movie’s ideals, where there is often a ‘happily ever after’, momentarily drawing the viewers away from the fact of life that there are no superheroes with superpowers that will miraculously solve all our problems overnight. Moreover, such romanticised films are usually Hollywood blockbusters, thereby distributed worldwide. Enjoying pervasive influence, the perception that films seem to offer nothing more than an escape from reality is propagated.
However, the claim that films offer nothing more than an escape from reality comes from the point of view of the consumers. For the film makers, films are not just an escape from reality (though they sometimes may be), but are also a medium communicate a passionate message. Films are often used to translate social commentary and social experiences. For Tanwarin Sukkhapisit, Insects in the Backyard held a lot of symbolic meaning. Far from being an escape from reality, the film was loosely based on her personal experiences as a transwoman, dealing with the haunting effects transphobia in society has on individuals. Film allows her to speak about her experience when the government tried to silence her. (Insects in the Backyard in banned in Thailand.) For the viewers, plenty of insights and understanding about the inner thoughts of a typically marginalised person can be found in the intimate nature in which film presents their characters. Thus, besides offering an escape from reality, films are also able to convey the social experiences of film makers and even bridge social gaps.
Furthermore, films also present an outlet in which national identity can be expressed, being symbolic of national pride and cultural uniqueness. For governments keen on building national unity, films are able to remind people of a shared social experience through common points of identification. For instance, many Chinese films with nationalistic sentiments such as Ip Mantake pride in having withstood the onslaught of the Japanese army in the Second Sino-Japanese War, and international ostracism against their communist system, led by the United States of America (USA). The vivid imagery film permits, combined with the rousing jingoism as viewers are able to relate and identity with symbolic icons in the films. Thus, more than just providing an escape from reality, films are able to select parts of reality viewers can relate to, (innocuously) planting icons of shared identification into the films, thereby able to fortify a national identity.
Moreover, films can also be educational, regardless of the viewers’ age. For children, the moving images permitted in film are able to capture their attention, particularly when learning academic subject which may be difficult to grasp when they are learning them for the first time. This is evident in the numerals children’s guide to alphabets (to learning prepositions, and even to learning how to be kind to their peers) populating video shops and bookstores. For teenagers who are likely to be learning to make their own decisions, sometimes even rebelling, are unlikely to heed advice provided by their parents or teachers. They may turn to film to learn the behaviours as a conventional parent would by taking a moral high ground. Shows such as Hormones paint relatable characters for teenagers, trying to empathise with them in their journey instead of judging them or dismissing their curiosity. Even for adults, films can also be educational, especially in documentaries that are solidly grounded in reality, allowing viewers to learn in-depth about the world around them. For instance, documentaries such as Undercover Asia and Crimson are able to explore the hidden parts of society and expose the sympathetic plight of the world’s victims. Instead of merely reading about it (for which our perception is determined by each individual’s limit of imagination), films are able to record moving action as if it were real-time. This allows the viewer to feel the atmosphere, which can be produced through appropriate cinematography, as if they were really there to witness other people’s lives. Hence, far from being merely an escape from reality, films can also be extremely education about the realities of life.
In addition, films are also an outlet for creativity and breaking boundaries. Independent film makers are able to operate even on a small budget, allowing new ideas to rise up and even introduce social change. For example, the first commercial film in Laos, Sabaidee Luang Prabang, was able to foster a change in the trajectory of Lao cinema – from strict government-controlled propaganda to independent films driven by creativity and passion. Noy: Above It All explores the status of the Hmong people in Laos, and even the traditionally-taboo topic of homosexuality. Films provide a comprehensive outlet for exploring new ideas. The fact that some films are banned (as Insects in the Backyard is in Thailand) already demonstrates that more than just entertainment purposes, films contain much political symbolism as well. The development of films to become more diverse and democratic is also vital to the development of a country and region. The states of cinema is reflective of cultural development, Southeast Asian cinema must also become more open and less subjected to the meddling of political agendas that aim to silence voices. Hence, beyond being mere entertainemnt as an outlet for escapism, films can also be a channel for creativity and breaking political boundaries.
In conclusion, it is extremely reductive and ignorant to claim that films can offer nothing beyond entertainment value to momentarily pull us away from the harshness of reality. Films can offer so much more due to its ability to alter and present reality in a vivid manner. For film makers, films are often their passion projects, their heart and their soul that is definitely not just made to allow viewers an escape from reality. Films can lend a voice to the voiceless; power to the powerless. From constructing identities to fighting for freedom, films are able to portray so much more than the question dare suggest.
