Ken Loach’s episode of the omnibus project "9’11’’01 – September 11" describes the event of the terror attack of New York when thousands of people lost their lives. Because of that and the fact that film is “the most powerful and realistic of the arts”, this paper wants to critically analyse it, regarding the reception theory, because “media messages are always open and ‘polysemic’" and are interpreted according to the context and the culture of receivers”. Due to the Audience Response Theory (ART), “[a film] is encoded according to the meaning structure of the mass media production organization and its main supports, but decoded according to the different meaning structures and frameworks of knowledge of different situated audiences”. This is being widened by Metz, who points out the similarity of the theory and cultural signs: “The fact that must be understood is that films are understood”. He states that a film includes cultural signs which are transmitted by a significate and a signifier. The created meaning, however, is received by viewers. This gives the paper not just the purpose of researching but of critically analysing the director’s way of presenting, as well. Henceforward, his way of depicting is considered being inappropriate, which is the thesis of this paper and needs to be proven throughout.
For this paper, the ART has been chosen because of an ongoing debate, whether one can examine the meaning and effect of a film by looking at its genre: “This debate is part of a wider concern running right through media and cultural studies that genre analysis tends to limit the ways in which the meanings of texts can be explored”. This is due to because “without an audience no text or maker of that text would exist”. On the other hand, one should examine genre as well, according to Bernard Dick: “As movie audiences grow increasingly diverse, there is little likelihood that there will ever be an all-embracing theory of film reception – only more studies, both sociological and psychological, on spectator response”. So, in one word, “reception studies eliminates [sic!] the need to examine production since meaning is produced by the reader”. Staiger continues and contradicts that this very position is “dangerous, because that interference only inverts fallacious binary oppositions: producer/consumer, author/reader”. Because of that, we are going to inspect both the structure and reception of the film to underline the thesis declaring it inappropriate.
Table of Content
1. Introduction
1.1 Subject of the Paper and Research Question
1.2 Structure of the Paper
1.3 Method
1.4 Theory
1.5 Research
1.6 Definitions
2. Analysis of the Conflict Structure
2.1 Analyses of the film
2.2 Key Scenes of the Conflict Structure
2.3 Comparing Ken Loach and Other Directors of the Omnibus Project
3. An Inappropriate Comparison? A Summary of the Facts
3.1 Pro
3.2 Contra
4. Conclusion
Research Objectives and Themes
This paper critically analyzes Ken Loach’s contribution to the omnibus project "11'09''01 – September 11" through the lens of Audience Response Theory. It examines whether Loach's depiction of the 9/11 attacks in relation to the 1973 Chilean coup d'état is inappropriate, focusing on how cinematic techniques and subjectivity influence viewer reception.
- Application of Audience Response Theory to documentary film analysis.
- Examination of "mise-en-scène" and "mise-en-cadre" in Loach's work.
- Critical comparison of Loach's directorial approach with other segments of the omnibus project.
- Evaluation of the moral and political implications regarding the timing and content of the film.
Excerpt from the Book
Analyses of the film
The film starts with the introduction of the protagonist. Pablo, who stays nameless until the very end of the episode (Loach 1’12’’53’’’), writes a letter which is recorded with a medium long shot and from a high ankle. This first impression gives the feeling of being part of his life, as ‘we’ stand beside him. The letter starts with common words of introduction, which indicates that the upcoming narrator needs to be him. After he has addressed the families of the victims of 9/11 (NY) he presents himself as being a Chilean living in London, and starts the overall topic with the words: “We perhaps have something in common” (1’01’’26’’’). A hard cut changes the scene to unknown black and white footage of running people. This shot as well gives the viewer a feeling of being part, as a hand-held camera is used. Pablo continues talking and hereby indicates the pictures as his memories. This is being proven with his words: “Your loved ones were murdered, as mine were” (1’01’’35’’’).
After this introduction of both topic and protagonist, Ken Loach continues his film with a Mid-Shot of a woman who throws an election card into a ballot box. While Pablo continues telling his story, a cheering crowd can be heard in the background. This emphasises the ‘reality’ of the event and starts a section of the film, that can be described as Pablo’s “beautiful dream” (1’02’’01’’’). We can see, supported by melancholic music, the winner of the mentioned election – Salvador Allende, as unconcealed later. A couple of short shots from a crowd (hand-held camera) are being shown to underline the joy of victory.
Summary of Chapters
Introduction: Outlines the research question regarding the appropriateness of Ken Loach’s film segment and establishes the theoretical framework.
Analysis of the Conflict Structure: Provides a detailed breakdown of the cinematic narrative and compares Loach’s segment with other contributions to the omnibus film.
An Inappropriate Comparison? A Summary of the Facts: Weighs the arguments for and against the director's choices, evaluating the controversy surrounding the juxtaposition of historical events.
Conclusion: Synthesizes the analysis to confirm the thesis that the film’s implementation was inappropriate due to its subjective and opportunistic nature.
Keywords
Ken Loach, 9/11, Chile, Coup d'état, Audience Response Theory, Reception Analysis, Documentary, Mise-en-scène, Political Film, Cinema, September 11, Narrative structure, Subjectivity, Inappropriate, Film criticism.
Frequently Asked Questions
What is the core focus of this research paper?
The paper evaluates whether Ken Loach’s episode in the omnibus project "11'09''01 – September 11" uses an inappropriate directorial approach to link the 9/11 terror attacks with the 1973 Chilean coup d'état.
Which central thematic areas are explored?
The study covers audience reception theory, cinematic representation of historical trauma, political documentary filmmaking, and the ethical responsibilities of directors in sensitive contexts.
What is the primary research question?
The paper asks if Ken Loach’s comparative depiction of the American 9/11 attacks and the political history of Chile is "inappropriate" based on established reception and film theories.
Which scientific methodology is employed?
The analysis utilizes an eclectic approach based on Audience Response Theory, specifically examining "codes der mise-en-scène" and "codes der mise-en-cadre" to understand how meaning is constructed and perceived.
What is covered in the main section of the paper?
The main part provides a sequential analysis of the film, identifies key scenes that build the conflict, compares Loach’s style with other directors, and presents a balanced "pro vs. contra" debate regarding the director's artistic choices.
Which keywords best characterize this work?
Key terms include Ken Loach, 9/11, Chilean coup d'état, Audience Response Theory, film reception, and political documentary.
How does Loach use the character of Pablo?
Pablo serves as a subjective narrator whose personal story and letter-writing provide the emotional framework through which the film compares the suffering of Chilean victims with those of 9/11.
What conclusion does the author reach regarding the film's release timing?
The author argues that releasing the film on the first anniversary of 9/11 was inappropriate, as it potentially exploited the tragedy to gain attention for political critiques related to earlier historical events.
- Citar trabajo
- B.A. Philipp Freund (Autor), 2017, An Inappropriate Comparison: The Coup d'état and Ken Loach’s Contribution to the 9/11 Film by Alain Brigand, Múnich, GRIN Verlag, https://www.grin.com/document/370577
