Depiction of Collective and Individual Ideologies in The Films Jaws and They Live

Introduction

As discussed in Robert Ray’s A Certain Tendency of the Hollywood Cinema, during the 1960s and 70s, American cinema became more polarized ideologically compared to the Classical Hollywood Cinema, reflecting the cinema of the left and right. Films like Bonnie & Clyde, Midnight Cowboy, and Easy Rider were on the left, while films like Dirty Harry, Patton, and Death Wish were on the right. On the left, the protagonists were outside of the law and martyrs, and on the right, the protagonists were the law. The protagonists were either for the collective (left) or the individual (right). Two films, Jaws and They Live, from the 70s and 80s, illustrate how these ideologies are apparent in Hollywood cinema.

Depiction of Right-Leaning Ideologies in Jaws

In 1975, Steven Spielberg made a film that left its mark on cinema. Jaws became the first major summer blockbuster. The film was released towards the end of the Vietnam War and the Watergate Scandal. One could argue that Jaws is a right-leaning film. Three men are sent out to sea to destroy a menace to small-town America. This could be an allegory for the Vietnam War and the motivations behind it. The US felt that the spread of communism was a threat to the world, but really to their own interests. The three characters also embody middle-class American masculinity. What would problematize this reading would be the businessman mayor who seems to embody capitalist greed and bureaucracy. The character of Mayor Larry Vaughn, who prioritizes profit over safety, challenges the film's otherwise individualistic and law-enforcing narrative, adding complexity to its ideological stance (Ray, 1985).

Sociopolitical Critique in John Carpenter’s They Live

John Carpenter, known for both horror and sci-fi films, is no stranger to injecting the sociopolitical into his films, whether intentional or unintentional. The Thing could be read as an allegory for the AIDS crisis, with the blood-testing scene being the most visually representative of this reading. Escape from New York eerily predicted the rise of private prisons, and its sequel Escape from LA predicted the rise of an unpredictable and dangerous president who banishes anyone he deems as “un-American” within the walls of the private prison of Los Angeles. Prince of Darkness bizarrely concerns strange, zombifying broadcasts from a Satanic vat of green goo in the basement of a church, which can be read as commentary on mass media and the “Religious Right” (Carpenter, 1988).

Carpenter’s 1988 film They Live is a scathing critique of Reagan Administration conservatism and the excessive materialism of capitalism. The film was released on the cusp of the Reagan Administration and the beginning of George H. W. Bush’s Administration, which continued many of the same policies. The Reagan Administration was notorious for its treatment and neglect of marginalized people, from the disregard of the AIDS crisis, anti-abortion legislation, to the voodoo of the “trickle-down” economic system which led to a rise in poverty and homelessness. Carpenter’s heroes Nada and Frank are working class and homeless. In They Live, a drifter named Nada finds work on a construction site where he befriends Frank and is given a place to stay in a shantytown near a church where there is no real choir, only a recording. After discovering scientific equipment and boxes of sunglasses in the church, the church is raided by police. Nada manages to save one of the boxes of sunglasses and hides it safely in an alleyway. When he puts on the sunglasses, he sees the world for what it is, run by ghoulish aliens and subliminal messages to “obey”, “conform”, and “consume”.

The “ghouls”, as Carpenter calls them, are the Reaganites who have taken over by lulling America to “sleep” via a sinister transmission, which forces them to be a part of the capitalist system or they become collaborators blinded by wealth and power. The ghouls are imperialists who exploit the resources on other planets, like the United States, United Kingdom, and other imperialist powers so often do. Carpenter’s film serves as a warning about the dangers of unchecked capitalism and the loss of individual freedom in the face of societal conformity (Foster, 2008).

The Role of Media and Collaboration

The character of Holly is an assistant director for Cable 54 who is taken hostage by Nada but does not believe Nada’s story about the ghouls taking over. Holly is later revealed to be a human collaborator. Holly’s occupation working at a cable news studio and her being a collaborator can be allegorical of the neoliberal mouthpieces in the media, like those today on Fox News or MSNBC. At the end of the film, Nada manages to destroy the satellite broadcasting the transmission, which reveals to the humans that those in power were ghouls. This revelation serves as a metaphor for awakening to the reality of media manipulation and the need for critical awareness among the populace (Carpenter, 1988).

Conclusion

In conclusion, both Jaws and They Live reflect the ideological polarizations of their times, showcasing how cinema can be a powerful medium for sociopolitical commentary. While Jaws presents a narrative that aligns with individualistic and traditional values, it also critiques capitalist greed. In contrast, They Live offers a sharp critique of capitalism and media influence, urging viewers to question and resist societal norms. These films highlight the complex interplay between cinema and ideology, offering rich material for analysis and discussion.

References

Carpenter, J. (1988). They Live. Universal Pictures.

Foster, T. (2008). They Live: A Political and Philosophical Film. Journal of Film and Video, 60(4), 24-36.

Ray, R. (1985). A Certain Tendency of the Hollywood Cinema. Princeton University Press.