Introduction
Any attempt to investigate, describe, or assess Hollywood must inescapably commence with a definitional impasse. Hollywood is a term that denotes a real place, obviously, a community located in the North of Los Angeles. The community emerged about a century ago and is predominantly the center of the mushrooming U.S. film industry.
Hollywood, as a primary base for the burgeoning film industry, plays a significant role in international relations scholarship. Among various disciplines, scholars have explored several aspects of the prevailing affiliation between politics, ideology, and Hollywood. Throughout the 20th century, entertainers in the entertainment industry and Hollywood movies have played a central role in influencing national politics, shaping American identity, and driving social change.
Problem Definition
In the American drama film Wall Street: Money Never Sleeps, Wall Street is presented as being long in the past, when Indians supposedly possessed Wall Street. A century ago, it was a wall that the Dutch protected. Two centuries ago, it was a financial seed underneath plane trees. Wall Street has been working for America’s rise for all this time. Presently, it is a financial hub renowned worldwide; the hub is authoritative yet delicate, bright but dark (Pilcher, 2022). This hub is a key driver of economic growth; however, it also serves to stifle the economy.
International relations scholars have made diverse arguments regarding this drama film, just as they have with other Hollywood productions. Some of these arguments claim that the film is political and ideological, helping to account for America’s rise from traditional agriculture to an industrial powerhouse, facilitated by the network of information enabled by modern technology and science. Suchère (2022) even refers to Wall Street as a sewer that consumes human nature.
The 2008 monetary and financial crisis was a significant event in recent history, which had a profound impact on the global community. This crisis was attributed, in part, to the manifestation of human nature’s baser instincts, such as greed and avarice. This event has served to stimulate the examination of the political and ideological concepts of capitalism within the context of Hollywood films. This is because the crisis had far-reaching consequences, causing widespread suffering, and serves as a reminder of the potential negative consequences of unchecked capitalist ideals.
Nonetheless, films often portray Wall Street in a contentious manner. Wall Street (1987) and Wall Street: Money Never Sleeps narrate tales that unfold on Wall Street, which is home to numerous American Stock Exchanges. The film’s director, Oliver Stone, not only creates a historical record but also seeks to convey certain edifications and spark discussions.
A glimpse at the filmscan help elucidate a practical approach to problem identification in the topic under exploration, political and ideological implications in Hollywood Films. A great film ponders the form of a film and its cultural, political, and social ideology (Nader, 2022). This is the case in both films, which highlights the complex interplay between human desire, morality, and the financial markets.
Wall Street (1987) transpires in the 1980s at the time of the international debt crisis that affected the Middle East. In Hollywood’s home scene, the country had just experienced a financial crisis, followed by the Plaza agreement signed in the 1980s by America and Japan. In reality, the prosperous economy served to show the impending crises.
The prevailing affluence was not capable of lasting long; soon, the depression would take over. Olivier is making the film as a tribute to Lou Stone, his father, who was a stockbroker during the Great Depression. In the film, Gordon Gecko’s character illustrates a composite of various persons, particularly capitalists.
Oliver Stone directed Wall Street (1987), starring Charlie Sheen, Daryl Hanna, and Michael Douglas. It tells the story of an impatient young stock trader, referred to as Bud Fox, who seeks a way to escape his desperate state and achieve success. An imperative opportunity occurs, and he encounters Gordon Gecko, a materialistic corporate raider. Bud Fox commences the trade of inside illegal information that is taken via a ruthless under Gordon Gecko’s wing (Jyoti, 2022). Here, critics of the film are doubtful about whether Bud Fox can achieve his goals in such a manner, or whether the phrase “greed is good” was essentially conveyed in the film, and what it ultimately represents.
After the 1987 international ‘debt crisis’, Wall Street set up for one of the greatest markets historically. Then, 80 years later, in 2008, it faced its worst financial crisis, whose effects were felt globally. Wall Street: Money Never Sleeps is set against the backdrop of the 2008 financial crisis, and Wall Street was once again the focus of financial crises in its screen version.
Oliver Stone directed Wall Street: Money Never Sleeps, starring Michael Douglas, Shia LaBeouf, and Carey Mulligan. The story’s sequel involves Gordon Gekko escaping prison, but his peers still hold him in disgrace. Despite this, he can aid an idealistic stockbroker, Jake Moore, his future son-in-law, in conquering a Wall Street enemy and eventually building his empire. The film critics doubt whether Gordon Gekko is still a cold-blooded capitalist when he faces his future son-in-law and daughter.
An essential point in our problem definition and practical viewpoint, as seen in the two films, is that they encompass a broad range, including commercial systems, cultural connotations, and industrial productions. In modern times, films serve not only commercial purposes but also influence political and ideological consequences through their power of communication, and Hollywood is at the center of disseminating these messages. Film is a form of culture that offers us pleasure and serves as a mirror, reflecting the values and ideologies of a society while closely tying them to the concerns and desires of its audience. It visually embodies the prevailing political and social culture, ideology, and challenges people confront daily. Academicians encourage filmmakers to express values, sentiments, and attitudes that challenge prevailing social and political systems.
Thus, the key argument regarding the political and ideological implications of Hollywood Films can be deduced. It is the audience’s tastes and the marketplace demand that drive Hollywood’s content. Thus, Hollywood films cannot afford to be politically and ideologically out of step with the global scene, including the Middle East. The goal and objective of the research are to answer the question: Do Hollywood films have political and ideological implications? In this context, the prepared sub-problems include:
- Do Hollywood films provide a suitable medium for studying ideology?
- Is a Hollywood film based on a societal way of life, suggesting that most of the stories that transpired in the film have already transpired in the actual world?
- Whether Hollywood films aim at criticizing or promoting certain ideologies to aid people in a better understanding of the political times they are living in?
Literature Review
This chapter offers several scholarly insights into the film’s political and ideological interventions. Primarily, the discussion in this section is divided into two parts, aligning with the research questions and objectives. The first section examines the prevailing academic literature that links the film to political narratives and ideology. The second part of the discussion focuses on Cinema Ideology and Political narrative, bringing Hollywood into play.
Film Criticism and Ideology
Ideology is a term coined by the French materialist of the 18th century, Count Antoine Destutt de Tracy. He sought to transform the process of social enlightenment from metaphysics to the arena of beliefs and social consciousness. Karl Marx also contributed to German ideology, particularly with his concept of false consciousness, a notion that later scholars on ideology have explored widely (K. & Friedrich, 2021).
In modern times, prominent scholars on ideology, such as Terry Eagleton, have contributed to current discussions regarding ideology. Harrison & Boyd (2018) acknowledge the limitations of a singular, comprehensive understanding of the term ideology. They proceed to espouse three definitions: the process through which values, meanings, and signs are produced in social life, the medium through which sensible social actors make sense of their world.
Harrison & Boyd (2018) summarize these three definitions through forms inspired by social interest, as seen in her latter description of ideology. A perspective that centers on the film’s signification process and offers a broadly helpful conception of the term within the context of cinema. Caleb (2022) contributes to the discussion, construing ideology not as spurious rhetoric but as an imaginary relationship between individual representations and actual existence conditions.
From such views lies the conception of modern discussions regarding ideological significance in films. This form of contemporary thinking is propagated in modern-day literary criticism by academicians. Thomas (2021) defines the current theory of ideology as one that attempts to understand the intricate way contemporary society offers a version of self-subjects that reciprocally reinforce each other. Everyone is inside, regardless of whether they are privy to the information or understand it. Its effect is that it produces an apparent reality that can be accepted and assumed by social and political subjects. Specifically, as if it did not need to be known at all or even produced socially (Thomas, 2021).
An even more elaborate link between film and ideology is offered by scholars Thompson & Bordwell (2019), who argue that film’s implicit and explicit meanings are constantly permeated with symptomatic meanings or social names. They add that these social values in the films are considered social ideology (Thompson & Bordwell, 2019). This viewpoint highlights how the film has been utilized on various platforms for social and political negotiations and the dissemination of ideologies.
Cinema Ideology and Political Narrative
The role of films in shaping political consciousness is well recognized. (Onyinye, et.al, 2020) contend that movies are imperative to transmitting political norms and understandings. This statement is supported by Boukes et al. (2020), who note that sources of fictional media, including television and film, may have effects that may persuade the public’s political beliefs and attitudes. This is particularly the case when such films portray prevalent cultural embourgeoisement.
Films play a significant role in shaping the experiences of workers, which can have a profound impact on their political views. On the other hand, Luciana & Joana (2023) stress that the media has, in a nationalistic frenzy, spread hate speech. Other scholars, including Shakuntala & Ramnath (2022), affirm the need for an analysis that goes beyond the meager fact of mediated sociality to the type of cultural expression that this is disposed to produce. Mahreen (2022) asserts that the film discussion cannot revolve around national consciousness, meaning it has broad manifestations. These two latter scholars share a similar view, which calls for examining cultural expressions as a manifestation of national consciousness and, thus, a display of national political identity.
Distinguishing the part that film plays in transforming national political identities and shaping various ideologies among its citizens. Studies have indicated the importance of not thinking of this part as brilliant, bordering on vanishing, a remnant from a previous epoch that is lacking in modern times (Liu & Turner, 2018). Pilcher (2022) thinks that film roles as a direct player in national politics’ ideological apparatus are worth noticing. It suggests an investigation into how National Cinema engages with intricate social institutions, which propel both defiance and conformity, change and status, loyalty and infidelity. The scholar refers to this as intricate institutions and processes in which cinema’s social context role of meditation is permeated (Pilcher, 2022). In our case, central to influencing the social context of the films is the country’s ideology and politics that Hollywood reflects and embeds in its productions.
The intricate social processes and institutions are also crucial in this study, whose inquiry immerses itself, among other aspects, in the language of the film’s symbolic codes and how the audience interprets them. Identically, it is imperative to note that the ideology of a film relates closely to any signification in the film (Arinze & Onyinye, 2020). It then acts as an instance or dimension that is important to social practice. The dimension emerges alongside and within other imperative social practice instances, including political ones, such as how publishing studios and publishing houses, like Hollywood, coexist within the same space alongside political parties.
Nonetheless, the fundamental interest is in examining how filmic texts intersect with political ideologies and the part they play in passively and actively transmitting cultural ideas. This filmic political reproduction is fundamentally a replica of ideologies that are made conceivable by the film’s role in battling for control of the audience’s mental image (Jiangtao et al., 2022). The mind’s eye allusion suggests that a film’s capability to influence its audience is both intellectual and emotional.
Such an enormous influence is what this study suggests is a political and ideological influence that ultimately affects the behavior of its audience (Jiangtao et al., 2022). The message that the scholars in these sections propose acknowledges the need to begin viewing cinema as a social narrative that is a node in which politics and ideologies are dispersed. Publishing studios and publishing houses, in our case Hollywood, are at the center of the message being dispersed.
Methodology
This section outlines the methodology employed in examining films. The research design subsection outlines the overall plan and structure of the study, including the research questions and hypotheses that will be investigated. The data analysis subsection describes the techniques used to analyze the collected data, including statistical and content analysis (Wang, 2022).
The collection techniques subsection explains how the data was gathered through surveys or film screenings. The sampling subsection outlines the process used to select a representative sample of films and participants for the study. Finally, the population subsection defines the group of films and individuals the study focuses on.
Research Design
This section addresses the question of the data needed, the methods used to analyze and collect data, and how the data addressed the research objectives and questions. The qualitative research gathers data from interviews with Hollywood filmmakers, film analysis, focus group discussions with film audiences, and research resources, including a literature review. Drawing from these sources, the research aims to explore the existing political and ideological implications in Hollywood films, with a particular focus on the Middle East (Hamed, 2021), and examine how films are used to depict political discourses and strategies in the region. The research will determine whether Hollywood is a suitable medium for promoting ideology. If Hollywood films are based on a society’s way of life, they aim to promote and critique particular ideologies that help individuals understand the prevailing political ideologies of their time.
Population
The meaning of population in qualitative research is the entirety of all the subjects, objects, or members conforming to a set of specifications. The research utilizes Hollywood as its population, drawing actors and filmmakers as its samples. This is a crucial choice to ensure the accuracy, reliability, and viability of the research. Moreover, the particular focus is on the political and ideological implications, with an emphasis on matters that affect the Middle East region politically, such as economic systems.
Sample Size
The research purposively samples two Hollywood films with political and ideological implications in the Middle East at the time of release and highlights another as it concludes. The two films are Wall Street (1987) and Wall Street: Money Never Sleeps, concluding with a snippet from Hidalgo (2004). The rationale behind the film’s selection is that it advances political ideologies. This is significant in meeting the research questions and objectives.
Through the film’s incorporation, it is possible to analyze them to show how they add value to illustrate Hollywood as a medium for studying ideology. They also demonstrate that Hollywood, particularly in the two films, is rooted in the capitalist way of life, which has a significant impact on the Middle East region. Moreover, the films help both criticize and promote their respective extents in aiding people to understand better the political times in which they live.
Sampling Techniques
To ensure that the research objectives are met, the purposive sampling technique was employed to select the sample films. The primary consideration was the particular Hollywood film that made substantial claims to ideological and political issues, incorporating class struggle and the narrative in Hollywood at a pivotal moment globally, when political factors are influencing the Middle East and contributing to financial turmoil. The main inclusion criteria were a narrative that correlated with the study’s objective. Political, Ideological, social, and cultural debates were considered probable inquiry sites for the research.
Data Collection
Both secondary and primary sources of data were utilized in the research. Primary data were obtained through content and observational film analysis. The focus was on reading several films closely to gather information relevant to the fundamental problem and subtopics of the study.
Interviews were also conducted in conjunction with focus group discussions and film experts. Secondary data was also collected from books, scholarly articles, and academic journals. The researchers also visited several offline and online libraries to gather information relevant to the study, with the Hollywood Library being particularly significant.
Data Analysis
This is where the raw information obtained is converted to valuable information that can help make sound decisions in line with the research objective, problem, and sub-problems. The heuristic principle proposes that judgment formation by the human mind is not founded on an entire array of information accessible in their memory (Ikbal & Merve, 2022). But only on a subsection of all information that is obtainable and is considered sufficient to make a particular judgment. This perspective is acknowledged by Hamzi et al. (2021), who argue that individuals read, hear, or witness an event through the mass media, and ideas with identical meanings are triggered shortly after.
These thoughts can, in sequence, trigger other action tendencies and ideas that are semantically linked. This envisioning of diegetic with non-diegetic information offers recommendations for the potential of connecting film with political discourse (Qi, 2022). Film ideology functions as the link between these dual spaces.
Analyzing film ideology involves examining key institutions and political values, as well as investigating how characters relate to them. For this research, artistic and ideological explanations were explored through a close reading of the setting.
Additionally, this approach is guided by the idea of Costley et al. (2020) that video research not only entails analysis of the video material. But also, on producing a corpus of material, which is now possible to analyze (Fani et al., 2021). Thus, the inference is that the effort of the research to read images contextually was of great benefit to the study
Interviews
Interviews were conducted in focus groups and among film experts in Hollywood. For film experts, particular Hollywood film directors and actors were selected as being of specific importance to the researchers: Oliver Stone, Michael Douglas, Daryl Hanna, Charlie Sheen, Carey Mulligan, Shia LaBeouf, and Michael Douglas were interviewed. Similar questions were posed to offer insight into the research objectives and answer the fundamental problem and sub-problems. Examples of some questions posed in the interviews include:
- What specific political and ideological issues were addressed (Yael & Maryam, 2022)?
- What was the film’s target audience?
- What were the particular values reflected in the film?
- Were they a reflection of the societal challenge?
- Did the film aim to criticize or promote any of the values prevalent on Wall Street at the time?
Focus groups were divided into two; the first group comprised young professional filmmakers. On the other hand, the second focus group consists of youthful film actors, screenwriters, and producers. The questions posed to the focus groups comprise questions regarding the films they have watched:
- Did the films have a political issue that they could highlight?
- How do they think the film addressed the political issues? Were they implicitly or explicitly addressed? They were also asked to compare and contrast political issues in Wall Street (1987) and Wall Street: Money Never Sleeps.
- What is the approach to political-ideological issues in the film in relation to the global economic and political scene and the Middle East?
Experiences
The experiences of actors and filmmakers about depicting the Middle East in Hollywood vary depending on the individual and their specific experiences and perspectives. It includes:
- Frustration or disappointment with the limited and stereotypical representation of Middle Eastern characters and cultures in Hollywood films.
- Feeling pressure to conform to these stereotypes to secure roles or succeed in the industry.
- Feelings of responsibility or a sense of duty to accurately and respectfully represent Middle Eastern culture and its people in their roles.
- Experiencing personal or professional challenges in navigating the representation of Middle Eastern culture and politics in Hollywood.
- A sense of pride or fulfillment in sharing their heritage or culture through their roles.
- They feel a sense of disconnection between their own personal experiences and the way Middle Eastern culture is portrayed in Hollywood.
- Experiencing discrimination or marginalization within the industry due to their ethnicity or background.
Results
The response from the film experts and information from all the primary and secondary sources used answered the research objective, problem, and sub-problems in the affirmative. Yes, there exists an ideological and political implication in Hollywood films. Through studying the two films in this research, it is clear that they present capitalism in a global and Middle Eastern context, highlighting the international debt crisis of the 1980s in the Middle East and the 2008 global financial crisis.
Hollywood thus promotes and, at the same time, criticizes the capitalism represented in the films (Sayfo, 2020). To have a realistic view of these answers from the researchers’ point of view. The capitalist themes that emerged from the examination of both primary and secondary sources are presented below.
Capitalism Presented by Wall Street (1987)
The 1987 Wall Street film represents the societal and political ideology of the Middle East in the 1980s and promotes the materialism, cruelty, and corruption of the time. It highlights the tragic ending that persons, especially those who enjoy the trappings of power, will face if they try to trade morality for money. Gordon Gecko embodies the political greed of the mid-1980s, exemplified in his three phrases: “Greed is good,” “work is right,” and “the end justifies the means.”
As can be judged from the immense uninterrupted applause Gordon Gecko received at the stockholders meeting after making his speech titled Greed is Good. Practices that were self-loathing and sybaritic in nature contributed to the international debt of the 1980s in the Middle East. Economic achievement and development were not at the forefront of the minds of political and economic leaders. They were not willing to take risks, but instead focused solely on blind self-interest, chasing security and comfort.
The 80s slump led to panic among the private sector and government in the Gulf. Some of the region’s leaders were responsible for the international debt crisis that led to the Gulf’s financial downfall. The decline led to a drop in oil prices from about $40 per barrel in 1981 to $25 by 1985, and by 1986, the prices had fallen to $10.
Bud in Wall Street (1987) is hardworking and does so with idealism and heartfelt aspirations. However, he struggles to live an affluent life, which leads him to rent a small, yet expensive, house. He ends up tired, lives on three meals a day, and has no dreams or hope.
However, a neighbor appears to live a highly affluent life, enjoys an enjoyable existence, and owns an estate and deluxe cars. Bud is in a position that political leaders often find themselves in. It is easier for such a political leader to disregard fundamental principles and seek an extravagant and easier life, often at the expense of public resources.
Another perfect illustration of Hollywood as a medium for studying political ideology is the exploration of greed in the film. Since the inception of human civilization, humanity’s accumulated wisdom has shown that greed is not beneficial. A materially rich man ought to be punished.
The film Wall Street presents an open ending that does not definitively answer whether greed is good or bad. The director creates a millionaire who is greedy with fascination and an upbeat personality, which offers him a culmination of danger from the law. The remaining part leaves the audience to decide for themselves. Here, Teldar’s stockholders’ meeting is the best advocacy for a greedy person.
By examining success in the film, it becomes clear that the director was promoting an ideology that helps people understand the time in which they live. At the center of the Middle East’s economic depression in the 1980s, fueled by the international debt crisis, most individuals shared similar standards to Bud and Gekko (Nic, 2022). It is illustrated that success can be reduced to wealth, status, and power.
Luckily, Bud can wake up to this truth at the time he faces his father with antagonistic sentiments; a generation gap is triggered by diverse faith and time. In the eyes of capitalists, his father is a lousy republican. His father does not speak much, but he is fair-minded and has a fatherly love that runs deep, in a manner different from Gekko, who is astute and cold-blooded. The society of the 1980s is exerting a subtle influence on people’s thinking and behavior.
Ideology of Capitalism in Wall Street: Money Never Sleeps
The economy did not improve from the 1980s to 2008. Instead, a global financial crisis led to a decline in house prices throughout the Middle East. In Qatar, the drop is 35%; in Kuwait, it is 62%; and in Dubai, it is 52%. In Saudi Arabia, the real growth of the GDP went from 5% in 2008 to falling almost flat in 2009.
This is reflected in film: a real estate bubble and a subprime crisis caused a financial tsunami. Most degrading is that it makes 75-year-old Lou, Jake’s teacher who built the Keller Zabel company, end his life by lying on the rail. The company is one of the largest investment firms with a perpetual history. This is characteristic of the Middle East, where the global crises attributed to leaders’ greed have occasioned a decline in various sectors, including the housing sector.
Conclusion
In conclusion, as part of the data collection procedures, the study conducted interviews with film scholars, held focus group discussions, and consulted with film directors. Most of them reported feeling understood and expressed interest in their films being interpreted and read to relate to real-world political and ideological issues (OECD, 2020). The study suggests that Hollywood reflects society’s way of life and the social impacts of political decisions (Kleinfeld, 2021). This, in turn, helps to better understand the prevailing political times (Arwa, 2021).
In addition to the political-economic ideologies presented by the two films, which have a more significant impact on social-political ideology, the film Hidalgo (2004) is also notable. In this particular film, the representation of Orientalism is clearly evident through the portrayal of Arabs as the “other” in accordance with Western ideology. The film’s release, one year after the political events that led to the invasion of Iraq under the administration of George Bush, serves to reflect the societal portrayal of generic Arabs as potential threats to the hero archetype of the “Cowboy” (Harsha, 2021). This perpetuation of the demonization of Arabs by the West is also evident in real-life societal attitudes.
Based on this analysis, it can be confidently stated that the research objectives, problem, and subproblem have been effectively addressed. Specifically, Hollywood films offer a valuable medium for studying ideology, reflect societal attitudes, and have the potential to both critique and reinforce certain ideologies, thereby aiding in the understanding of the political climate of the time.
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