Marxist Theory in Film

Marxist Theory

What is it about Marxist Theory in films? And how is it portrayed in different countries/different times

Marxism is a political, social and economic philosophy. The gap and conflicts between different classes in the society are the focus of this theory, hence marxist theory can be seen in films while the movies somehow discuss the focuses on this theory. 

Some prominent xamples of films in different regions and times are as follows:

Soviet Union and Early Socialist Cinema (1920s-1930s)

Examples: Battleship Potemkin (1925), October (1928)

Western Europe (1940s-1970s)

Examples: The Bicycle Thieves (1948), The Battle of Algiers (1966)

Modern Cinema (1990s-present)

Examples: Parasite (2019), Sorry We Missed You (2019)

How does The Parasite confirm the theory in film

Two families having completely opposite economics conditions are portrayed in this movie, shown as an application of Marxist theory by drawing a clear line between them. The poorer family acts as the 'parasite', who relies on the rich family for survival. By constructing the dramatic relationship between the two families, and how the poorer family survive using extreme approaches, conflicts between them and the tragedy at the end all convey the theme of social inequality

1. Samy, Sagar. “Film Analysis of Parasite in the Light of Marxism.” International Journal of Literature and Arts (2023): n. pag. Print. 2. https://www.historicalmaterialism.org/marxism-cinema-daniel-fairfax/ 3. https://www.filmtheory.org/marxist-theory-on-films/

1, What is Marxist Theory and how it may have been portraied films across geography and time frames

 Marxism is a comprehensive political, economic, and social theory developed primarily by Karl Marx and Friedrich Engels in the mid-19th century. It critiques capitalism and advocates for a classless society through the lens of historical materialism, which posits that societal developments are driven by material conditions rather than ideals.

Central to Marxist theory is the idea that history is defined by the conflict between different social classes, primarily between the bourgeoisie (capitalist class) and the proletariat (working class). Marx argued that this struggle would ultimately lead to the overthrow of capitalism and the establishment of communism [1][2]

Also, Marx described alienation as a condition in which workers become disconnected from the products of their labor, leading to a sense of powerlessness and disenfranchisement in a capitalist system. He believed that overcoming alienation was essential for achieving true human fulfillment [1][2]

Marxist theory in film examines the relationship between cinema and class struggle, focusing on how films reflect, critique, and influence societal structures under capitalism.

Marxist film theory emerged prominently in the 1920s, particularly with Soviet filmmakers following the Bolshevik Revolution, and has since evolved to analyze a wide range of films across different cultures and eras. With filmmakers like Sergei Eisenstein, who utilized cinematic techniques to express Marxist ideas. Eisenstein's works emphasized collective narratives over individual protagonists, contrasting sharply with the classical Hollywood style that centers on individualism [3][4].

Marxist films often highlight the struggles between the bourgeoisie and the proletariat, aiming to raise class consciousness. They depict the realities of working-class life and critique capitalist exploitation, seeking to inspire social change through awareness [5][6].

1. Soviet Cinema

As the Lenin quote that opens this reading guide suggests, the Bolsheviks immediately gave prominence to the cinema, initially as a tool for education and propaganda, and later as a means of artistic expression. During the Civil War, however, efforts to create a Soviet film industry were hampered by the severe shortage of materials, including film stock[6]. 

2. Weimar Cinema and German Critical Theory

Prior to World War II, the Soviet Union was the only nation ruled by a Marxist political party, but Germany had a strong workers’ movement until Hitler’s rise to power in 1933 put an end to all open political opposition. This movement was not only numerically strong – both the Social-Democratic Party and the Comintern-aligned Communist Party had hundreds of thousands of members, and revolutionary upsurges repeatedly threatened to overthrow the state apparatus between 1919 and 1923[6]

2,  How does The Parasite confirm with the Marxist Theory in film

Bong Joon-ho's film Parasite serves as a profound illustration of Marxist theory, particularly in its exploration of class struggle, social inequality, and the dynamics between the bourgeoisie and the proletariat. The film intricately weaves these themes into its narrative, showcasing the stark contrasts between two families: the wealthy Parks and the impoverished Kims

Parasite vividly portrays the class struggle, a central tenet of Marxist theory. The Kim family, representing the working class, resides in a cramped basement apartment, struggling to make ends meet through menial jobs. In contrast, the Park family embodies the bourgeoisie, living in a luxurious home with ample resources. This juxtaposition highlights the economic disparities that exist within capitalist societies, where wealth accumulation for one class often comes at the expense of another.

For example, the depiction of Kim family’s social status is established in the opening scene. The movie starts with a cinematic shot and shows a semibasement, where Ki-Woo is searching for a Wi-Fi password because the entire family depends on a public/open network. He states to his sister that the password has been changed, on which she suggests her brother to try “123456789”, but unfortunately no luck. Finally, they manage to get it from the window of their washroom. Similarly, the scene of the mother and father was established as she kicks Ki-Teck, who is lying on the floor. That’s how the introductory scene was disclosed to unveil the entire family; their living standards, activities, social class, and everything.

The dark side of Ambition:

While Parasite offers a glimpse of hope for upward mobility, it simultaneously warns of the dark consequences that ambition can bring. The Kims' desire to ascend socially leads them down a path of greed and violence, culminating in tragic outcomes. This duality serves as a critique of not only capitalism but also human nature under such systems—where desperation can drive individuals to extreme

Reference

[1]https://www.britannica.com/summary/Marxism

[2] https://www.investopedia.com/terms/m/marxism.asp

[3] https://www.filmtheory.org/marxist-theory-on-films/

[4] https://philosophyinfilm.com/2020/07/13/10-marxist-films-for-philosophy-students/#google_vignette

[5] https://www.culturematters.org.uk/index.php/arts/films/item/3243-marxism-goes-to-the-movies

[6] https://www.historicalmaterialism.org/marxism-cinema-daniel-fairfax/

Marxist film theory is a theory that critically concentrate on the political perspective in the film as a medium of political understanding(Wayne, understanding film Marxist perspective). The the political perspective can focus on the the social class, ideology, economic inequality, and so on. The portrait of the marxist theory have change over time and in different countries. Soviet was one of the first countries who practice the marxist theory in film. In Soviet, the film was used as a tool for education before art expression, and there are many political understanding of the film.  A Sixth Part of the World (1926) and Man with a Movie Camera (1929) could be a good example of the practice of marxist film theory’s practice. On the other hand, when German offer marxist theory in the film, they concentrate on the workers’ movement and the real society in German, such as Leo Mittler’s Beyond the Street (1929).

What is Marxist theory and how is it portrayed across geography and time frame?

Marxism is a philosophical concept created by German philosopher Karl Marx, discussing the class difference in society by questioning the unequal wage and the possession of means of production. It summarized societal development into 5 steps, primitive communism, slavery, feudalism, capitalism, and socialism. It discussed, in detail, the downside of capitalism, the ruling class, who is the "Bourgeoisie" exploiting the "Proletariats", who is being ruled and exploited. The Bourgeoisie usually possess resources and power to control the below, creating a very strong power dynamic. (Ecomomic Times)

How does parasite with the Marxist theory in film?

The film Parasite by Boon Jun Ho talks about a very poor "Bourgeoisie" family, living in a semi-basement and finding their way into a rich family, who is "Proletariats". The power dynamics in the film between the different classes through cinematography, character establishment and directing style is worth discussing.

In cinematography, the director successfully used lines and shapes in the environment to divide classes. It also uses lighting very smartly.

The character establishment, in Parasite, successfully portrayed a solid picture of the families and reflected the society.

Works Cited

https://www.youtube.com/watch?v=B5dFxFqlLwY

https://economictimes.indiatimes.com/definition/marxism

http://www.avsci.org/article/10.11648/j.ijla.20231101.11

Marxist theory in film examines the relationship between cinema and socio-economic structures, emphasizing class struggle and the critique of capitalism (Admin). 

Marxist theory has been portrayed in film across various geographical contexts and historical periods, reflecting the socio-political climates of the times. The origins of Marxist film theory can be traced back to the Soviet Union following the Bolshevik Revolution. Filmmakers like Sergei Eisenstein and Vsevolod Pudovkin pioneered the Soviet Montage movement, which emphasized collective narratives over individualistic storytelling, contrasting sharply with Hollywood's focus on singular protagonists. These films aimed to showcase the struggles of the proletariat and promote revolutionary ideals through innovative editing techniques that juxtaposed images (seen in Figure 1) to create meaning. This theoretical framework has since influenced various cinematic movements and filmmakers. For example, in the 1930s and 1940s, left-wing filmmakers in China adopted Marxist principles, using cinema as a tool for social change (Admin). One notable example is "Spring River Flows Eastward" (1947), directed by Cai Chusheng and Zheng Junli. Films during this period often depicted the struggles against feudalism and imperialism, aligning with Maoist ideologies. In the 1960s French New Wave, filmmakers like Jean-Luc Godard incorporated Marxist themes into their works, such as "La Chinoise", challenging traditional narrative structures and exploring issues of class and consumerism(Wayne).

Director Bong Joon-ho's critically acclaimed film “Parasite" serves as a prime example of how Marxist theory can be effectively incorporated into cinematic storytelling. The film masterfully depicts the class struggle and socio-economic inequalities prevalent in modern society, aligning with the core principles of Marxism (Mishra).

The film employs various symbolic elements to convey Marxist themes. For instance, the Kim family lives in the basement while the Parks' luxurious home, situated on a hill, represents the bourgeoisie's elevated status. The physical living space is a metaphorical distance between the two classes. In addition, the metaphor of the title "parasite" itself suggests the exploitative relationship between the capitalist and working classes.

Secondly, the juxtaposition of images appears several times in the movie, showing the reality of the unequal social status of the rich and the poor by dividing them with simple lines.

Works Cited

Admin. “Marxist Theory on Films.” Film Theory, 27 Aug. 2014, www.filmtheory.org/marxist- theory-on-films/.

jones, Matthew. “10 Marxist Films for Philosophy Students.” Philosophy in Film, 13 July 2020, philosophyinfilm.com/2020/07/13/10-marxist-films-for-philosophy-students/.

Mishra, Shatabdi. A Marxist Analysis of Class Consciousness in Bong Joon-Ho’s Parasite. 2022, p. 308, https://doi.org/10.36648/1550-7521.20.51.308.

Wayne, Mike. “Marxism Goes to the Movies.” Www.culturematters.org.uk, 2020, www.culturematters.org.uk/index.php/arts/films/item/3243-marxism-goes-to-the-movies.

What is Marxist Film Theory? How might it has been potrayed in film across geography and time frame? 

Answer: Marxist film theory is an approach to film theory centered on concepts that make a political understanding of the medium possible. (Wikipedia) 

Marxist film theory is an approach to understanding cinema that applies the principles of Marxist analysis, focusing on the relationship between film, ideology, and social class. It posits that films not only reflect but also reinforce dominant ideologies, serving the interests of the ruling class while marginalizing alternative perspectives. This theory examines how economic structures influence the production and reception of films, encouraging viewers to critically analyze how media representations shape societal values and power dynamics. (Fiveable: https://library.fiveable.me/key-terms/film-and-media-theory/marxist-film-theory) 

Marxist Theory on Films is one of the most archaic frame of cinematic hypothesis. It was not until the dawning of the era of the Union of Soviet Socialist Republics (USSR) in the 1920s that this age-old supposition was administered in the academic work in the realm of motion pictures genre. This particular exercise was carried down and got adopted through the 1930s on China as it was stimulated by Chinese cinematic faction dubbed as the left-wing. The acceleration did not stop there as Marxism was once more utilized in the era French New Wave business of cinematic supposition survey. (admin: https://www.filmtheory.org/marxist-theory-on-films/) 

How does the Parasite confirm with the Marxist Film Theory? 

(Shatabdi Mishra: https://www.globalmediajournal.com/open-access/a-marxist-analysis-of-class-consciousness-in-bong-joonhos-parasite.pdf) 

What is marxist theory in film?

Marxist theory refers to the film focusing on issues of class struggle, economic inequality, power dynamics, and the impact of capitalism.

https://en.wikipedia.org/wiki/Marxist_film_theory

how was it portray in different country and time?

Marxist film theory has been portrayed and adapted in different ways across various countries and time periods, such as Outskirts, dir. Boris Barnet, 1933, Soviet Union film, L’Avventura, Michelangelo Antonioni, 1960, Italy film, France (1960s), Latin America (1960s–1970s), and US (1970s–Present).

For example:

Soviet filmmakers used montage to emphasize collective action, class struggle, and revolution. They focused on the power of the masses rather than individual heroes.

Soviet filmmakers explored the struggle between the proletariat and the bourgeoisie, glorified labor, and promoted communist values. The focus was on the collective good rather than individualism, aligning with the state's Marxist ideology.

The present of marxist theory in Italy is also known as Italian Neorealism, and they portrayed the harsh realities of everyday life, focusing on the working class and the struggles of ordinary people. Films were often shot on location with non-professional actors to enhance realism. The Italy Neorealism  critiqued the economic inequality brought about by capitalism, focusing on the plight of the working class and marginalized groups. The films emphasized empathy for the oppressed and questioned societal structures that perpetuate poverty and hardship.

https://www.historicalmaterialism.org/marxism-cinema-daniel-fairfax/

how does the paradise, the director confirm the marxist theory in film?

The physical separation of the families is one of symbols that represent the theory. By divided their living environments, the Park family lives in a luxurious, spacious house on a hill, representing their high status, while the Kim family lives in a cramped, semi-basement apartment, struggling to get by in a low-income area. This visual contrast mirrors the Marxist idea that wealth and privilege are concentrated in the hands of the few, while the majority live in poverty.