Sociological Perspectives on Film Depicting Society through the Lens of Cinema

Keroote Heoose^*
*Correspondence: Keroote Heoose, Department of Social Geography and Regional Development, University of Debrecen, Egyetem tér 1, 4032 Debrecen, Hungary, Email:

Introduction

The relationship between cinema and society is a dynamic and complex interplay that has fascinated sociologists for decades. Films are not merely a form of entertainment; they serve as powerful cultural artifacts that reflect, reinforce, and challenge societal norms, values, and structures. Sociological perspectives provide a unique lens through which we can analyze and understand the intricate connections between film and society. This article explores various sociological frameworks to unravel how films depict and influence society, shaping our collective consciousness and contributing to the ongoing dialogue about the human experience. Film has long been recognized as a powerful medium for reflecting, critiquing, and shaping societal norms, values, and structures. Sociological perspectives provide invaluable tools to analyze the complex interplay between cinema and society. This article explores various sociological frameworks that help us understand how films depict and influence society, contributing to our collective understanding of the human experience [1-3].

Description

From a functionalist perspective, society is viewed as a complex system comprised of interrelated parts that work together to maintain stability and order. Films, in this context, are seen as both mirrors and reinforcers of social norms and values. They contribute to the collective conscience by depicting idealized versions of societal structures and behaviors. Classic Hollywood films of the mid-20th century, for example, often portrayed the nuclear family as the cornerstone of a stable society, reinforcing the prevailing values of the time. However, functionalist analysis also acknowledges that films can serve as a reflection of social issues and tensions. For instance, the film "The Great Gatsby" (2013) explores the decadence and social inequality of the Roaring Twenties, providing a critical perspective on the American Dream and the excesses of the Jazz Age [4,5]. Contrary to the functionalist view, the conflict perspective emphasizes social inequality and power struggles as inherent to society. Films, through this lens, are analyzed for their role in exposing and challenging existing power structures. Directors like Ken Loach, with works such as "I, Daniel Blake" (2016), highlight the struggles of the working class against oppressive bureaucratic systems, shedding light on issues like poverty, unemployment, and the dehumanizing effects of social welfare [6].

Conclusion

Sociological perspectives on film offer a multifaceted understanding of how cinema both reflects and shapes societal dynamics. From functionalist views emphasizing stability and order to conflict perspectives unveiling power struggles, symbolic interactionism examining meaning through symbols, feminist critiques addressing gender inequities, postmodern deconstructions of narratives, and considerations of globalization and cultural imperialism, each perspective provides valuable insights into the complex relationship between cinema and society. As we navigate an ever-evolving cultural landscape, the study of films through sociological lenses continues to be a vital tool for understanding the intricate web of social interactions, power dynamics, and cultural influences that shape our shared human experience. Through cinema, we not only witness the unfolding of narratives but also engage in a profound dialogue about who we are, where we've been, and where we're headed as a society. As societies become more interconnected through globalization, the influence of Hollywood and Western cinema on a global scale raises questions about cultural imperialism. The dominance of Western narratives in international cinemas often leads to the homogenization of cultural values, marginalizing indigenous voices and perspectives. However, filmmakers from non-Western cultures are using cinema to assert their identities and challenge Western hegemony. The Iranian New Wave, for instance, with directors like Abbas Kiarostami and Mohsen Makhmalbaf, offers a unique lens through which to explore Iranian society, challenging Western stereotypes and providing a rich tapestry of cultural narratives.

Acknowledgement

None.

Conflict of Interest

None.

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