Media Professionals or Ideology
Introduction & thesis statement.
Media plays a significant role in visualizing and communicating in coherent ways how the ideal world looks like and how people coexist. Some films utterly drive out how our societies are structured and our traditions. Nobody’s Fool is a Netflix creation in 2018 generally meant to express romance through comedy (Jenner, 2018). The film shows equal gender roles and a means of equality between men and women. This brings out the ideology of a culture in which the female gender is more appreciated and held as important as their counterparts, the males. The film is based on Tika, the main character who lived an existential lifestyle with a loving sister, although going through the issue of love and how to love. This paper aims to communicate the theme of ideology through a close analysis of a film, basing our idea on the issue of gender roles in Nobody’s Fool created by Netflix company.
Three concepts: Definition & Application.
Ideology, according to Croteau and Hoynes (2018), is defined as “basically a system of meaning that helps define and explain the world and that makes value judgments about that world. Ideology is related to concepts such as worldview, belief system, and value” (p, 280). Croteau and Hoynes, (2018) continue to assert that ideology “refers not only to the beliefs held about the world but also to the basic ways in which the world is defined, and thus it is not just about politics; it has a broader and more fundamental connotation,” (p, 280). This is a complete definition that calls for no addition or subtraction of any fact.
Any movie or film communicates an ideology by presenting the individuals watching with behaving, either positively or negatively. The director of a film, such as Nobody’s Fool, must communicate his idea considering the morality of right or wrong so that the viewer will be largely influenced (Lucca, 2019). As is the case in the film, catfishing is a rampant issue in any part of the world. It entails a method of forging a relationship so that a person feels the availability of the other gender, who, in the real sense, has been ghosting.
The second construct, hegemony, is defined by Croteau and Hoynes (2018) as “the notion that connects questions of culture, power, and ideology” (p. 291). This is from the view that the group bearing power derives it through consent, coercion, or a combination of the two constructs. In our film, the concept of power stems from various communications in the movie where influence is seen as Tika keeps Tiffany out of her house to comply. By this and other demonstrations in the film, hegemony is clearly communicated.
Media profession and ideology cannot leave out ideological analysis which according to Croteau and Hoynes, (2018) refers to a construct that “examines the stories media tell as well as the potential contradictions within media texts, that is, the places where alternative perspectives might reside or where ideological conflict is built into the text,” (p, 285). It clearly articulates and bring out what the film contradict as it pushes for its main theme, and tries to cover it so that the viewer might not notice as they watch. The idea rolls in the film, Nobody’s Fool with the central concept being romance, it also communicates about gender roles and at the same time communicating the theme of hatred although in a more isolated means.
Conclusion
To sum up, ideology is a very important element that is found in almost all movies. It is an art used in films in an attempt to communicate a certain theme to the world. Just as it is the case in our film, Nobody’s Fool by Netflix, the ideas of romance and gender roles are delved in and brought relevant for the world to experience (Jenner, 2018). Gender roles and socialization are congruent in that one cannot function without the inclusion of the other-for example, without a respect for gender roles socialization and culture could be impaired.
References
Croteau, D., & Hoynes, W. (2018). Media and Ideology. In Media/Society: Technology, industries, content, and users (6th ed., pp. 279-330). SAGE Publications.
Jenner, M. (2018). Netflix and the Re-invention of Television. Springer.
Lucca, V. (2019). Nobody’s Fool.