commodifying food in films
TRANSCRIPT
COMMODIFYING FOOD IN FILMS
Prepared by: Mariam Bedraoui, Master Student, Moroccan American Studies, Hassan II University, Casablanca, Morocco
Core Material
“Slow Food, slow Films” Author: Dennis Rothermel Source: Quarterly Review of Film
and Video, Issue 4, July 2009.
“A Domestic Divo: Televised Treatments of Masculinity, Femininity and Food” by
Author: Rebecca Swenson Source: Critical Studies in Media
Communication, Issue 1, March 2009.
Outline
Part One: Food, Television/Cinema: Zones of Cultural Intersections Methodological Notes
Part Two: Commodifying Food: “Slow Food, Slow Films” Gendering Food: “A Domestic Divo: Televised Treatment
Of Masculinity, Femininity and Food” Part Three:
An Overall Evaluation
When food appears in a film or a television program, it is loaded with much more than calories.” (Bower, 2004, P.12)
Food on Television Food in Cinema
Food represents and shapes national, ethnic and racial identities.
Food is used to create aspects of the narrative, symbols, characterizations, and visual motifs.
Food is viewed as an aesthetic production that marks high culture from low culture.
Food, Cinema/ Television: Zones of Cultural Intersections
Some Notes on Methodology
What is food? Food stuff and cooking The space where cooking takes
place The values related to food and
cooking What contexts for food?
Food genre films Cookery shows
How will the articles be discussed?
Presenting thesis
Clarifying key concepts
Reviewing main ideas
Evaluating arguments
Commodifying Food in Films
“Slow Food, Slow Film”
“Slow Food, Slow Film”: Main Thesis
The cultural load of food and films
Manipulation and commodification
Resistance to this dominant mainstream productions
Artistic creations
“Food and film inherit traditions with a broad range of values. Large- scale industry proliferation of social pabulum has come to dominate in both. Perennially renewed resistance to this domination, however, thrives in both food culture and film culture. The hallmark in either case is dedication to exquisite creations within the dedicated practice of an art.” P. 265
“What slow films has in common with slow food is the prevailing presence of care, care for the making of food, care for the making of the films, but foremost for the one for whom it is meant, who will in turn will be ready for the receipt of the gift. In stark contrast, industrial food and industrial film find value strictly in terms of the exchange of price for commodity.” P275
“Slow Food, Slow Film”: Key Concepts1- Slow Food
Slow Food• Eating moderate portions of
fresh food• Eating in the company of the
people we care about• Cooking food on a daily basis• Being aware that our choices
of food make us responsible for sustainability.
“Slow Food, Slow Film”: Key Concepts2- Slow Film
Slow film• Long take shots• Character development, drama
and interaction unfolds entirely within view all at once.
• Unconventional personas and endings
• Designed as a caring gift for the viewer
“Slow Food, Slow Film”: Key Concepts3- Commodification
The human body
The perceived realm of
values and virtues
become economic
terrains for manipulation
and exploitation
“Slow Food, Slow Film”: A Review of the Case Study
A Review of the Case Study: An adaptation to Meet Conditioned Tastes
Film making style Long elaborate shots Contemplative protagonists
Food culture Simple dishes using fresh ingredients Cooking is the process of designing a
gift Small servings
Film making style Conventional analytical montage Conventional female protagonists
Food culture Cooking grants power and control Mainstream food: Pizza,
overcooked pasta with tomato sauce
Large servings
Evaluation
The use of fast food in a movie is not necessarily a sign of complicity and consolidation of the dominant consumptive habits
Not all Hollywood adaptations are by necessity driven by an intentional marketing for the capitalist values.
The construct of slow food may not keep the same defining boundaries across different cultures.