Genre and Peace in Film

This is a slight recap of what I have posted before, but here is my first official post for the Nobel Peace Prize Forum blog. Be sure to check out what the other Peace Scholars have written! http://nobelpeaceprizeforum.org/blog/

In other news, I’ve read about 200+ pages (all were very interesting!) in the past few days and there was a fire drill this morning. I’m not a morning person, but I must say, when you wake up before 10 you can get a lot done. Also we’re headed downtown to the big screen to cheer on the USA in the World Cup tonight!

Until later,
Aimée

Dialogue is movement and a stepping stone on our journey to peace. Our first two weeks here in Norway have been eye opening. During our stay at the Nansen Center for Peace and Dialogue, Steinar Bryn mentioned that we move best when we are traveling. A personal goal of mine for the summer is to never stop asking questions and to continue truly moving through each day. As the only Peace Scholar taking the Scandinavian Film class at the ISS, I am paying close attention to how the media and popular culture influence and question our societal norms and relations.

I’ve found the concept of genre in my film class to relate heavily to my experiences in the Peace Scholars Seminar. Genre is an interesting convention in popular culture, especially film. It impacts and maintains ideologies, distracts from societal issues, and more commonly reflects a society’s doubts and anxieties. On the topic of peace and conflict resolution, it is important to understand that our perceptions affect any conflict situation whether or not we are mediators. Part of our duty as peace-builders and researchers is to constantly question our most basic assumptions. Questioning those basic roles and events portrayed in popular culture is one way we can move as individuals and as a society.

Currently we are watching Susanne Bier’s film, Brødre (Brothers), which created an uproar in Denmark after its debut. Brødre questions Denmark’s joining of the Coalition in Afghanistan and the line between those who are “at war” and those who are connected to the war at home. Unlike the Danish version, the Hollywood remake focuses on the American sense of duty and support of soldiers at war even if one does not support the war. It is interesting to focus on the subtle nuances in film to grasp what directors, producers, and film institutes highlight in terms of political and social plights in various countries. These individuals can heavily influence and reaffirm our cultural and political biases. When we step out of a genre convention into a film that encourages viewers to question basic assumptions and existential questions on war and peace, we are in an entirely different position. This is not to say that the typical romantic comedy isn’t enjoyable because let’s face it, we’re all suckers for movies like Love Actually and 500 Days of Summer. Moving forward I think we need to be more analytical of the perspectives and assumptions Hollywood feeds us and to be aware of those stories and histories that are hidden within our societies.

I believe an integral part of our role as individuals is to encourage movement through questioning of popular culture. Scandinavian film typically does not comply to genre conventions thus allowing viewers to move. When we begin to question and uncover the hidden histories in films I believe we will be taking an important step toward dialogue and more holistic peace.

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2 thoughts on “Genre and Peace in Film

  1. Next fire-drill simply remember to act as loud and obnoxious as your father in a room full of politicians. That will get everyone out of bed and lined up in short order!

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