Socio-political issues presented in filmaking

“Strawberry and Chocolate desires to signify how political and social ideas can be changed through compassion and acceptance, and as Shields (2004, p.242) argues, “through a postmodern method of image making”. As we see the values of David, who navigates by way of Cuba as a Marxist and committed to the revolution modify, as Diego educates and introduces him to a globe outside the Castro regime, by way of rejected American goods and art culture. We see this in the final scene ahead of Diego leaves for Cuba. David is consuming the ‘gay’ strawberry ice-cream flavour, as Diego comments to David, “The only issue is that you are not gay” to which David replies, “Nobody’s perfect” showing acceptance of homosexuality and the process of change. Diego decided to leave Cuba, as Strawberry and Chocolate shows the flaws of revolution (Dennis, 1995) with Diego’s options limited simply because of his sexuality. For a profitable revolution, the government wants to be more open minded about sexuality and culture. Nonetheless, with the accomplishment and breakthrough of Strawberry and Chocolate presenting Cuba’s social and political troubles, gay rights inside Cuba are now debated and discussed openly (Dennis, 1995).

Within Moolaadé we witness Sembene’s wish to alter social behaviours in Africa, we see this when Collé explains to her daughter that uncut females are excellent wives, “A Bilakoro is a good wife” the final word of Amasatou represents the slight glimmer of hope for adjust within the village, “I am and shall remain a Bilakoro”. Amasatou is not changing herself for a man, and stands for what she believes. Similarly, to Battleship Potemkin, the film can demonstrate how a lone activist, standing for what they believe is a standard human proper, can move to a supportive force to change for the much better. As we also see hope through the comments of elder, “I regret getting my girls cut, Allah as my witness, no other girl will ever be cut”.

Overall, from the study of Battleship Potemkin, Moolaadé and Strawberry and Chocolate, the spectator is able to critically talk about the distinct approaches in which socio-political issues can be presented in filmmaking. All 3 films have been a massive achievement in obtaining a political and social response whether or not it has been through cinematic elements, aesthetical cinematics or the energy of a strong narrative. Based on what sort of socio-political issue the director wanted to get across to the audience, would all rely on what sort of filmmaking strategy he would use. For instance, montage has been employed in Battleship Potemkin, to produce tension and a effective person emotional response. As nicely as spark political debates and discussion about the troubles interwoven within such as class, human rights and religion. Moolaadé, has utilised the strength of narrative within a powerful community of girls, to stand up and fight for what they think is correct. No matter what their age in the film, they all have a voice, and they all have an opinion. They are not shown as a victim. As a result, has the spectator rooting for the females in the story to succeed, and to as a result critically talk about the socio-political issues within contemporary Africa. Lastly, we have Strawberry and Chocolate. Strawberry and Chocolate, does not use any technical aesthetic editing or camera operate, but instead makes use of cinematic components inside its filmmaking in order to go over socio-political troubles. Exactly where these concerns may be tougher to see straight away, it is nevertheless woven into the story, within quotes and character representation.”