Clinical Pharmacy Introduction to Clinical Pharmacy, Concept of clinical pptx
commodifying food in Films
1. COMMODIFYING FOOD
IN FILMS
Prepared by: Mariam Bedraoui, Master Student, Moroccan American
Studies, Hassan II University, Casablanca, Morocco
2. 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.
3. 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
4. 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
5. 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
6. 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
8. “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
9. “Slow Food, Slow Film”: Key Concepts
1- 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.
10. “Slow Food, Slow Film”: Key Concepts
2- 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
11. “Slow Food, Slow Film”: Key Concepts
3- Commodification
The human
body
The perceived
realm of
values and
virtues
become
economic
terrains for
manipulation
and
exploitation
13. 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
14. 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.