LoạI trừ và hội nhập xã hội bộ phim the shape of water 2017

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF LINGUISTICS AND CULTURE OF ENGLISH SPEAKING COUNTRIES GRADUATION PAPER SOCIAL EXCLUSION AND INCLUSION: THE SHAPE OF WATER (2017) Supervisor: Đặng Ngọc Sinh, Ph.D Student: Bùi Thu Thuỷ Course: QH2015.F1.E21 HA NOI – 2019 ĐẠI HỌC QUỐC GIA HÀ NỘI TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA NGÔN NGỮ VÀ VĂN HỐ CÁC NƯỚC NĨI TIẾNG ANH KHĨA LUẬN TỐT NGHIỆP LOẠI TRỪ VÀ HỘI NHẬP XÃ HỘI: BỘ PHIM THE SHAPE OF WATER (2017) Giáo viên hướng dẫn: Đặng Ngọc Sinh, Ph.D Sinh viên: Bùi Thu Thuỷ Khóa: QH2015.F1.E21 HÀ NỘI – 2019 ACCEPTANCE PAGE I hearby state that I: Bùi Thu Thuỷ, QH2015.F1.E21, being a candidate for the degree of Bachelor of Arts, accept the requirements of the College relating to the retention and use of Bachelor’s Graduation Paper deposited in the library In terms of these conditions, I agree that the origin of my paper deposited in the library should be accessible for the purpose of study and research, in accordance with the normal conditions established by the librarian for the care, loan and reproduction of the paper Signature Date Signature of Approval: _ _ Supervisor’s Comments & Suggestions _ _ _ _ _ Table of Contents ACKNOWLEDGEMENTS ii ABSTRACT iii List of tables iv List of figures v CHAPTER 1: INTRODUCTION Background of the study Research problems and questions Methodology Significance of the study Overview of chapters CHAPTER 2: THE BACKGROUND OF SOCIAL EXCLUSION AND INCLUSION IN HOLLYWOOD MOVIES 2.1 The onset of social exclusion and inclusion 2.2 The popularization of social exclusion and inclusion since 1990s 2.3 Hollywood in the course of social exclusion and inclusion CHAPTER 3: SOCIAL EXCLUSION AND INCLUSION FROM A PERSPECTIVE OF MONSTER ROMANCE MOVIES 15 3.1 Monster culture 15 3.2 Monster romance in movies 16 3.3 Brief 22 CHAPTER 4: THE CONTRIBUTION OF THE SHAPE OF WATER IN THE AWARENESS OF SOCIAL EXCLUSION AND INCLUSION 23 4.1 Cold War as the context 23 4.2 Female protagonist 26 4.3 Monster representation 28 4.4 Love is a symbol of inclusion 30 CHAPTER 5: CONCLUSION AND CRITIQUE OF SOCIAL EXCLUSION AND INCLUSION IN THE SHAPE OF WATER 35 REFERENCES 37 Appendixes 43 i ACKNOWLEDGEMENTS This paper would not have been possible without the support and guidance of several individuals who was eager to contribute their precious assistance in the preparation and completion of this graduation paper To begin with, I would like to express my gratitude to Mr Đặng Ngọc Sinh and Ms Phùng Hà Thanh for their valuable support Their guidance is of great contribution to this paper Research is very new to me, and I have no idea in the first place During a few months of working on this paper, I felt very lost However, with a few meetings with both teachers and many consulting emails, I was more assured and confident with my choice The patient support from teachers gives me more hope in the busiest months of this semester In addition, I would like to express my special thanks to my friends, Hiep, Hoang Anh, Khuc Trang, Hong Phuong for all the mental support They willingly listen to me and endure my mood swings Whether I fail or not, they are always by my side I am grateful to every challenge that I encounter with this graduation paper It is an experience of a lifetime that I will never forget ii ABSTRACT This humanities-oriented research explores a phenomenon called ―Social exclusion and inclusion‖ that arose in economic discourse in Europe in 1960s, and eventually become a human rights issue during 1990s The aim of this research is to analyze the origins and progress of social exclusion and inclusion in the film industry of Hollywood, with a particular case of The shape of water (2017), 2018 Oscar winner for ―Best picture of the year‖ By using semiotics, the method which is quite familiar in cultural studies, the paper makes sense of social exclusion and inclusion in the theme of monster romance movies To clarify the case, similar techniques are addressed to research on how the movie contributes to the knowledge and representation of social exclusion and inclusion This thesis reveals that although The shape of water is set on a familiar script, it provides a new perspective of the connection between human and monsters, and the relation between exclusion and inclusion iii List of tables Table The ratio of men and women in making Hollywood films in 2018 (Tauberg, 2018)…………………………………………………………………13 Table The inclusion crisis in 900 U.S popular films (The report by the Media, Diversity & Social Change Initiative at the University of Southern California‘s (USC) Annenberg School for Communication and Journalism) (Smith, Choueiti & Pieper, 2017)…………………………………………………………………16 iv List of figures Figure Poster of the Golem is typical of the Expressionist film art of the era — and nightmare-inducing (Horrorfilmhistory.com)………… ………………….20 Figure Belle in Beauty and the Beast (1991)……………………….……… 22 Figure Frankenstein (Diehl, 2011) 23 Figure Elisa and Zelda are having a small ‗chat‘ with General Strickland in the toilet……………………………………………………………….………… 29 Figure Elisa looks straight into Strickland's eyes …… ……………… … 30 Figure The last scene of the movie……………………………….………….36 v CHAPTER 1: INTRODUCTION This chapter introduces my inspiration and interest that leads to the research subject and topic, locates the theory of social exclusion and inclusion in context, announces the research problems and questions, clarify the theoretical perspective and methodology, discusses the significance of the study and presents an overview of the research Background of the study Human beings need community That‘s how we survive and evolve along the course of history Whether we belong to one community or not falls under the concept of social exclusion and inclusion My interest in community and identity leads me to the movie The shape of water The movie is released in early 2018 when Hollywood movies and the American film industry are having considerable changes American filmmakers start to change conventional elements to satisfy the diversity of audience More movies address directly and indirectly social issues and concentrate on the human rights-oriented matters Together, American dream is revived and inspired by the new presidency of Donald Trump Human rights and individual needs are of great importance to authority and independent organizations The rise of the Internet and social networks enhances the spread of social movements The movie fits perfectly in this background and becomes part of the battle against social inequality Research problems and questions Among thousands of films on social identity, The shape of water is recognized as ―Best picture of the year‖ in the 90th Oscar ceremony in 2018, meaning that the movie has great impact on the contemporary context However, this movie is not another academic film that is distant to the public audience In fact, the director utilizes the familiar love story between human and monster so that everyone can feel and perceive what The shape of water means Elisa The new creature is more than just a monster or a human-like reptile Actor Doug Jones as the Amphibian man talks about his role: ―He is intelligent, graceful, strong, athletic There is a sexiness to adore.‖ The Mexican filmmaker, Guillermo del Toro, also claims that ―He‘s not an animal, he‘s an elemental river god‖ He has sexual lips, a muscular body and a certain amount of mysterious wilderness that attract girls He evokes heroism with powers and manliness In the end, he is the one that gets a happy ending with the girl, who is not a princess but a perfect match After all, according to The shape of water, he is not really a monster full of evil and hatred He is embraced by Elisa, Zelda, Giles and the Russian spy, most main characters in the movie He has only one enemy, which is the villain of the whole movie He belongs to the group of vulnerable people Although he is saved by Elisa, his existence indulges the liveliness of Elisa, pushing her to the limit of bravery In addition, he helps Giles to grow more hair and heals his injury The so-called ‗Monster‘ and human in the movie have an amicable and supportive relationship, which leads us to the thought that the Amphibian man is not the real monster of the movie It is possible to say that Strickland is the real monster He is a human with a cold-blooded heart He follows orders strictly, not letting emotions and humanity involved He treats his wife as dealing with his duties, not with genuine love, letting alone treating others with kindness ‗Monster‘ Strickland is lonely, while ‗monster‘ gilled man is surrounded by good people Therefore, this monster movie implies a question that we all need to contemplate: ―What are humans?‖ If we all are humans, why are there differences in the way we treat others? Is ―human‖ a meaningful category if many of ‗human‘ ourselves are excluded and consider not good enough? If we define human as someone who can exchange emotions and communication, the Amphibian man will be one of us Nevertheless, ―the American‖ call him the Asset, and use him as a weapon to confront the Soviet The army does not care about the fact that the man can be a different kind of 29 human but they just know that he has some superpowers which can play an important part in the battle In reality, the Amphibian man can be anyone He can represent people of ‗other‘ races or disabled persons He can represent alive instruments (soldiers in the front line, innocent citizen in the war zone or a kind of weapon) for the sake of a so-called righteous war against the rapid development of the Soviet In the Cold war, a war without direct attack, he is one of the victims The movie challenges the conventional representation of monster and human love story Monsters or human are all complicated creatures, and no species is particularly good or bad The movie suggests we should not stereotype monsters or discriminate them because even human beings, if not following morality, can be the malicious and wicked ones The more important thing is to accept and welcome people with goodwill into the community 4.4 Love is a symbol of inclusion Director Guillermo del Toro once answers questions from reporters in a press conference for the movie: ―We wake up in the morning and we can choose between fear or love […] Silly as it may sound love is the answer for everything‖ (TIFF Originals, 2017) That is what director claims to justify why love is the main theme in his movie There are countless stories, films, and programs about love but it never seems to be enough Whatever happens, people still find love and choose love as the destination of the journey For example, fairy tales often end up with the happy endings of prince and princess, no matter how many challenges they encounter The shape of water is a monster movie with a political context, but the movie impresses us more with the strength of love in difficult situations Love is the element that defines the inclusion and also highlights the exclusion in the movie In particular, love is presented as a symbol of inclusion Romantic love connects Elisa and the Amphibian man Love is also the kindness among friends 30 that toughens the friendship of Elisa, Giles and Zelda Love wins over gender, races and disabilities In this part, I will analyze how love is articulated in the story of social exclusion and inclusion According to natural theories, human can only be matched with human in a romantic relationship A man marrying a woman is a normal thing that every culture welcomes and accepts However, it is inexplicable why the love between human and monster still exist and even gain attention The romance between a gilled man and a disabled girl is even more unique, because, as I analyze in the previous parts, this is a love between two different persons with diverge backgrounds and origins The ‗creature‘ is never be seen as ‗human‘ except by Elisa The creature is lonely, trapped in a pool with chains but possesses supernatural powers It scares everyone except Elisa, who right at the beginning always shows curiosity and affection towards this strange man In respond, the creature also sees her as no one else does Elisa feels complete when being with this man, because he does not judge what she lacks They see each other like who they really are, fully complete Elisa not a genuine princess from is Figure The last scene of the movie a fairytale, yet she deserves a happy ending She perhaps comes from the water since she was found by the river as a baby and has a mark on her neck as if gills were present Her special characteristics, despite excluding her from the rest, leads her to fit perfectly with the man with similar abnormality To Elisa, love is a choice, not a gift from God She has limited opportunities, and each choice she makes requires great effort 31 It is love that helps two people overcome significant differences to be loved Nothing but love gives Elisa the strength to face dangers to save her beloved one It is love that connects Elisa and the Amphibian man In the last scene of the movie, Elisa falls into water with the Amphibian man The director implicitly hints a happy ending just as other fairy tales Elisa and the Amphibian man, in spite of being discriminated and adversely treated in the human society, are included in love The monster does not follow normal expectations by changing into a handsome prince as other Beauty and the Beast movies Elisa in this movie does not need to fully transform into the other species, because she may ―inherently‖ belong to his group In every Beauty and the Beast story where transformation occurs, there exists a moment of queerness, a point at which a human woman loves a monster without expectation of it gaining human form No one knows what happen in the end, but no one questions whether beast becomes prince or not It can be explained that true love wins by tolerance and altruism Another essential relationship in the community is friendship Friendship between Elisa and her neighbor, Giles, and between Elisa and Zelda presents a beautiful story of disadvantaged people helping out each other in intractable situations In the movie, Elisa and Giles are lonely souls living in a decrepit apartment The furniture is old aged and in poor condition However, the main color of theses ‗living boxes‘ is yellowish and light brown, which conveys a sense of warmth and sincerity They are separated from the rest due to their unique characteristics Giles is a jobless old man His paintings are usually rejected because he thinks differently and he wants to preserve his own style In addition, what we can notice is that Giles is somehow still in the group of socially excluded people, although he is a white man He falls for guys, which is discriminated due to unusual sexual orientation When the lovely guy at the bar find out Giles is into him, the old artist is no longer welcome at the pub Meanwhile, Elisa is a silent 32 woman leaving house when the sun goes down and coming back home in early morning, which is an abnormal schedule Even when Elisa‘s idea seems precarious, Giles approves and agrees to cooperate because he knows Elisa is the only companion he has The way Elisa treats Giles and vice versa originates from sympathy and empathy The fact that Giles belongs to the LGBTQ community or Elisa is disabled does not affect how they see each other What I love from the movie is that the director portrays LGBT in a very subtle way Not a strong fight or opposition emerges As I say above, the movie revolves around love and happiness LGBT people appear as normal people, who also have the right to pursue the love of their life For Zelda, she‘s a black woman already oppressed by the majority of the community What‘s more, when coming back home, doing the housework and cooking, she does not receive the gratitude from her husband He seems to take Zelda for granted, refusing to help out his wife with household chores Despite her low status and miserable condition, Zelda is always optimistic and hopeful because she has Elisa as a listener and a soulmate Therefore, she has the opportunity to share her problems and her displeasure with the work as a cleaning woman ―Birds of a feather flock together‖ onely souls of the working class respect and protect each other as family members The bond between them is stronger and more powerful than any authority and orders What helps Elisa to be included is sign language She has a unique way to express information She cannot make sound, so she uses all other parts of her body to display her thoughts Hand gestures are effective, and both of her friends, Zelda and Giles, can interpret sign language The director has smoothly integrated the element of movies from the silent era into The shape of water, with actors really acting Disability is represented smartly in the movie, without causing any awkwardness, and whether disabled or not, people all have the opportunity to be included and embraced in a community 33 The movie suggests that perhaps inclusion is what human needs: It means that we really belong to somewhere and someone Exclusion, despite created by human beings, derails our happiness In my opinion, although ultimate equality sounds impractical, social exclusion is an integral part of our society It is the motivation for everyone to take action for our rights and our own happiness 34 CHAPTER 5: CONCLUSION AND CRITIQUE OF SOCIAL EXCLUSION AND INCLUSION IN THE SHAPE OF WATER The movie has fairly addressed social exclusion and inclusion with some innovations under a familiar story After analyzing the movie, I also realize that social exclusion and inclusion always go together and relate closely Vulnerable people in The shape of water such as Elisa, the Amphibian man, Giles and Zelda, despite discriminated and ignored by the majority, still find each other and form their own group People such as Strickland are thought to be superior and of high social status, but they can be excluded from the opposing group, or they exclude themselves from kindness and sincerity Although the movie is awarded many prizes and gain support from the public, it still has some drawbacks in terms of limited representation of vulnerable people The first thing is the ending of the movie In fact, the movie presents quite a gloomy prospect of people from the inferior groups They endure poverty and oppression, but struggle in vain to change their life No novel or practical solution is offered at the end of the movie, besides a transformation or someone can refer to death, which is impossible in reality Another thing that the movie can improve is the choice of cast Most roles as the disabled in Hollywood industry are played by able-bodied people, and so roles in The shape of water The director strives hard to show the inclusion of his characters, but the movie itself excludes disabled actors and actresses, the roles that they can be who they are However, the choice of cast is dependent on many other factors such as the budget, timing, the quality and quantity of suitable artists, so we cannot strictly blame the movie on this limitation Some critiques even argue that The shape of water is presenting a harmful message about disability In the last scene, the Amphibian man heals Elisa and helps her live underwater with him for the rest of her life Elsa Sjunneson-Henry (2018), a disabled writer, indicates that the movie makes her feel less human 35 because the disability like Elisa only belong to the world of another freak, and escaping with the Amphibian man is the only way for her happiness In my opinion, the movie is an incredible effort of a Mexican director to raise awareness of human rights among a large number of audience I appreciate The shape of water in portraying social exclusion and inclusion in a familiar and intriguing way Among mainstream movies 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NỘI TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA NGƠN NGỮ VÀ VĂN HỐ CÁC NƯỚC NĨI TIẾNG ANH KHÓA LUẬN TỐT NGHIỆP LOẠI TRỪ VÀ HỘI NHẬP XÃ HỘI: BỘ PHIM THE SHAPE OF WATER (2017) Giáo viên hướng dẫn: Đặng Ngọc Sinh,... fact is that the origin of social exclusion coincides with the context in which The shape of water happens, the 1960s in the post-Cold war era The shape of water has highlighted the desire to... where The shape of water was born in particular Then, I will investigate the social exclusion and inclusion in the topic of monster romance, as this issue is the main context and the soul of the