In "Spike Lee's Do the Right Thing," Marilyn Fabe argues that Spike Lee adopts film theorist and director Sergei Eisenstein's dialectical montage - the juxtaposition of contrasting shots in order to bring the viewer to a new level of consciousness. Referring to Fabe's essay, describe two ways Lee creates dialectical conflict on the level of form, and two examples on the level of content. According to Fabe, what does Lee seek to achieve through his use of dialectical montage?
Caroline Jaecks
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Blog Response #2
With Do The Right Thing, director Spike Lee uses dialectical form to bring audiences to a new level of consciousness. He achieves this through the inclusion of contrasting shots, an effect that was pioneered by Sergei Eisenstein and called “montage.” With this contrast, Lee aims to show “a more subtle awareness of racism in society, and the danger that awareness poses to use all,” (Fabe 194).
Do The Right Thing is dialectical in form and content. Aesthetically, the quick editing allows for the abrupt juxtaposition of shots. He also uses dynamic and atypical camera positions. These extremes tell a lot about the characters they feature. They also exemplify what Eistenstein calls, “conflict between matter and its spatial nature,” (199).
Content is crucial to this film. Lee intends to show the treatment of racism in this story, ideally placed in the subtext until the end. This eventually explodes into the riot, a sequence in which many contrasts are evident. On the subject of violence, he provides the conflicting views of Martin Luther King Jr. and Malcom X. There is an angry, yet non-violent, mob, and then Lee’s own character suddenly committing a violent action. Another aspect of content is the atmosphere in which the story takes place. Lee worked hard to exemplify the “dog days” of summer, which affects everyone’s mood and incites negativity. Clearly, Lee intends for the tactics of Malcom X to emerge victorious.
Niamh O'Neill Culhane
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Blog response 2
In Spike Lee’s “Do the Right Thing” Lee uses many different techniques in order to create dialectical conflict on the level of form and content.
Marilyn Fabe states that “the film is structured throughout as a constant play of opposite modalities clashing against one another.” One specific example regarding this intense dialectical conflict on the level of form is the obvious opening scene. As the credits roll instead of introducing us to the setting or giving us a character background we are provided with a powerful dance delivered by actress Rosie Perez. In just this opening number we are given examples of conflict in three different forms; the violent music, (its pounding beat as well as lyrics) the form of the dance itself, (cutting from what appears to be an aerobic dance to a boxing fight) and the angles and shots Lee chooses (extreme close ups and abrupt cuts) which recall Eisenstein’s use of the montage in order to create optical shocks.
One example regarding the level of content are the conflicts involving the characters and the battle with ‘good’ and ‘evil’. Sal, the Pizza Parlor owner, is portrayed as both “tolerant” and “exploitative” depending on the circumstance or the viewer. Another great example is the issue that Sal has no African Americans on his ‘Wall of Fame’ which gives Buggin’ Out another reason to argue. As Fabe points out, there is no right or wrong idea, “just two conflicting ways of seeing an issue” which is an all too familiar theme throughout the film.
In Fabe’s article we a provided with a detailed understanding of what Lee seeks to achieve through his use of dialectical montage when Fabe states that “Lee’s goal was to liberate his audiences from fixed stereotypical images of the conflict between black and white americans and open their minds to a more subtle awareness of racism in American society and the danger that racism poses to us all.” If Lee has not succeeded in this particular goal he has still succeeded in forcing his audience to think, feel, and alter their perceptions with every shot and scene in the process of watching “Do the Right Thing.”
Tyler Beck
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Blog Response 2
Spike Lee uses dialectical form too break through the standard view of thinking and really open ones mind. Through out Spike Lee's film you are very aware of what what Einsenstein calls "conflict between matter and its spatial nature" (p 198). Through out the film Lee uses shots from extreme high angles, low angles, and Dutch angles. The way Lee alters the form of the film greatly adds on to his characters just by his representation of them. For example Mother Sister is always being looked at from a very low angle, making it appear that the viewer is looking up to her. This adds in an aspect of power. Lee also uses blue and red filters in the beginning of the film, really conflicting with each other, very similar to how some characters conflict with each other in the film.
Spike Lees greatest victory is in that of content where he shows racism, and its treatment to individuals. This racism then leads up to the riot after Radio Raheem is lynched after trying to attack Sal for destroying his boom box. At the end of the film Mookie throws a garbage can through the window of Sal's Pizzeria. I believe this places Spike Lee on Malcom X's side in how to deal with racism, violence only in self defense. This conflicts with Mart Luther King Jr. non-violent approach similar to the non-violent mob. At the end you witness Mookie in self conflict over the action which he had just part took in. Lee's justification to all of this might be the hottest day in the summer from which all of this took part in making everyone irritable, and maybe even the reason for the Malcom X like actions to come rushing out of Mookie.
Derek Dehart
ReplyDeleteSpike Lee uses dialectical form in Do the Right Thing in such a way that causes a “clash of opposites”. This juxtaposition between conflicting ideas is meant to evoke a higher stream of consciousness to the viewer. His goal was to bring people away from their stereotypes of conflict between white and black people. One of the ways Lee uses dialectical form is by using what Eisenstein called a “montage.” The opening credits are in montage form with many different cuts. Many of the cuts are set in different places with Rosie Perez dancing in different wardrobe in each different setting. The cuts throughout this opening scene and many throughout the film are dramatic close-ups, wide angles, high and low angles, etc… Lee also creates conflict with his dialectical form by using different color filters to create different feelings using “hot” and “cold” colors such as red and blue, respectively.
Lee also uses dialectical content by using extreme high angles, low angles, and Dutch angles to invoke feelings such as uneasiness, humor, and fear, especially with the character Radio Raheem. Lee also plays with time in a couple scenes which make it appear that the same event is happening twice. The scenes where Mookie hugs his girlfriend Tina and when Mookie throws the garbage can through Sal’s window are shown from two different angles overlapping each other.
Fabe says that Lee’s use of dialectical montage is put together in Do the Right Thing to show his viewpoint on the way blacks should handle oppression. The movie suggests you can take a side, Martin Luther King Jr. or Malcolm X, and Lee’s position is obviously behind Malcolm X.
Brian James McGuire
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Blog #2
An example of dialectical conflict on the level of form starts with the opening of the film. Rosie Perez dancing and dance-boxing as the fierce and violent gangster rap of Public Enemy drives in the opening credits. The conflict here is inner anger, external anger (punching directly at the camera), and inner sexual belief of beauty. Long shots of Perez cut together with extreme close-ups of her face/body, the conflicting colors of her outfits and the backgrounds creates a shock as she appears to be fighting against herself. Another example of dialectical conflict in form is the use of freshly painted buildings, clean streets and bright colors, as opposed to a stereotypical "ghetto." Lee is encouraging viewers to confront their stereotypical expectations.
An example of dialectical conflict on the level of content is the conflict between Mookie and Sal. Mookie is the keeper of peace, protecting Sal and his restaurant (because he has a true connection with Sal), but inside he feels that Sal is a racist. Sal feels real affection for Mookie, but also refers to his customers as "dese people," which Sal must also feel refers to Mookie. Sal's inner conflict between his feelings for Mookie (individuals) versus how views the neighborhood (and African-Americans as a whole) acts as another example of the level of dialectical conflict by way of content.
Fabe says that for Lee, the goal was to liberate his audience from fixed stereotypical images of conflict between black and white Americans and to open their minds to a more subtle awareness of racism in American society and the danger that racism poses to us all.
Jessica Knap
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Blog Response #2
Spike lee’s “Do the Right Thing” illustrates dialectical conflict through form and content to stress the clash of different races. Lee’s “goal was to liberate his audience from fixed stereotypical images of the conflict between black and white Americans, ” but mainly to portray the dangers racial discrimination can lead to. Lee uses form in dialectical conflict by juxtaposing multiple camera angles at the beginning of the film to represent conflict and struggle. Tina’s dance, or Rosie Perez’ dance at the beginning of the film illustrates conflict by her “erotic” and angry expressions in her dance movements. Her movements and facial expressions or emotions are captured and cut together with close-ups or the face and body; at times she appears to be fighting herself.
Another example of dialectical conflict through form includes the effects of color filters. While Rosie Perez dances the transitions from black-and-white background to a red filter shows the clash of opposites that are quite distinct. This also helps to stray away from the stereotypical viewpoint of the ghetto; the buildings of the residents are bright colors, due to the oranges, yellows, and reds; which also enhance the overwhelming heat.
Dialectical conflict is illustrated through the relationship between Sal and Mookie. The conflict between the two characters consists of a lot of inner conflicts. Mookie is looked at as a "son" figure from Sal's perspective, however Sal is still somewhat racist but does not reveal his true feelings. Mookie in turn defends the restraunt from his friend even though he can sense the under tones of racial discrimination.
Fabe shows how Lee focused on the goal of liberating his audience from stereotypical images or ideas of the conflict between black and white Americans. Also, to depict how racism is a major danger to society in more than one aspect of life.
In Do The Right Thing, Spike Lee uses Eisenstein’s montage method to to create a constant stream of conflicting images and viewpoints. During the opening sequence, Rosie Perez is seen performing a dance to Public Enemy’s “Fight The Power.” This scene is full of conflicts for the viewer on multiple levels. The most obvious of the conflicts, is the music clashing with the dance number. Public Enemy’s angry lyrics opposing racism placed over Rosie Perez’s dance. The dance is sometimes sexy, sometimes violent. Lee creates optical shocks in his montage by creating as much contrast between the juxtaposition of shots. A profile of Perez shows her shadowboxing. A cut is used to show her facing the opposite direction, still shadowboxing. This creates the illusion of the woman fighting herself.
ReplyDeleteAnother example of his use of dialectical form is the spacial distortions and extreme angles used. Radio Raheem is shot using extremely show angles and numerous dutch angles. These angles create a sense of hugeness in Raheem. These destabilize the role and presence he will play in the film. Lee also uses a 10mm wide angle lens to distort Raheem’s face. This adds a sense of menace to the character.
The conflict between Mookie and Sal is the central conflict focused on throughout the film. There is an obvious tension between the two characters though it is subtle and quiet. Mookie acts as a kind of mediator between Sal’s Pizzeria and its customers. An example of this is Mookie banishing his friend Buggin’ Out from the restaurant after he begins to speak against the lack of African American’s on Sal’s wall of fame. During the climax of the film, Mookie is the one who sets off the violence and destruction of Sal’s Pizzeria.
Another example of conflicting characters is Pino, Sal’s son vs Sal. Pino, being openly racist, referring to Mookie as a “n****r” or the pizzeria as “planet of the apes” and Sal who until the end can be questioned whether or not if he is racist. Sal is very tolerant of Mookie’s laziness - taking 2 hour lunch breaks and refusing to do chores such as sweep - and he seems to “get” his reasoning for being the way he is. His racism is underlying but apparent when he refers to his customers as “dese people,” showing his views of racial others. Pino is always in the face of the customers and very short. The viewer would expect Pino to be the instigator of violence towards the African Americans, but it is Sal, the sympathetic who smashes Radio Raheem’s boom box.
According to Fabe, Lee’s goal is to let the viewer understand and contemplate the opposing views of violence vs peace and forcing our minds into a new pathway of understanding the racial tensions and injustices.
Kawika Kakugawa
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Blog post #2
Spike Lee's "Do the Right Thing" starts out the movie with techniques that fit in with the Eisenstein dialectical montage. The opening credits serve as a montage and uses techniques similar to eisenstein's. Showing Rosie Perez doing what almost looks like a Tai-Bo work out with a mix of dance and aggressive punching, while using the lighting to signify aggression with red hues while she is punching and blue hues when she is dancing. The different lighting shows destructive and creative energies through the juxtaposing red destructive scenes with the blue creative scenes. According to Fabe there's also a juxtaposition of destructive and creative energies between Rosie and Public Enemy, because we can contrast the sound of aggressive black male voices to the small petite body structure of Rosie Perez.
Lee uses this also to create different levels of content by showing two different ways of viewing an issue in order to create tension between the characters. One example can be shown through the different viewpoints from each of the characters to the wall of fame in Sal's Famous. Buggin out and Radio Raheem see the wall of fame as racist, because there's no black people on the wall; Sal, who is seems tolerant and even proud of the community, sees the wall as not racist because the wall has famous Italian people inside of an Italian resturant within that content Sal disregards buggin out's complaint as not serious. There is also the example of the different viewpoints of the brothers, Pino and Vito, Pino being tolerant and understanding, while Vito is ignorant and unacceptng of anyone elses ideas. This shows tensions between the ideas of race between people of the same ethnicity and in this case in the same family.
Lee uses these techniques in order to show people the different processes and outcomes of violent and peaceful protest. He also raises awarness of the fact that racism and preferential treatment still exist.