In his article, Benjamin seems to perceive critical mass not just as a number or as many have put it, the tyranny of numbers but rather the sense of perception and value change in society. He insists that society when exposed to particular forms of art, tend to experience massive changes in value systems and the perception of individuals. This hypothesis can be supported with critical evidence in today’s world. For example, in the early ages of film, women were often found fully covered and clothed. However, exposure to film has drastically altered the perception of the world with regard to women and their dressing even going as far as to influence the value of women in today’s society. According to Benjamin, the production of a film is inseparable from the impact that the same will have on society in general over the next years.
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He further continues to indicate that film as a form of art has a unique ability of freeing the individual from inhibitions and norms which they would otherwise have to abide with. Continued exposure to these films and forms of art will therefore lead to rebellion, a sort of turn away from norms. The functions of the film industry are changing daily. Today, the audience watching a film are more like collective action groups. The individual reaction to the film, becomes multiplied by the general audience and continued exposure to accessories from the film including Memes and posters. Earlier forms of art such as paintings and sculptures, even when they had fascinating themes and were exhibited in galleries to allow for public viewing did not emit mass reactions. Film, on the other hand even before release has the ability to emit collective action.
Andre Barzin and Film
12 years a slave is a movie that has been highly acclaimed in the film industry. There have been many movies produced which have had the same storyline that is the discussion of slavery. However, these movies have tended to rely on embellishing the reality. They have often portrayed slave owners as humanistic men driven by the societal ambitions and norms. On the other hand, the same movies often portray slaves as individuals who were resigned to their fate. However, this movie has a more realistic hold. Despite the tradition of Hollywood to dramatize slavery, embellish and make it seem less than what it was; this director took a risk brining out the emotional background of slavery. He portrays slavery as what it was realistically that is, an inhuman trade. He shows slaves as individuals who were far from resigned from their fate but rather human beings ready to fight for their freedom. Barzin states that these directors whose faith is in reality enhance history rather than changing it. They attempt to help individuals understand, to fit in the past and in doing so understand the actions taking place in the present and future.
According to Barzin, reality and everything that supports reality should be included in the production of the film. This means that it is not just about the actions, the fluidity of speech but also about the sound and coloring, the flow of the scenes as introduced by the director. Directors who are more realistic therefore make use of sound and imagery to enhance the reality of the film. Considering the movie 12 years a slave, one can actually hear the crack of the whip as the slaves are punished by the masters. In addition, wounds are realistic while slaves wipe off blood. The clothes are tattered and old, giving a semblance of poverty. This is unlike other slavery movies, where slave garments seem similar to the master’s although of a much lower quality. A similar point can be raised, where traditional slavery films have relied on dramatic makeup and visual aids to make actors seem like the slaves of the past century. This movie however, the director opts for actors with true African skin such as Lupita Nyongo, make up therefore ise used to enhance features that already exist rather than bring them out. Film brings out the absurdity of the situations which the individual finds themselves in, collective action comes from the reaction to such absurdity. This forces a change in traditions, customs and normal way of life. The change is however not drastic but rather progressive, following continues exposure and reactions to films.
Moore’s true Reality
Although Michael Moore often insists that his movies are a true reality, there have been many who have doubted the reality of such. Perez’s statement that his documentaries are visual lies maybe more true than many think. For example, in his documentary Roger and me, Moore insisted that the documentary was about the budding friendship for many decades and the journey of Rogers to the top. However, representatives of Roger have often been quoted stating that he met with the General Motors boss for only two times. In Bowling for Columbia, the film has been heavily edited to depict a utopian safety in Canada. The film shows that every door tested in the documentary was found open, when in reality all doors that were locked have been edited out. Moore’s producer was quoted stating that at least 45% of the doors were locked and some showed high tech security measures. This evidence supports Perez’s claim that Moore’s documentary are visual lies.
In 2014, during a speech at the Toronto film festival, Moore was quoted as stating that documentaries are depressing, but his own documentaries are designed for entertainment. For a documentary to be entertaining, the truth needs to be embellished. According to (Glyne 2008) Moore’s popular themes in hid documentaries are the selfishness of capitalism and the greed that arises from capitalistic desires. However, in majority of the documentaries, e has been known to embellish the truth, shape the reality to suit what he wants. For example, in the film bowling for Columbine which won an Oscar award, it has been proven that in order to make the speech of his characters much more enthusiastic, he altered and spliced speeches from different times into one speech. This is a depiction of what he terms his own true reality. Perez maintains that his films are neither documentaries but actually comedies designed fro entertainment. For example, he insists in the movie white lies that convicted felons in Florida were not allowed to vote during former President Bush re-election. He indicates that these felons were great supporters of Gore. This he does without any particular evidence, making the documentary something close to a conspiracy tale of mad men.
References
Bazin, A. (1967). Umberto D: A Great Work, in What is Cinema?, trans. Hugh Gray,
Bazin, A. (1999). The Evolution of the Language of Cinema, in Leo Braudy and Marshall Cohen ed., Film Theory and Criticism.
Bernstein, M. (2010). Michael Moore: Filmmaker, newsmaker, cultural icon. Ann Arbor: University of Michigan Press.
Gane, M. (2000). Jean Baudrillard. London: SAGE.
Glynne, A. (2008). Documentaries: And how to make them. Harpenden: Creative Essentials.
Lane, R. J. (2000). Jean Baudrillard. London: Routledge.
Larsen, E. (2010).The Work of Art in the Age of Mechanical Reproduction. Retrieved February 16, 2015, from

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