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THE "AMERICAN DREAM" PROPAGANDA IN HOLLYWOOD MOVIES
Melkumyan Yu.
Ph.D in Sociology, Assistant Professor, Chair of Social Work and Social Technologies, Yerevan State University, Yerevan Mkrtchyan S.
Master in Public Relations, Chair of Social Work and Social Technologies, Yerevan State University, Yerevan https://doi.org/10.5281/zenodo.7198163
Abstract
In 1895, the French Lumière brothers presented a new type of art to the world by creating the cinematograph. Over the course of one hundred years, cinema managed to become an integral part of cultural and daily life. Cinema shows real life using its unique means of expression, thus communicating different ideas, worldviews, values, and lifestyles. This article focuses on how the "American Dream" is propagandized in Hollywood movies. It examines the cinematographic tools used to convey a value system and shape social behavior through Hollywood movies representing the "American Dream" to trigger immigration. The article presents the visual, verbal, and audio propaganda tools used to communicate the terminal and instrumental values of the "American Dream" in Hollywood movies.
Keywords: "American Dream", propaganda, communication, terminal values, instrumental values, visual means, audial means, verbal means
Introduction
Until the 16th century, the term propaganda was used only in biology to define the propagation of animals and plants. In 1622, Pope Gregory XV created a holy brotherhood called the Congregation for the Propagation of the Faith. It provided a library for research and a school for training priests and missionaries, assigned territories, and directed ecclesiastical matters overseas [16]. In English, the word "propaganda" started being used in 1718, in a religious context, and was used mainly in that sense until the middle of the 19th century. Then the word "propaganda" began to be
used in the political context as well. It became very popular during the First World War (1914-1918).
In 1928, in his book "Propaganda", Edward Bernays stated that propaganda explored the psychology behind manipulating the masses, and the ability to use symbolic action and propaganda to influence politics, affect social change, and lobby for gender and racial equality [3, p. 37]. During that period, propaganda did not have a negative connotation. Nevertheless, during World War II, it became associated with fascist Germany.
All mass media - books, television, music, newspapers, radio, Internet, and cinema - can be used for propaganda purposes as communication tools that are widely distributed among the target audience [13, p. 50-52]. Movies are uniquely powerful as a propaganda tool, and by virtue of having its own expressive language, editing, cinematography, actors, etc, cinema went from a technical means of reproducing reality to a new means of its artistic presentation [24, p. 175]. It can have an intense emotional impact on the audience. It creates a perfectly controlled imaginary world, affecting human desires, feelings, attitudes, and behavior in an indirect way, beyond the control of consciousness [7, p. 257].
Propaganda in Movies
The first most famous propaganda silent short movies were made by Vitagraph Studios in 1898, during the Spanish-American War. In 1915, the silent film "The Birth of a Nation" directed by David Griffith also had propaganda purposes. The film portrays Lincoln as a friend of the South, black people (many of whom are played by white actors in black makeup (blackface)) as unintelligent barbarians, and the Ku Klux Klan (KKK) as a heroic force necessary to preserve American values, protect white women and maintain white supremacy [7, p. 203]. Soviet cinematography was also developing rapidly in the 1920s. Sergei Eisenstein's "Battleship Potemkin" (1925) glorifies communist ideology [26, p. 183], and by portraying the 1905 revolution in the film, Eisenstein made an attempt to create a new history for Russia - to be led by those who were oppressed before.
The years 1930-1940, on the eve of World War II, were called "the golden age of propaganda". German film production was used as a means of Nazi propaganda [23, p. 411]. In 1940, Charlie Chaplin directed the film "The Great Dictator" in which he played Adenoid Hinkel with a clear reference to Adolf Hitler's image [30].
The American film industry had a great role in the development of cinema. Gomery, a film historian, argues that contemporary Hollywood is more powerful than it has ever been [10, p. 248]. The largest number of films is produced in the USA each year with an average of 700 films [19].
American cinema is very successful in spreading values and changing social behavior. In the context of the "soft power" developed by Joseph Nay, movies can be characterized as one of the main tools to make the USA attractive to immigrants. "Soft power" allows the state to achieve the desired outcomes by making other states want the same [21, p. 35]. Due to American movies, certain ideas have been formed all around the world about the value system in American society and about life in the United States.
The formation of social values and value systems by movies is considered in the context of social identity theories. The audience discovers its own interests and needs, while subconsciously using movies for reference. For this purpose, cinema uses many mechanisms of socio-psychological and socio-cultural persuasion [28, p. 109].
Persuasion Mechanisms in Movies
Every person interprets a film in his or her own way. What is shown and what conclusions the audience draws from the film depends on the knowledge and experience [2, p. 128]. Bourdieu states that the act of decoding an artwork, as well as a spontaneous and adequate understanding of it, is possible and effective only when the cultural code is fully assimilated by the viewer. The cultural code of the work must match the cultural code of the perceiver. When these unique conditions are not possible, a misunderstanding arises [4, p. 194]. Throughout its long history, American cinema has mastered the art of effectively influencing audiences. It knows what the audience needs, and is able to effectively convey to the audience the ideas of directors and screenwriters that contribute to the spread of American cultural values all around the world. Hollywood directors and producers try to focus on what is close and understandable for a person living anywhere in the world [22, p. 217-219].
The audience admires James Cameron's "Titanic", considering it a love story, and does not even assume that the film actually glorifies the United States and American values [17, p. 32-34]. The events, characters, and relationships presented in the movie become associated with the image of the United States in the mind of the audience, forming a general image of the country that most moviegoers have not actually seen.
George Gerbner's and Larry Gross's studies were instrumental for understanding audience behavior change. According to the theory of cultivation developed by them, television and screen violence have an effect on human behavior. Cultivation theory can be discussed not only in the context of violence but also in terms of reproducing certain values and social behavior [8, p. 178]. The influence of the movies can also be seen in the field of fashion. For example, in the 1960s, women borrowed the hairstyles of famous actresses: Audrey Hepburn's hairstyle from the "Breakfast at Tiffany's", Marilyn Monroe's hairstyle from "Some Like It Hot", Jennifer Aniston's hairstyle from the cult TV series "Friends" in the 1990s.
An ordinary moviegoer, watching movies about success stories, peaceful and beautiful life in American suburbs, will tend to adopt the behavior of the characters of that movie and will try to have a similar lifestyle. Gerbner compares television to a Trojan horse that hides a certain ideology under simple entertainment and then secretly infiltrates the consciousness of the audience [9, p. 358]. Thus, behind its beautiful images and stories, cinema can hide ideas that contribute to the spread of certain social behaviors and values.
To ensure the impact of cinema on the audience, a number of technical tricks are used: editing, color theory, sound design, music, dynamic video sequences, close-ups, and visual effects. They directly affect the audience, convey the emotional saturation of the film's events and strengthen the impact of the visual images, contributing to the emergence of desired impressions and feelings [2, p. 136].
"American Dream" as a Value System
The first narratives about the "American Dream" can be found in the book "A General History of
Virginia, New England and the Summer Islands" by the English writer and sailor John Smith. Due to him, America was first described as an "open space where every person, regardless of his social status, wealth and quality of education, can achieve happiness, independence, a certain social status and can establish himself as an individual only through hard work and virtue" [25].
The "American Dream" is also discussed in the Declaration of Independence of the United States "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. " [14].
Although the term "American Dream" had been used earlier, it is usually attributed to the historian James Truslow Adams, who first coined the term "American Dream" in 1931 in his book "The Epic of America" and called it "that dream of a land in which life should be better and richer andfuller for everyone, with opportunity for each according to ability or achievement." Adams believes that anyone can succeed if he/she works hard, and it does not matter who they are or what social class they belong to [1, p. 214-215].
In 1930, F. Scott Fitzgerald was working on a story about a girl named Fifi. Fifi appears on her birthday in a "dazzling black dress" and charms a young Hungarian count, who describes Fifi as "my American dream girl" [6, p. 70].
According to the Merriam-Webster dictionary, "the American dream is an American social ideal that stresses egalitarianism and especially material prosperity." [18].
The "American Dream" played an important role in ensuring the large flow of immigration to the United States. In the years 1820-1999, more than 65 million people arrived in the territory of the United States from different countries of the world (Neimer 2003). For example, from January 2021 to April 2022, the largest increase in the total foreign-born population are California (up 527,000), Florida (up 390,000), Pennsylvania (up 375,000), Michigan (up 247,000), Georgia (up 152,000), Arizona (up 148,000), New York (up 145,000), Tennessee (up 130,000), and South Carolina (up 128,000) [5]. In the context of the "Push-Pull" theory of migration in this process, the "American Dream" is a significant pull factor for U.S. immigrants. People from all over the world migrate to live in a more attractive country than their homeland. The desire to live in a free society and have a better life as a result of one's own work is the driving force behind achieving the "American Dream".
M. Hofman says that within the concept of the "American Dream", the dream may be at odds with life experience, but the dream is not abstract, it embodies societal values, and the most important among these is respect for others. Society decides what it respects a person for and why one is to be despised. In the ancient world, the value of a person was determined not by wealth but by personal qualities. In the new world, a person's worth is determined by the size of their bank account. One has to become a "millionaire" to gain the
respect of society. Hofman considers that the "American Dream" is a dream about the material success of a person [11]. For this reason, the 19th century became a period of mass migration of daring people from the Old World to the New World in search of success.
Methodology
This study focused on the verbal, visual, and au-dial representation of the "American Dream" in Hollywood films of the 1940s-2010s. The study has centered on understanding how the concept of the "American Dream" is communicated in the movies. For this purpose, the content analysis of Hollywood movies about the American dream was conducted. The study was approved by the Scientific Board of the Faculty of Sociology and the American Studies Center at Yerevan State University.
Data Collection
In 2022, the authors confirmed the study topic with the Faculty of Sociology and the American Studies Centre at Yerevan State University. The research was conducted in 7 major steps: 1) identification of the goal and objectives of the research; 2) watching Hollywood movies and sampling them; 3) identification of critical variables; 4) design of the instrument for the content analyses; 5) coding the content; 6) data collection, watching the sampled movies and filling in the codebook; 6) systematization of the information; 7) analysis and presentation of study results.
Instrument
The codebook was developed during the initial research preparation and after a thorough literature review. The researchers studied different approaches to the content analysis of video documents and particularly movies in order to compile questions that would cover the concept of the "American Dream" in the movies. The purpose of the codebook was to provide enough structure to guide the researchers while allowing flexibility for taking notes on the unique story and techniques used in a particular movie. The codebook included chapters about the audial, verbal, and visual representation of the components of the "American Dream".
Procedure
Each movie was watched first to make sure that the concept of the "American Dream" was present there. During the second viewing of the movie, the notes were taken to capture the appropriate verbal, visual, and audial tools used by the film creators to depict and stress the components of the "American Dream" concept. The notes were transferred into the instrument for further analysis, comparison, and interpretation.
Sample
A purposive sampling of Hollywood films promoting the 'American Dream' produced between 1940 and 2010 was made. Then, the most viewed films, which were approved by critics and audiences alike and grossed the highest, were selected from each period. Thus, the following 10 Hollywood movies from the 1940s-2010s were subjected to content analysis: "Citizen Kane" (1941), "East of Eden" (1955), "A Raisin in the Sun" (1961), "America America" (1963), "Stay Hungry" (1976), "Ragtime" (1981), "Wall Street" (1987), "Forrest Gump" (1994), "There will be blood"
(2007), and "The Social Network" (2010). The sampling let the researchers observe the dynamic of the representation of the "American Dream" in Hollywood movies.
Data Analysis
The compiled codebooks and the notes were analyzed using an interpretative approach. Emerging themes were documented based on the outcome of coding. Key verbal, visual, and audial information was organized and reviewed closely by the researchers. Conclusions were incorporated into this article.
Findings
As a result of the content analysis of Hollywood movies, an interesting dynamic was observed in the change of communication of the terminal and instrumental values of the "American Dream" in films over time. Movies of the 1940s are famous for their plots about the American upper class, and Orson Welles' "Citizen Kane " is no exception. The communication of the "American Dream" in this film was mainly carried out through wealth as a terminal value, and hard work as an instrumental value. Every frame of the film shows Kane's possessions and his luxurious life. He earned that property on his own with honest work. The communication of that idea is carried out through both visual and verbal means, which are very often juxtaposed in the film. The film presents the media mogul Kane's property, parties and celebrations, his and his wives' clothes and jewelry. Kane's high-paying job is visually communicated through his estate Xanadu, radio station, restaurants, residential buildings, luxury cars, factories, and ships. The same communication is also carried out verbally: the voice from the background talks about Kane's possessions. Every scene of the film is accompanied by Bernard Herrmann's music. The sound in the film is as innovative as the visual solutions. In the scene about the estate Xanadu built by Kane, the music further emphasizes the impact of the scene [39].
Unlike Hollywood films of the 1940s, which were by rags-to-riches plots or stories about bourgeois society, Hollywood films of the 1950s portrayed the American working class with its goals and dreams, one of which was Elia Kazan's "East ofEden" filmed in 1955. The movie is based on the eponymous novel by the American writer John Steinbeck. The film tells about the "lost generation", which is trying to live a normal life during a difficult time for the whole world (in 1917). The communication of the "American Dream" in this film is also carried out through wealth as a terminal value, and hard work and overcoming difficulties as instrumental values. However, more screen time has been devoted to the communication of hard work and overcoming difficulties than in other films. Unlike "Citizen Kane", the communication of wealth in this film is much more restrained [35].
In the 1960s, Hollywood cinema became more diverse, stories about refugees came to the fore, and the first steps were taken in making films about people of color. Elia Kazan's 1963 epic drama "America America" is a story about refugees, and it differs dramatically from the films discussed above. Most of the events take place in Turkish-occupied Anatolia and Constantinople, the ancient land of Armenians and
Greeks. Only at the end of the film do the spectators see America, when the main character, Stavros (played by Greek actor Stathis Giallelis), finally appears in coveted America. He works hard as a shoe shiner and becomes rich. Later he was able to bring his family from Anatolia to the United States. In this film, the communication of the "American Dream" is carried out mainly through the instrumental values of hard work and overcoming difficulties. Only because of those two, it was possible to reach America from Anatolia in the late 19th and early 20th centuries [34].
In the film "A Raisin in the Sun" (1961), the "American Dream" is mainly communicated through a happy family life and overcoming difficulties. Communication of happy family life plays a significant role in this movie. And the overcoming of difficulties is largely related to the most common problem of the time - racial discrimination, which the main characters of the film face but still achieve their "American Dream". The visual and verbal communication of a happy family life is conveyed through the positive interactions between family members. The slogan of the film - "The Prize-Winning Drama That Warms the Screen with Its People and Its Passions!... " - claims that the film is mainly about human relationships [36].
One of the films about the "American Dream" made in the 1970s is the comedy-drama "Stay Hungry" by Bob Rafelson. The characters of this film are representatives of different social classes. The main character Blake (played by Jeff Bridges) is from a rich family. The film shows how Blake and his friends spend their weekends in entertainment complexes and in the suburbs, while practicing water skiing. They drive a Cadillac DeVille Convertible luxury car (1965) to the suburbs. During the film, we see how carefree and happy their life in America is. However, the words of another character, Joe Santo (played by Arnold Schwarzenegger), "...You get used to good things quickly, then it's hard to give up, I prefer to stay hungry... ", become a turning point for the main character. Blake got used to his carefree life, with the property inherited from his parents and a luxurious mansion where he felt like a guest. He wanted to deserve such a life through his own work, but being accustomed to a carefree life prevented him from making his dream come true. Santo's words motivated Blake to achieve on his own what his parents had once achieved. The calm soundtrack created by the film composer Richard Portman conveys the carelessness of the life of rich Americans. In some parts of the film, country music is played, which proves that everything will be fine with Blake, who is already striving for the "American Dream" with his own work [37].
In "Ragtime" (1981) by Milos Forman, wealth is communicated through lavish mansions and cars. A happy family life is conveyed as follows: the family sits at the dining table and talks about the good events that happened to them during the week, and the relationship between a caring father and daughter is presented. The freedom in the film is communicated by the U.S. flag. Near the very end of the film, Harry Houdini demonstrates his famous trick of escaping from shackles while hanging from a building with an American flag waving behind him. Just as Harry Houdini was freed from his
shackles, American citizens and refugees have the opportunity to live a free and independent life in the United States. Music plays an important role in the film. Ragtime is a genre of American music that was popular in the years 1900-1918. It is considered the prototype of jazz. The main melody of ragtime music is syncopated, with the emphasis moving from the strong half of the measure to the weak, with some interruptions. The compositions of the ragtime genre are composed of 4 main themes, and this is where interesting parallels are drawn with the screenplay, which is composed of 4 stories, which differ from one another, but at the same time are strongly interconnected, and the transition from one story to another is linked to a broken rhythm of syncopation. The film presents 4 stories about the "American Dream": (a) the storyline about an American family, which mainly communicates a happy family life, (b) the plotline about Elizabeth Nesbit, which mainly communicates wealth, (c) the plot of Jewish refugee Tateh, which communicates hard work, wealth, and a happy family life, and (d) the story of black pianist Coalhouse Walker, which communicates hard work and overcoming difficulties [33]. The syncopated ragtime beat composed by Randy Newman waxes and wanes outlining the main theme of each plotline.
In Oliver Stone's "Wall Street" (1987), wealth is mainly conveyed by luxurious mansions, apartments, cars, and famous artworks. Pablo Picasso's "Le Matador", Joan Miro's "Paysage", and Robert Birmelin's "The Twenty Dollar Bill" hang in the office of the main character. The communication of wealth is present throughout the whole film. All the conversations of the characters of the film are about transactions of several million and even billion dollars and living a financially secure life. To stress the wealth, such attributes as Davidoff Cuban cigars and a gold Cartier Santos watch, the value of which is around $35,700, are demonstrated in the movie [38].
The 1990s are known for many films about the "American Dream", one of which is the Oscar-winning "Forrest Gump" (1994) directed by Robert Zemeckis. The film shows that in the USA, everyone has equal opportunities and the "American Dream" can be real for everyone. Forrest has mental problems, but this problem does not prevent him from achieving great success. Freedom is conveyed by the scenes where the Statue of Liberty, the US flag, and the roads are demonstrated. These are well-known symbols of freedom and the "American Dream". In one of the scenes, an American political and social activist who fought for freedom and peace, Abbie Hoffman, wears a shirt with the U.S. flag printed on it. Music plays an important role in this movie. Composer Alan Silvestri's Oscar-winning soundtrack for "Forrest Gump" manages the emotions of the audience, describes the image of every character in the film, and expresses the shifts in times. For example, when Forrest tells the story of his life and success to strangers, a soft piano piece is played that characterizes Forrest's kindness and simplicity. Forrest does not even imagine what an impressive life story he has, which inspired the whole of America and thanks to which he became an exemplary American [40].
"There will be blood" (2007) directed by Paul Thomas Anderson is an epic drama based on the novel "Oil!" by the American writer Upton Sinclair. Oil stands for wealth in this film. Wealth is communicated verbally when the main character of the film, Daniel Plainview (played by Daniel Day-Lewis), talks to the local residents in order to buy a new place for oil extraction: "Ladies and gentlemen, I've traveled over half our state to be here tonight. I couldn't get away sooner because my new well was coming in at Coyote Hills, and I had to see about it. That well is now flowing at 2000 barrels; it's paying me an income of5000 dollars a week. " The soundtrack written for this film by Jonny Greenwood, the lead guitarist of the British rock band Radiohead, makes every frame of the film even more expressive. The soundtrack is performed by the BBC Concert Orchestra, and the main theme is very heavy, which emphasizes all the hard work that Daniel is doing. The drums playing hard along with the music of the string orchestra accompany the scene of the oil extraction to impress the spectators with the imminent danger [29].
In David Fincher's "The Social Network" (2010) wealth is communicated through high-paying jobs. For the visual communication of wealth, expensive cars and private houses are used which are the result of highly paid work. When we learn through the subtitles at the end of the film that Mark is the youngest billionaire in the world, the song "Baby, You're a Rich Man" by The Beatles is played. The idea of overcoming difficulties is communicated in the trial episodes presented regularly during the movie. Mark Zuckerberg had simultaneous trials with his close friend Eduardo Saverin and brothers Tyler and Cameron Winklevoss. Despite the difficulties, Mark managed to maintain his organization and even become the youngest billionaire in the world. The soundtrack written by Trent Reznor and Atticus Ross that plays throughout the film is effectively combined with the scenes representing the creation of Fa-cebook; it adds tension to the scenes and emphasizes the challenges of Mark's work. The choice of music called "3:14 Every Night" is very fitting, it creates the impression of keyboard work. The soundtrack with electronic musical effects is consistent with Mark's work, and the music played in the trial scenes heightens the tension and emphasizes the complexity of the situation, thus also implementing an audio communication of overcoming difficulties in the film [31].
Conclusion
The "American Dream" is communicated in Hollywood films by presenting the terminal values of wealth, freedom, and a happy family life. Diligence and overcoming difficulties are communicated as instrumental values necessary to achieve the realization of the above-mentioned terminal values.
A study of films from the 1940s to 2010s revealed that over time, Hollywood films used a variety of verbal, visual, and audial means to communicate the terminal and instrumental values of the "American Dream". An interesting dynamic is observed with the change of time in connection with the technical development of Hollywood cinema, the change of plot characteristics, and the improvement of video and sound.
Despite the change of the times, the terminal and instrumental values communicated in the films about the "American Dream" remain unchanged. It is due to the communication of repeated ideas that Hollywood cinema effectively carries out the propaganda of the "American Dream". In those films, we see that the U.S. citizen is proud to be an American, he lives in a free and independent country, and foreigners dream of living in such a country, where everyone has equal opportunities to live a prosperous life. During the communication and propaganda of the "American Dream" in Hollywood films, no comparisons are made with other countries; instead, a country is presented where, due to hard work, it is possible to live prosperously, happily, and carefree.
In this way, Hollywood films create both Americans' and foreigners' perceptions of the "American Dream", enhancing the country's attractiveness to immigrants, and shaping audience aspirations, attitudes, and behavior.
Funding Information This research was funded through a Department of State Public Affairs Section grant, and the opinions, findings, and conclusions or recommendations expressed herein are those of the Authors) and do not necessarily reflect those of the Department of State.
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Films:
29. Anderson, P. (Director). (2007). There will be blood [Film]. Ghoulardi Film Company, Scott Rudin Productions.
30. Chaplin, C. (Director). (1940). The Great Dictator [Film]. Charlie Chaplin Film Corporation.
31. Fincher, D. (Director). (2010). The Social Network [Film]. Columbia Pictures, Relativity Media, Scott Rudin
32. Productions, Michael De Luca Productions, Trigger Street Productions.
33. Forman, M. (Director). (1981). Ragtime [Film]. Paramount Pictures.
34. Kazan, E. (Director). (1963). America America [Film]. Warner Bros. Pictures.
35. Kazan, E. (Director). (1955). East of Eden [Film]. Warner Bros. Pictures.
36. Petrie, D. (Director). (1961). A Raisin in the Sun [Film]. Columbia Pictures.
37. Rafelson, B. (Director). (1976). Stay Hungry [Film]. United Artists.
38. Stone, O. (Director). (1987). Wall Street [Film]. American Entertainment Partners, Amercent Films.
39. Welles, O. (Director). (1941). Citizen Kane [Film]. RKO Radio Pictures, Mercury Productions.
40. Zemeckis, R. (Director). (1994). Forrest Gump [Film]. The Tisch Company.
