Introduction
The Hunger Games is the new global teen phenomenon. A previous image of successful film franchises such as Millennium, Twilight or Harry Potter, this is the adaptation of a bestseller, in this case of the American writer Suzanne Collins. The film, which is the third biggest opening of the story revolves around a television program which requires a group of teenagers to kill themselves (Hubbard 1293–1295). Its strong violent content, some critics have described as a cross between The Lord of the Flies and the slaughter of Columbine-has raised hackles among parents, but did not prevent teenagers from forming queues in all major U.S. cinemas. UU. and the UK, where the books were already a phenomenon for themselves. The film was conceived with even more violent content, but eventually chose to eliminate part of the footage and digitally retouched too gore scenes to suit the requirements of the qualification for "over 12 years" British (Collins 112–112).
Analysis
In these Hunger Games, there have been a world rebuilt after a major destructive conflict, where the ruins of the United States has managed a new nation called Panem. A world divided into districts of dissimilar realities, but they are governed by a central government in black and white, absolute authoritarianism. In some of these districts live in extreme abundance, complete with pigs with apples in their mouths (Collins 112–112). Sectors motivated by something as banal as outlandishly stupid fashion, while in the most remote Capital of the poor live as they can, because the mere fichando destination in the team's starving. All resources are allocated to the capital; everything is a pyramid of inequalities.
Hubbard believes that “a young woman must face not only the costs of inequality and take care of her younger sister, after the death of his father left his mother in shock, because every year in this world, two young people, one male and one female from each of the twelve districts are chosen at random to participate and be delivered as tributes in a deadly show, televised and covered by the Government Running Man style, but style game bosses” (p. 1293–1295). In addition, these Hunger Games are the most extreme of all reality, one that would salivate to all executives of youth programs in the afternoon, while a tradition, an institution established by more than 70 years in order to avoid arrives back to world conflict. Right, because nothing better to release tension that cultivating the opium of the people with tender meat carried the carnage (Hubbard 1293–1295).
However, what stands out here is the world of The Hunger Games. The basis of the manhunt is certainly attractive, but more captivating stage in which it is embedded a pseudo reality that every year becomes the biggest hit of the world oppressor. One who gives false hope to people in poor districts to be equal to the favored, even if the lineage has the advantage in the battle preparation (Lelong 45).
Perhaps the bundle is that very thing during his more than two hours of footage, is treated superficially. There are hints related to the latter, we even have an African-American district that gestate a mini revolt, but never get deep enough to satisfy in that area. And that is perhaps what is more regrets in this film directed by Gary Ross, who previously directed Seabiscuit Pleasentville and thus given the opportunity to delve more in socio-political inequality, the world is your environment developed at half speed. In fact, although it is called The Hunger Games, the subject spends more food to be a story, a set (Lelong 45).
It is a rare action film and one of the big budgeted movies that puts in scene a woman strong and active, without being overly sexualized (as Lara Croft or Charlie's Angels). However, movies like Alien or Kill Bill proved that a woman could carry an action film that is a commercial success but not necessarily ultra-sexualized. We note that it is rare to see a heroine appropriate behaviors typically male (fighting, act heroically, be leaders), it is even more rare to see men behave and feminine values and that this is valued in the film (Millham 1296–1298). The heroine of The Hunger Games, Katniss, is the strong and active heroine. She supports her family. During a conversation with Peeta, she says she does not have the ability to have scruples in the arena, and especially comes to the aid of the latter in saving his life.
In short, according to the norms of society, Katniss is a heroine "male" and warlike behavior is valued in the film (Millham 1296–1298). The main male character, Peeta, is it a female character values rather: it is romantic (he confides his love for Katniss presenter and the sequel seems to confirm that he was sincere), generous, rather non-violent (when his conversation with Katniss wishes it peacefully resist the system). In addition, while the talent is Katniss archery, so a talent "active", his main talent is to create camouflage, so a talent "passive" (passive but very useful since this ability allows him save lives).
What is interesting is that even though Katniss is the main character of the story and is therefore more development, the "feminine" qualities of Peeta are equally valued, even when it is in a weak position the character is not ridiculous (Butler 33).
Peeta and Katniss, however, retain all the qualities typical of their sex: Peeta is very strong physically and Katniss takes several recovery function of typically feminine care(in French it to others).
She takes care of her sister and her mother after the death of his father and Peeta when wounded.It is even his sister and mother who give this absolute will survive. However Katniss manages the careto both male and female:
Similarly, it is a man, his friend Gale she entrusts the task of taking care of his family. Butler mentions that “presumably Gale adopt the same functions in both men's and women Katniss: Katniss sacrifices himself when he leads his sister away (depending Women caring for children) and when it comes to say goodbye she said, ‘Do not let them starve’ / ‘do not let them die of hunger’ male function is to feed the family” (33).
In the district gender roles are clearly defined. Most men work in the mine, and the women take care of their homes, while in the arena the concept of gender disappears and all candidates are tied in the competition.
It is interesting to show strong and active heroines who are not sursexualisées. A study by the Annenberg School for Communication & Journalism showed that there were only 30% of female roles in cinema speakers (and we're not even talking of the first roles). More female roles are generally smaller than the male roles.
Girls lack of female characters significant and developed which identify. And when they offer important female characters, they are offered is focused only on women love and men or heroines modeled after male fantasies (Lara Croft, Charlie's Angels, Sucker Punch).
Hunger Games gendered stereotypes exceeds not only by providing a strong female character, developed and interesting, but also offering male characters who leave the stereotypes of masculinity (Taft 14–15). Hunger Games is a complex and interesting movie, defending values rare in Hollywood blockbusters (a strong heroine, a critique of violence, reality TV). It was unfortunate that the film is ambiguous position towards capitalism.
What fills the screen itself is Jennifer Lawrence. The star of Winter Bones and X-Men: First Class takes over The Hunger Games, and once your character decides to volunteer to save his sister - the common theme of the sacrifice of the chosen - the actress is giving true attitude to the story. Although his character never becomes a lethal weapon in the first instance you expected, do not expect a mini or mini Lieutenant Sarah Connor Ripley, the subtle way that achieves Lawrence Katniss arm, becomes more interesting what is on screen. In fact, earn more the more it becomes an icon against the government that wants to control everything, without falling into the stereotype of the warrior ultra sexy kicks ass that everyone wants.
We also acknowledge that this is not a simple imitation that seeks to capitalize on the success of the Twilight market. The focus is not the love triangle, as the conflict over the character's point of survival dilemma. Of course there are male characters who become his romantic interest at different levels, especially predictable man who represents his district (Josh Hutcherson), and at the end of one form or another close the circle leaving doubt as to what might happen in a second part with the relationship. Millham says “the Hunger Games is always the feeling that it is more important to stay alive, you have what it takes to do or sell” (1297).
There are also elements that bring history to battle a little more predictability, or to pass over budget issues piola that the film is a little work to be in effect. For example Regents show playing with conditions battle scenario points to raise audience while the characters must maintain a false mask to impress sponsors to put the lucas to help during the course of the game. And the latter is what ultimately ends up gaining more importance in the film and what he plays for the rotations of its premise. All this despite the fact that its end is so short, you do not give more to understand that a sequel is coming.
Conclusion
In the Hunger Games are good ideas, much as someone cry that is not entirely original. There is a marketing idea behind the participants and a talk show so absurd that anyone would be surprised that could be part of our world, but it is also true that there is a serious problem: the development of the game, how they fall over as the jóvemes flies. And although I have no idea how the transfer from the novel by Suzanne Collins because they read the book, almost everything is hinted here. There is an absolute lack of dissatisfaction related to the well-executed carnage. No Battle Royale style course, but with a less rosy.
Works Cited
Collins, Suzanne. “Hunger Games (review).” Bulletin of the Center for Childrens Books 62.3 (2008): 112–112.
Hubbard, Maris. “Review of The Hunger Games, Catching Fire, and Mockingjay.” Journal of the American Academy of Child Adolescent Psychiatry 2011 : 1293–1295.
Lelong, Benjamin. “Hunger Games, Une Promotion Digitale Efficace Axée Sur Les Réseaux Sociaux.” Web Television Observer. 2012.
Millham, Lucia. “Review of Review of The Hunger Games, Catching Fire, and Mockingjay..” Ed. Jackson. Journal of the American Academy of Child Adolescent Psychiatry 2011 : 1296–1298.
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Ed. Linda J Nicholson. Routledge, 1990.
Taft, Li Anne W. “Gender and Sex: Are Two Choices Really Enough?” Transgender Tapestry 102 (2003): 14–15.
