Ideology:

An ideological analysis of the feminism ideology has been important in developing and understanding the theme of independence in La La Land. For example, during the messengers sequence, Emma Stone’s performance highlights her strong reaction to the situation. When she hears the Messenger’s music, it’s clear that she understands that Seb is performing music he doesn’t like and is living a dream that isn’t his. This is evident on her face which we see through mid-shots focused on her, and the use of change in coloured lighting from orange to blue suggests a lack of passion once she hears the song representing how Seb has a lack of passion for this band which an active spectator would pick up on whereas a passive spectator would just pick up on his performance of playing with one hand in his pocket. Mia feels strongly about this, and quickly tells Sebastian that she believes he’s not where he wants to be or should be. This reaction shows that she doesn’t spectate passively, which goes against the feminist critique that Mia is portrayed as a spectator and she only spectates passively. This is also proven wrong earlier in the film when she picks up on the jazz music in the restaurant and has a strong reaction to it and therefore leaves. Her having her own opinion and strong reaction to art and Seb’s performances shows that she is independent, therefore linking onto the theme of independence, and by doing this the film explores feminism in a way that proves the feminist critique wrong as Mia is a self-reliant and independent woman. The theme of independence is started during the opening, when the woman is singing about leaving her old life and close ones behind to achieve her dreams which is reflective of Mia later on in the film. However, this does link into the representation of LA because the woman in singing a song in major key in a yellow dress (which has happy connotations) yet they’re in a traffic jam which could be a visual metaphor for how it’s actually hard to make it in LA. Moreover, Mia is represented to spectators as an independent and passionate performer, such as during the audition scene. The spotlight motif that is reminiscent of Seb’s spotlight is used to focus in on her, conveying to active viewers that she is lost in her art and passionate, therefore emphasising her independence as a performer and as a woman as well as he ability to perform brilliantly just like Seb.

Another ideology that is explored is traditionalism which links in with the binary opposition of traditionalism and progression. This binary opposition and theme are largely explored through Mia and Sebastian; she represents the future and he the past. For example, when we first meet them, Sebastian is rewinding tapes to old music and Mia is learning new lines. An passive or active viewer would consider how this is why during the messengers scene it’s made so clear that Sebastian is not where he should be. The spotlight that shines on him at the start is reminiscent of the spotlight from the restaurant, but after all the music kicks in it disappears and ‘in you face’ bright lights flood the screen. This reflects how Sebastian is no longer lost in his art because this isn’t the art he wants to perform, before he was sticking to traditional music and now, he’s performing modern music. Passive viewers are aligned with Mia because she isn’t happy with it either, and there’s more film form elements that tell the spectator to be unhappy with it too like the ridiculous dancers or the painful to listen to diegetic synth. This links to the ideology of traditionalism because the messenegers music is all about progression which contrasts against Seb’s tradionalists beliefs. Some people have pegged this moment with a feminist critique saying that Mia is always the spectator and Seb the performer. In many ways this can be proved wrong, but one way is to link it to the ideology of traditionalism and the binary opposition of traditionalism and progression. If Mia represents progression, it’s normal for future art to take influence from the traditional art, whereas, traditional art is less likely/never going to do so. Therefore, it’s not about gender, but rather the binary opposition of progression and traditionalism, which therefore links into the ideology of traditionalism.

Passive and Active Spectatorship:

The opening of ‘La La Land’ can been viewed on a passive level to seem absurdly happy with the upbeat diegetic music, the bright colours, and synchronised dancing. However, an active spectator would see beyond this appearance, and find the true meaning of the scene. The somewhat perfect aspects of the scene contrast the harsh reality of making it in Hollywood, therefore being a representation of LA and what it’s really like. For example, the scene is edited to appear as though it’s taken in one shot, which would seem perfect and dreamlike. However, the cuts are actually hidden in whip pans suggesting that everything is not as perfect as it all seems on the surface. Plus, as they all sing on the runway, the traffic jam can be interpreted by an active spectator to be a visual metaphor for what it’s like trying to make it in LA, it’s difficult and there’s not enough space for everyone. Moreover, the diegetic song may sound upbeat and happy, but the lyrics all suggest a more negative side to the situation including what they’ve given up on to try and make it. Meanwhile, there is a synchronised dance number (an element of the musical genre) again suggesting perfection which contrasts to the reality which they express in their song. In terms of responses, I think the preferred reading of this scene is to understand the true nature of making it in LA, and to consider the upbeat music, perfect looking cinematography and the use of bight primary colours as somewhat ironic. However, the primary colours do also give to the scene in other ways because of their connotations. For example, the use of red showing passion like the woman’s dress.

However, the opening scene of ‘La La Land’ also has passive spectatorship in terms of the film exploring the old and new, specifically old and new film. The opening shot is in black and white which is reminiscent of classical Hollywood, it then becomes colourful being suggestive of the modern film industry. There’s also an accidental Marilyn Monroe reference, which they decided to keep in because of said reference, where a woman’s dress blows up like Marilyn Monroe’s did in the film ‘The Seven Year Itch’, which is one of the most iconic bits of cinema ever and so using this moment was a perfect way for the film to continue exploring the binary opposition of the old and new, as well as traditionalism and progress. An active spectatorship may be required to explore the ideas presented regarding these binary oppositions and consider how the film is exploring the conflict and compromise in creating new art in terms of the old and the new. For example, the Cinemascape writing cannot be fully seen until the twin wipe and in the process it becomes more colourful, this editing and mise en scene is suggestive of the old new being co-existent, but also how there’s conflict as they can’t both exists at the same time without compromise. However, the theme of individuality suggests the importance of individuality in creating art and it not just being about traditionalism and/or progress. The different genres of diegetic music, and the performances of different dancing shows this individuality between them, and how it’s important, as well as being a good representation of LA.

The preferred response to the Messengers scene is to understand how although Sebastian is playing for a big and appreciative crowd, it’s not his dream. A passive spectatorship can see this in Mia’s performance, and as a spectator would align with her. Her shocked face paired with the harsh blue lighting with connotations of coldness rather than the original yellow lighting, all suggest that she is empathetic but also disappointed that Sebastian is dedicating so much time to a career that isn’t his passion. Sebastian’s performance can also be interpreted by a passive spectator that he isn’t where her wants to be or should be. Whereas in the restaurant he played passionately now he plays with one hand in his pocket. It makes sense to refer to the restaurant scene, as the opening of the Messengers performance has Sebastian under spotlight which is reminiscent of the moment on the restaurant where it identified how engrossed he was in his art. Now, the screen is flooded with bright and colourful in your face lights, a visual representation that this isn’t his dream, and he notices how Mia is lost in the crowd. Passive spectators can also pick up on this due to the commercial and over the top performance such as the ridiculous dancers, the very colourful and bright lights, and the synth. The synths diegetic noise is painful to listen to, again suggesting that this isn’t a good place to be especially for Sebastian.

However, the Messenger’s scene requires an active watch from the spectator as well in terms of the representation of women. The film has been criticised for Mia being displayed as the spectator and Sebastian as the performer. A passive spectator may feel this way, but an active viewer would feel differently and get the preferred reading rather than the oppositional. Not only does Mia perform plenty, but she never passively spectates art. She notices the jazz music in the restaurant which requires attentiveness and knowledge, and in this scene her emotions are clear. Mia doesn’t clap along like the rest of the crowd she is independent and has her own opinion which she is quick to tell Sebastian without hesitation. Plus, when Sebastian doesn’t keep the relationship equally balanced by coming to her play, she ends the relationship. Furthermore, Mia represents progress and the new in the binary opposition of the old and new (traditionalism and progress), as she creates new art like her one woman show and Sebastian represents the traditionalism/old, he rewinds his tapes and wants to stick with classic jazz. This could be why Mia is seen watching him more than he’s seen spectating her because progress tends to be inspired by the old while keeping individual, whereas the old is just individual, this is an active viewing of the scene and probably the preferred reading or maybe a compromised reading of the scene/binary oppositions that run through the film.