Topic:

Introduction
- address the topic
- state a point of view
- provide a thesis
- state main points

Thesis
What are you trying to argue?
Connect to the topic and
connect to
society/humanity/the human
condition.

Topic Sentence
- refer to the topic
- refer to your thesis
- name a technique

Evidence #1
- describe a specific use of the
technique
- give a clear description of
what can be seen

Unpack: What, How,

Why
- what is the effect of the
example?
- how is that effect created by
the technique?
- why is that effect significant
in terms of your thesis/the film
as a whole?

Evidence #2
- choose a secondary example
that is clearly connected to the
first and uses the same technique
- explain what it shows and why
its significant to your thesis/the
film as a whole

Prove your thesis

- make specific references to
the topic
- make references to the
impact on the viewer
- refer to a wider idea that
connects to society, humanity,
the human condition, or the
undermining of genre
- try to weave in a quote from
a critic

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Topic: Directors are increasingly using films as a means to critique our

society.

Introduction
- address the topic
- state a point of view
- provide a thesis
- state main points

Thesis
What are you trying to argue?
Connect to the topic and
connect to
society/humanity/the human
condition.

Topic Sentence
- refer to the topic
- refer to your thesis
- name a technique

Evidence #1
- describe a specific use of the
technique
- give a clear description of
what can be seen

Unpack: What, How,

Why
- what is the effect of the
example?
- how is that effect created by
the technique?
- why is that effect significant
in terms of your thesis/the film
as a whole?

Evidence #2
- choose a secondary example
that is clearly connected to the
first and uses the same technique
- explain what it shows and why
its significant to your thesis/the
film as a whole

Prove your thesis

- make specific references to
the topic
- make references to the
impact on the viewer
- refer to a wider idea that
connects to society, humanity,
the human condition, or the
undermining of genre
- try to weave in a quote from
a critic

Film has the potential to reach an extremely wide audience, far more so
than written literature what with internet downloads, Netflix, DVD
rentals and the general ease of watching a film. It makes sense then that
directors are using this medium more and more to reflect on and analyse
the failings of our society. As a consequence, I strongly agree with the
statement and would suggest that Todd Hayness 2007 Bob Dylan
biopic Im Not There does exactly this. I would like to argue that Haynes
is interested in critiquing the artist/audience relationship because he is
interested in examining the importance of artistic autonomy in the face of
public pressure. Hayness use of editing, symbolism, and voiceover are
key techniques in his exploration of this idea, allowing the film to critique
our obsessive attitude towards artists and argue for much greater artistic
freedom.

Editing is a key technique for Haynes to show the need for artistic
autonomy. By layering different timelines Haynes heightens the
destructive impact audiences can have on the artistic subject.
Hayness 7 rules for going into hiding montage, representing Dylans
attitude towards his reclusive period, reinforces the suffering Dylan
underwent during this period. Haynes cuts from the character of Billy
(representing Dylans decision to abandon all audiences) to Jack
(representing Dylan as a folk hero). What we see in Jacks timeline is his
struggle to live up to audience expectation, exemplified when he says:
All they want is finger pointing songs. Ive only got ten fingers.
This is a powerful expression of the creative suffering the artist
undergoes due to audience demand; however, by connecting it to the
hermit-like Billy, the audience is able to see the ultimate consequence of
this lack of artistic autonomy. The juxtaposing of timelines heightens the
sense that artistic creation seems to ultimately alienate the artist from
their self because the art comes to define them. This is clearly critical of
societys treatment of artists. We become emotionally attached, placing
demands on the artist that they meet our expectations rather than
following their own artistic inspiration.
This struggle is further reinforced in Jude Quinns timeline
(representative of Dylans electric period). In a sequence of dialogue
with music critic Keenan Jones, Quinn suggests that he is interested in
whats happening now, which frustrates Jones who demands Quinn
explains his ignorance of his folk music roots.
Again, we have an assertion of autonomy by an artist that is suffocated
by the need of an audience to have their artists represent a fixed or
stable artistic identity. This media attitude, which is hardly different from
modern media representations of artists, is clearly critiqued as artistically
stifling.
Haynes seems to be taking Sartres position here, that the work of art,
does not have an end...the reason is that it is an end and he is critical of
any models that deny artistic autonomy. His film critiques those societal
attitudes that suggest that the audience has some kind of ownership of
the artist. Through his use of editing he is able to draw clear attention to
the destructive nature of this attitude towards art and artists. Such
pressure stopped Dylan from writing for the public and so Hayness