Beruflich Dokumente
Kultur Dokumente
Choose Two Pieces of Academic Reading on Cultural Identity and Analyse Them
in Function of Their Usefulness for Film Study.
As the title of the essay suggests, emphasis in ‘The representation of Ethnicity in The
Godfather’ is placed on how race and ethnic backgrounds are represented throughout
the three parts of The Godfather Trilogy (Coppola, 1972, 1974, 1990). Other ideas of
cultural identity, such as values, habits and gender and family are also explored
throughout, but Dika never strays far from the main discussion, and all points are
brought back to how they relate to ethnicity. Predominantly Sicilian, and Italian-
American.
The essay starts with two quotes from Patrick Gallo and Frank Stella, which both help
to show the extent of the effect The Godfather Trilogy has had on the image of
Italians. The first tells us how ‘Traditionally, a godfather means an alter ego in place
of a parent in time of need’, but now, ‘the term Godfather will be understood to mean
a ruthless Italian killer.’ 1 The use of this quote is important, as it makes it clear that
the new meaning of the term Godfather does not refer to anyone of any nationality,
but exclusively Italians. The second, explains how ‘some people link every Italian to
the Mafia in a half joking way does not bother me. Actually, the Mafia has always
been considered glamorous.’ 2 this is also important because of the distinct choice of
words. By using the word ‘joking’, we can see that people do not assume that all
1
Gallo, as quoted in Dika, ‘The representation of Ethnicity in The Godfather’ p.76
2
Stella, as quoted in Dika, ‘The representation of Ethnicity in The Godfather’, p.76
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Italian Americans are linked to the Mafia, but the term ‘half joking’, also refers to the
historical fact that much of the Mafia was made up by Italian Americans.
The majority of the essay, regarding the first two films of the trilogy, is set out in
ethnicity. As well as this, Dika gives the reader a brief overview of Coppola’s film
career before The Godfather, as well as a brief history of gangster movies, making
several mentions, and comparisons to Scarface (Howard Hawks, 1932) but without
In the essay, Dika places The Godfather in context with other gangster films, such as
Scarface, and in doing so shows how different the other films portray ethnicity, ‘The
Godfather’s Italians are different from the other film representations of this ethnic
group because they also embody a return to “La Via Vecchia”, or to the old Sicilian
ways.’ 3
The section of the essay given to submerged ethnicity, or ‘alternate voices speaking
through the film, and ones that are not always overtly apparent’, 4 merely discusses
how the central characters are not just Italian, but also one example of those who are
‘predominantly white, male and upper class’ 5. However, she leaves out the idea of
other ethnicities, and also that of mixed Ethnicity. The Corleone family brought up
the character of Tom Hagen, with the old Sicilian ways from the age of twelve
onwards, but his original background described in both the films, and the original
3
. Dika, ‘The representation of Ethnicity in The Godfather’ p.88
4
Dika, ‘The representation of Ethnicity in The Godfather’p.94
5
Dika, ‘The representation of Ethnicity in The Godfather’p.95
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novel as German Irish. Despite this combination, his name is only mentioned once
throughout the whole essay, and only when in relation to Andrew, ‘the now-priest son
of Tom Hagen.’ 6 However, she does discuss how Kay, as an outsider, marries into the
family, but ‘never really understands the codes for Sicilian womanliness.’ 7
When discussing the trilogy, Dika discusses Part III separately. Not only is this
because the last film in the trilogy is both set, and was made nearly twenty years after
the first two, but it also features noticeable differences in tone, style, and also the way
it represents the ethnicity of Italian Americans. As Dika points out, and one has to
agree with, the main reason part III is so different is that ‘Godfather III can be seen as
Coppola’s attempted commentary on his own work,’ 8 and ‘works as a kind of family
reunion’. 9 The film can be seen as a commentary on the earlier films, in the way that
as well as continuing the story of the Corleone family, there are many homages to the
earlier films. The idea of the film as a family reunion is not only shown by the fact
that, as audience members, we are seeing characters we have not seen for many years,
but also due to the involvement of Coppola’s own family. Not only did his own father
compose music for the film, but also his daughter, Sofia Coppola, played the role of
Throughout the essay, Dika is very conscious of how she phrases her arguments, and
the choice of words she uses. When discussing how the Godfather focuses on one
ethnic group, she describes this as ‘an antiseptic dream of racial and ethnic purity.’ 10
6
Dika, ‘The representation of Ethnicity in The Godfather’p.99
7
Dika, ‘The representation of Ethnicity in The Godfather’p.91
8
Dika, ‘The representation of Ethnicity in The Godfather’p.97
9
Dika, ‘The representation of Ethnicity in The Godfather’p.99
10
Dika, ‘The representation of Ethnicity in The Godfather’p.96
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The use of the word antiseptic has the extreme connotations of something that is
completely sterile, with no impurities. Without the word antiseptic, this statement
During the essay, Dika often refers back to another essay by John Hess, ‘Godfather II:
A Deal Coppola Couldn’t Refuse’. Although Hess does not pay much attention to
how Italian ethnicity is presented, he does make several references as to how the story
itself is a metaphor for American culture. As quoted in the essay, Coppola always had
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the idea of ‘Michael as America’ in mind. Hess also goes beyond this, relating the
film to other American ideals, such as capitalism, and how this has had an adverse
effect on family life. ‘Godfather II presents a constant interplay between the most
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sought after bourgeois values … and their destruction or corruption by business.’
As Hess points out, ‘the Corleones have moved away from their ethnic roots –
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everything Italian has been forgotten, now that they live in Nevada.’ This can
especially be seen when compared to the Vito Corleone sequences of the film. Not
only do these sequences focus around a strong idea of family, friendships and loyalty,
they also feature a frequent use of the Italian language, and all but one of these
Dika’s essay is important to film studies for various reasons, but the main reason has
to be that she points out both the films strengths, and also its weaknesses regarding
ethnicity. She examines how ethnicity is represented not only in terms of Italianicity,
11
Coppola, as quoted in ‘Godfather II: A Deal Coppola Couldn’t Refuse’ p82
12
Hess, ‘Godfather II: A Deal Coppola Couldn’t Refuse’ p86
13
Hess, ‘Godfather II: A Deal Coppola Couldn’t Refuse’ p86
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but also through gender she describes how characters fit into the traditional Italian
familial roles, how they represent the ‘men of patience’ and ‘women of seriousness’.
As well as ethnicity represented in films, another issue regarding film and cultural
overshadowed by its more influential neighbour, The United States. The fact that
many people are unaware of how many well-known actors such as William Shatner
and Michael J. Fox are actually Canadian, due to them acting in American TV shows
and films is just one example of this. It is this idea of Canadian (and indeed
the film industry with which Leach starts his essay regarding Canadian cinema.
Leach expands on an earlier essay of his, ‘The Body Snatchers’; examining the idea
seen in several Canadian films, that show the idea of the body being taken over. This
idea being a metaphor of Canadian ways being taken over by American ones. When
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discussing this idea, both Leach and also Will Straw refer to novels of Margaret
as the central character has a ‘fear that Canadians are “turning into” Americans’ 15.
Survival illustrates a more universal idea that ‘the thematic unity of Canadian
literature (in both its English and French language forms) was based on a persistent
14
Straw, ‘Canadian Cinema’ p475
15
Leach, ‘North of Pittsburgh: Genre and National Cinema from a Canadian Perspective’
16
Straw, ‘Canadian Cinema’ p524
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Perhaps then, it is no coincidence that Canada has had so much relatively recent
success with the genre of Horror. Not only is this the preferred genre of David
Cronenberg, possibly Canada’s most successful filmmaker, but Canada has also had
much success with other films, such as the trilogies of Ginger Snaps (Fawcett, 2000,
Sullivan, 2004, Harvey, 2004) and Cube (Natali, 1997, Sekula, 2002, Barbarash,
2004). The three Ginger Snaps films tell the story of two sisters trying to overcome
the effects of transforming into werewolves, whereas the Cube films are centred
incomprehensible maze, as they try to escape. As with all horror films, these trilogies
explore ideas of survival, identity, individuality and subjugation. Ideas that can be
attributed to other nations trying to hold their own America’s vast influence of the
film industry.
demonstrating the pressure to make many French Canadian films in the English
In the same way that Dika explains the arguments for and against the accuracy of how
‘The Godfather’ represents Italian ethnicity, Leach does the same for how Canadian
When looking at this, Leach examines the original film of The Fly (Kurt Neumann,
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many films as possible and by actually making a few films north of the
border.’ 17
Originated in 1948, this deal lasted for around a decade. Although this deal would
have given more attention to Canada, this attention may not necessarily have been
advantageous, and the deal would certainly have been a big hindrance in the
and seen more in Hollywood films, would these films be presenting an accurate
picture of Canada? Had Canada not been referred to so much during this period,
then presumably it would not have to be fight so hard to distinguish itself with it’s
own cinematic tradition, rather than be included with the United States when
described as ‘North American Cinema’. As leach points out, it was only in 1963
when the Canadian Film Development Corporation was initiated, but this may
also have been set up earlier had the Cooperation Agreement not been agreed
upon.
filmmakers is not recognised as Canadian, then this is only adding to the influence
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Leach does later refer to Cronenberg’s remake of The Fly (1986), first as a horror
film, but then later he does discuss Cronenberg’s films within the context of
Canadian culture. As before, The Fly is related to Margaret Atwood. This is done
Cronenberg’s fear of “the breaking down of the barriers between Self … and
Obviously, one cannot talk about Canadian cinema without also discussing
French Canadian cinema, and Leach also does this, referring to Pouvoir intime
In conclusion, both these essays can be useful for film studies. Not only do both Dika
and Leach offer a fair representation (i.e., explaining both positive and negative) of
their chosen subjects, rather than a didactic account of their own opinions, but the
ways in which they do so can also be transferred to similar films and national
cinemas. When looking at The Godfather Trilogy Dika examines a few issues faced
when producing the films, where the films can be placed throughout the history of the
gangster genre, and in what ways is ethnicity represented. One could easily use this
clear and concise framework when analysing most films. The same could also be said
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Leach, quoting Gaile McGregor, ‘North of Pittsburgh: Genre and National Cinema from a Canadian
Perspective’ p482
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for Leach’s, in the same way he looks at Canadian cinema in relation to American,
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Bibliography:
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