Introduction.
Movies can transcend simple entertainment and develop into life-changing encounters that link the human body to the cosmos and positively influence the environment. This essay explores the role of movies as fundamental media, focusing on their ability to forge deep connections between viewers and the world they inhabit. By examining ideas from the Food Inc. film, this study seeks to examine the transformative potential of movies as operational images thoroughly. In the American documentary Food, Inc., the authors have the pure intention of transforming the audience’s mind by shifting how they look at food production.[1]. The film examines how meat, cereals, and vegetables are produced industrially and the resulting disadvantages. The documentary aims at showcasing how the entire food economy In America is damaged, cruel, and unsustainable to the environment and economically. This paper will therefore look closely at the Food Inc Film documentary by examining its key scenes, cinematography, narrative structures, and other techniques that it uses to help transform the audience’s mind. This study will also help understand how movies can create immersive experiences for the audience and communicate a sense of cosmic alignment. A detailed analysis of specific film moments that show how cinema has the power to transform will be used as examples. By dissecting these sequences frame by frame, the study will explore how the interaction of sounds, visuals, editing, and narrative contributes to the alignment of the body with the world.
Ways the Food Inc. documentary Acts as Elemental Media
The concepts of alignment and embodiment may be used in films to create a sense of interconnectedness between the human body and the cosmos by analyzing the film documentary Food Inc’s visual storytelling. Immersive cinematography and cosmic themes can interact to create a transformational experience that connects viewers to the magnificence and interconnectedness interconnection of the universe. Because such a film is Based on the notion that movies may be agents of change, it utilizes different techniques that help it achieve a transformative approach that will positively impact the environment. Films like the food Inc explore different themes of human responsibility as it aims at establishing and encouraging the audience to be responsible for their health and environment by embracing stainable lifestyles. Such movies, therefore, do a great job of highlighting the disadvantages of a certain way of life and, in the end, inspire viewers to take action.
Movies have the power to influence audience behavior and promote ethical conduct. By analyzing movies like “Food, Inc.,” we can discover how depictions of sustainable options and the effects of unsustainable behavior in society may encourage people to make more informed decisions, ultimately helping the environment. This idea of an operational picture transcends representation and enters the realm of change. Therefore Food Inc Film as an art form acts as a dynamic force to alter people’s perception and deepen their understanding of the cosmos.[2].
Pisters’ environmental research establishes a connection between film and environmental consciousness. According to her research, the visual perception of films greatly affects human understanding and behavior.[3]. This is how films have an important role in society other than entertainment, as they can be used as a source of knowledge and a means of promoting an understanding of the environment and how the world functions. For instance, Food Inc.’s film exposes the negative consequences of industrialized animal agriculture. The film explains that Meat and products contaminated with manure are a common source of E. coli exposure, which has increased the number of food recalls. The film employs visual imagery that showcases the differences between grass-fed animals and the highly industrialized mechanisms that have been used to change the diets of the animals so that they are no longer being grass fed but are given corn which has been subsidized by the government and makes the cows fatten quickly. The vivid imagery employed in filmmaking digs into the relationship between cinema and the environment, showcasing how films can create ecological consciousness and link viewers to the universe. It advances the field of study by shedding light on the potential role of movies as a fundamental medium and their beneficial environmental effects. The documentary claims that giving cows grass for a week will result in them losing almost all of the E. coli in their bodies. The business, however, prefers to discover procedural solutions, such as utilizing disinfectants, rather than systemic improvements, such as switching the animals’ diet. The film, therefore, showcases the need for environmentally friendly, safer food production laws that will protect human health, preserve animal life, and promote environmentally friendly habits.
Food Inc. also shows how using petroleum-based pesticides and fertilizers in farming can be viewed as an environmental cost connected with mass-produced foods. Another reoccurring subject throughout the film is the tension between artificial science and nature, which puts into question procedures such as using ammonia to eradicate bacteria within meat rather than feeding cows grass, which naturally eliminates such bacteria.
The film Food inc examines elemental media and its implications for reconsidering our relationship with the environment. The film provides Images and videos from Smithfield, the biggest slaughterhouse in the world, and interviews its former workers, who reveal that the slaughterhouse industry treats its workers like a commodity, resulting in a hazardous and unpleasant workplace environment. In this case, the film has employed different framing of the scenes by zooming and focusing on the crucial aspects of the subject to significantly impact the audiences’ minds.[4]. By showcasing the images of meat and its processing, the film gives the audience an intriguing experience of how horrific their tasty meat has been manufactured. The movie is, therefore, an elemental power conduit that addresses how they might link the body with the universe and generate a sense of oneness.[5]. Through the film, the audience understands that the way the cattle are raised and how it is fed affects them since they depend on it for nutrients.
In addition, the film also showcases how Government maize subsidies led to a wave of Mexican immigrants, some of whom entered the nation illegally, who had been corn farmers in their home country but could not compete with the artificially low prices in the United States.[6]. This interesting perspective showcases the impact of the treatment of highly industrialized food production and how it affects other people’s lives. Therefore, Film Food inc is very powerful as it raises questions and links human beings to their choices and environmental impacts. By providing a theoretical framework for understanding movies as an essential medium and their ability to create transformative experiences, it contributes to the investigation.
On American customers of numerous food goods and businesses, Mr. Kenner has an intriguing influence. Contrary to what they may perceive from some forms of commercialization, viewers and regular users of these different items can observe what happens in food factories on screen during the entire video. To illustrate what food production entails, the documentary creates a vision of an “Agrarian America” in a realistic manner. Food Inc. combines a range of commentary sequences from various experts and membfood industry members and visual effects on the audience’s emotions to convey its message. In addition, the movie urges abandoning industrialized farming methods in favor of smaller-scale farming. Joel Salatin of Polyface Farms ethically practices farming compared to industrial agriculture.
Like many other movies in its genre, Food Inc. is more of a scathing exposé that blows the lid off the food industry and its workings than an educational documentary. It would be a misconception, to say the least, that the movie is neutral and leans more toward an educational approach. The film’s purpose is never in doubt throughout the entire running time; it is not just there to enlighten its viewers about the truth about their food but also to change their minds and incite a revolt against the unethical methods of the food industry. According to the research By O’Sullivan, thinking and residual culture help to develop knowledge of the universe[7]. Through the food iNc. In the film, much uncommon Knowledge is disseminated to the viewers so they are informed about the food industry. The film aims to expose the food industry and allow viewers to form judgments and make better decisions in the future.
The piece by O. Sullivan examines how cultural beliefs and myths affect how we view the world, particularly how we engage with movies as a vital form of media.[8]. It contributes to the research by offering perceptions of the transforming potential of movies and their ability to inspire awe and a sense of alignment with the cosmos. The film achieves this by subtly barraging its audience with graphic images, information, and testimonies. The movie makes its point by thrillingly critiquing the horrifying meat production process that dominates the American food industry and its effects on people and the environment while praising more humane and ecological alternatives that are not used nearly enough.
Just like Queer theory, the Expose by Food Inc. It is a controversial topic that touches on a sensitive matter that affects society. David’s Theses on the Philosophy Of Queer History provides insights into the junction of queer theory and cinematic representation.[9]s. The Thesis explores how queer perspectives disrupt traditional narratives and provide fresh perspectives on how the universe works. By providing insights into alternative narratives and fabulation in movies, it advances the research by extending the study of movies as a fundamental medium beyond conventional frameworks. Food, Inc. covers several significant Ethical concerns relating to the agricultural sector, such as the fact that the fast food industry increased consumer demand for consistent, inexpensive food, leading to scaled-up operations that are cruel to employees and animals. It also discusses issues pertaining to food crops, such as Monsanto’s ownership of the seed rights and Government subsidies that have led Mexican farmers to lose their companies and relocate to the United States; some have done so illegally and are now regarded as criminals for merely attempting to survive.
The book Food, Inc. focuses on how fast-food chains affect the American food production system. Few corporations dominate the food production sectors since fast food demands homogeneity and low costs. For instance, Swift, Tyson National Beef, and Cargill are the major firms that have gained at least 80% of the beef packing industry. This makes sit hard for small industries to survive and also promotes injustices in beef production due to the industry’s monopoly nature. For example, Although the chicken industry is held up as an example of efficiency, the system oppresses the farmers, who frequently have debts totaling on average $500,000 and earn less than $20,000 a year. In the movie, Perdue farmer Carole Morison exposes the terrible realities of raising chickens, including the high death rate, the cruel treatment of the animals, and the crushing debt.[10]. This show that the film is unconventional and outstanding in the way it exposes the injustices and the wrongs in the food industry, something ng that the food industry would deny, argue, and want to hide.
Deleuze Gilles explains that Image, time, and cinematic experience are crucial for understanding cinema’s transformational power and its link to the universe.[11]. One of the cinematic techniques employed in the film that helps the audience understand the film’s transformational power and its link to the universe is the use of cinematic techniques such as framing. At the beginning of the documentary, the film was zoomed in on the farmhouse. The frame zooms out so that the audience sees that the frame is not a farmhouse but a small picture of a farmhouse that was hanging in the market, then, the frame was shot in the middle of the shopping cart as it passed through the aisles. This technique helped to reveal and connect the amount of food product that has been brought from the frames, which are thousands and bigger than the picture of the farmhouse depicted. Through this technique, the authors depict the link between consumer products and how they are groaned and harvested from our environments. Such technique is used in the film to improve the audience’s cinematic experiences and raise their concerns about their environment, which is being manipulated for the gain of the few and to the disadvantage of many innocent people.
The cosmic alignment in the film is very conspicuously used. For example, the film aims at creating awareness. The packaging for beef in the Food, Inc. movie showcases an image of an antique, traditional red barn surrounded by flora and farms. The narrator explains that the buyer is almost subconsciously duped by the innocent and classic representation of what formerly was the standard. This is the cover that businesses put up to deceive the average consumer. As a result, the film informs its audience that the expenses associated with eating foods derived from animals or processed are far greater than the benefits to society and the environment. The film also informs the audience that The natural food of cows is safer when they are raised in pastures, which is also a cleaner, more environmentally friendly, and more moral method of farming. Therefore the company showcases good examples of ethical sound choices as few people employ them. In an interview, a food-producing company named Stonyfield discusses how they do more ethical and ecological business. Organic, pasture-raised milk is what Stonyfield utilizes. They sell directly to customers and do not use any hazardous chemicals. Their successful enterprise demonstrates the potential of sustainable farming methods.
Environmental concerns have gradually been incorporated into the world of film and the audiovisual industries more broadly, becoming a crucial subject for this form of art. In fiction movies, they blame one thing or another for an ecological disaster. However, in documentaries such as the Food Inc Film, actual case studies showcase environmental l pollution, loss of biodiversity, and genetic modification of plants and animals. The film Food Inc., therefore, addresses the question of ecology cinematically. The matters addressed are crucial in forcing the audiences to take a side in defense or against the acts against the environment. The film creates an ecological consciousness that forces one to stop being neutral in such matters and take action toward choices that will benefit the environment.
The film Business has taken a new turn, as showcased in the film food inc., which takes the route of an ecological cinema. Film Food Inc. does not only deal with particular environmental problems but rather considers the environment throughout every step of its creation, from conception to release. Questions about economic and political issues also arise in this multifaceted cosmos. The film, therefore, ends up discussing a revitalized environmental movement, not just a passing fad or an effort to inform and increase viewer awareness.
Food, Inc. provides a message of hope and other movies based on the notion that movies, as agents of change, can positively impact the environment. Although it critiques the U.S.’s existing industrial and agricultural practices, it gives people hope by reminding them that they have the power to improve agriculture through their decisions. The film’s purpose is never in doubt throughout the entire running time; it’s not just there to enlighten its viewers about the truth about their food but also to change their minds and incite a revolt against the unethical methods of the food industry. The film does this through a cunning strategy that involves barrages of graphic footage, information, and testimonies. The video makes its point through an exciting critique of the horrifying meat production technique that is most common in the American food industry and its effects on humans and the environment while praising alternative practices that appear more sustainable and compassionate but are neglected.
In conclusion, The tone of the documentary reveals Robert Kenner’s attitude and point of view as the film’s director. There is no joyful perspective on this matter; the Film Food Inc. reveals all the injustices committed against animals, human beings, and the environment. The film highlights the various stakeholders in the food politics field and the government’s role in the whole saga. The film also exposes how large multinational businesses have monopolized the food market. The filmmakers provide an engrossing examination that boldly reveals that our food system is not what it first appears to be. Therefore, the film calls out for people and stakeholders to pause and take a moment to realize where America has gotten to—producing tainted food that harms both people and animals. The film promotes viewers’ cosmic alignment with the outside world and the film’sfilm’s ability to speak to audiences through the employment of various approaches, as detailed in the article.
References.
TY – JOUR T1 – Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages A1 – Pisters, Patricia JF – SubStance VL – 47 IS – 2 SP – 36 EP – 58 PY – 2018 PB – Johns Hopkins University Press SN – 1527-2095 UR – https://muse.jhu.edu/pub/1/article/701285 N1 – Volume 47, Number 2, 2018 (Issue 146) ER –
Pisters, Patricia. “Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages.” Substance 47, no. 2 (2018): 36-58. doi:10.1353/sub.2018.0017.
Davis, N. Theses on a Philosophy of Queer History: Velvet Goldmine. 6. (2013). https://doi.org/10.1093/acprof:oso/9780199993161.003.0006
Furuhata, Yuriko. “Of dragons and geoengineering: Rethinking elemental media.” Media+ Environment 1, no. 1 (2019). https://doi.org/10.1525/001c.10797
Kenner, Robert, Mark Adler, and Elise Pearlstein. Food inc. Los Angeles, CA: Magnolia Home Entertainment, 2008.
Davis, N. Theses on a Philosophy of Queer History: Velvet Goldmine. 6. (2013). https://doi.org/10.1093/acprof:oso/9780199993161.003.0006
O’Sullivan, Simon. “Myth-science as residual culture and magical thinking.” postmedieval 11, no. 1 (2020): 119-136. https://doi.org/10.1057/s41280-018-0086-2
Deleuze, Gilles. Cinema II: the time-image. Bloomsbury Publishing, 2013.
Food Inc. (Full Documentary), Daily Motions, January 2023 https://www.dailymotion.com/video/x8hfdhr
[1] Food Inc. (Full Documentary), Daily Motions, January 2023 https://www.dailymotion.com/video/x8hfdhr
[2] Pisters, Patricia. “Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages.” Substance 47, no. 2 (2018): 36-58. doi:10.1353/sub.2018.0017.
[3] Pisters, Patricia. “Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages.” Substance 47, no. 2 (2018): 36-58. doi:10.1353/sub.2018.0017.
[4] Kenner, Robert, Mark Adler, and Elise Pearlstein. Food inc. Los Angeles, CA: Magnolia Home Entertainment, 2008.
[5] Furuhata, Yuriko. “Of dragons and geoengineering: Rethinking elemental media.” Media+ Environment 1, no. 1 (2019). https://doi.org/10.1525/001c.10797
[6] Food Inc. (Full Documentary), Daily Motions, January 2023 https://www.dailymotion.com/video/x8hfdhr
[7] O’Sullivan, Simon. “Myth-science as residual culture and magical thinking.” postmedieval 11, no. 1 (2020): 119-136. https://doi.org/10.1057/s41280-018-0086-2
[8] O’Sullivan, Simon. “Myth-science as residual culture and magical thinking.” postmedieval 11, no. 1 (2020): 119-136. https://doi.org/10.1057/s41280-018-0086-2
[9] Davis, N. Theses on a Philosophy of Queer History: Velvet Goldmine. 6. (2013). https://doi.org/10.1093/acprof:oso/9780199993161.003.0006
[10] Kenner, Robert, Mark Adler, and Elise Pearlstein. Food inc. Los Angeles, CA: Magnolia Home Entertainment, 2008.
[11] Deleuze, Gilles. Cinema II: the time-image. Bloomsbury Publishing, 2013.
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