By Valentina Perez March 3, Two movies that premiered in November differed in genre, rating, target audience, and production studio, among other things, but shared two critical features: Catching Fire, the sequel to the popular movie The Hunger Games based off the eponymous book series, stars Jennifer Lawrence as Katniss Everdeen, the tribute from District 12 who must re-enter a sacramental blood contest in the dystopian society of Panem. Catching Fire and Frozen stand out among Hollywood films because of their female leads, and the scarcity of such movies has illuminated the different marketing methods used to promote these two films.
I approach this essay as someone who has not read the books and who has only watched the Hunger Games Part 1.
The central Hunger games catching fire essay contest of The Hunger Games, that of kids killing each other for public spectacle, is extremely chilling and disturbing.
It also has a nod, well more of a bow actually, to the classic RollerBall in which Jonathan, like Katniss, defeats the purpose of the game by deciding not to kill their opponent; an act which not only changes the rules of the game but an act which presumably sets in motion a challenge to the ruling elite — a spark to ignite the uprising.
The film is therefore far more than a killing spree. For me, the film is a commentary on the inequality of society, presented in the increasingly popular young adult action-romance genre that includes films such as the Twilight Saga and the Harry Potter series.
However, it is the underpinning social commentary that the film provides which, in my opinion, elevates The Hunger Games above similar contemporary pictures. The film takes us on ride from the past with references to Roman gladiatorial events and circuses underpinned by a David and Goliath narrative to the present of TV screens, trains, and an ever expanding celebrity gaze and into a future of forcefields, trackerjackers and genetically engineered animals.
To attempt to unpack all of the central threads in the film would therefore be a foolhardy endeavour. There are far too many. For the purposes of this essay I will therefore focus on a couple motifs that interest me as a sociologist.
She is hunting food presumably to take home to feed her family. It is the hunting skills she develops growing up in the forests along with other essential survival skills which providers her with the necessary attributes to survive being hunted by a group of contestants during The Hunger Games.
To hunt in packs a nod to our primitive pasts is a tactic some of the contestants deploy during the games as they target Katniss who they perceive to be a significant threat to them winning the contest. Dressed up in more grotesque form, The Hunger Games does far more than create the next star though.
The sadistic annual games serves the purpose of distracting those based in the districts from the realities of their life — from poverty, from inequality and from every day hunger.
This might explain why the districts have not routinely come together in revolt against the Capitol — an apathy that, in part, borders on voluntary servitude.
However, that the technology screening the events is seemingly one way, with little opportunity for the citizens of District 11 to communicate with one another other than through communally watching events unfold in controlled areas, meant that a spontaneous mob-like reaction was quashed relatively abruptly.
Ironically, despite its obvious dangers, in many ways she is more comfortable in the virtual forests of The Hunger Games that remind her of the forests she grew up in, than she is in front of the gaze of the TV cameras and during some of the lavish spectacles in the build-up to the main event.
In the spotlight, Katniss feels out of place, and much of her training is tailored towards being seen to be more approachable, lucid and confident on camera. Although situated in a static present, the film juxtaposes ideas of the past, the near past, the near future and a possible dystopian future.
The symbolic scene of the train moving from the impoverished boroughs of District 12 whose primary industry is coal, passing through some of the other under-privileged districts predicated on agriculture and livestock through to the wealthy districts that manufacture electronics and weapons is especially poignant.
Such a journey reflects some significant human developments — the move from pre-industrial society, to industrial society and into a new technological age of virtual reality and xenotransplantation.
The districts of Panem could be seen to represent different areas of the world at present. Today, we have societies built on industrialization, others on agriculture, whilst others still have entered a new technological age.
These are often conceptualised as stages in a progression in which countries, communities and individuals endeavor to own the products of their own labour.In retrospect, it’s easy to see why Hunger Games Tweets took off: the project is a potent mix of pop-culture criticism, social-media sharing, provocative statements, and public shaming.
'HUNGER GAMES: CATCHING FIRE' OPENS FRIDAY 1 May the odds be ever in your favor.
|Most Popular "Competition" Titles - IMDb||I consider that cause for celebration. The future of film culture, you see, probably has less to do with the quality of current movie criticism than with the quality of future audiences.|
The 'Hunger Games' sequel is set during the 75th anniversary of the Hunger Games . So what follows is a brief exploration of The Hunger Games and a few suggestions for discussing it in your home or to send a boy and girl “tribute” between the ages of twelve and eighteen to the Capitol each year to compete in a contest that falls somewhere between the Roman gladiatorial games and Survivor.
“Catching Fire” is. Lionsgate has set the suggested retail price for The Hunger Games, The Hunger Games: Catching Fire and The Hunger Games: Mockingjay - Part 1 at $ The more recently released The Hunger Games: Mockingjay - Part 2 is almost double at $ Many elements found in District 12 in “The Hunger Games” trilogy are found in Appalachian culture, including mining and familiar wooded, mountainous landscapes.
Rue’s death and Katniss’ bedecking her corpse with flowers are scenes that echo throughout the rest of Hunger Games and Catching Fire — think of the District 11 salute she receives on the Victory tour, Peeta’s confronting the Games Makers with Rue’s icon, and its prequel echo in Haymitch’s farewell to Maysilee Donner in his Quell.