Upper Ground Production
  • Home
  • About
  • Links
    • Film East
    • Twitter
    • Instagram
    • LetterBoxd
  • Home
  • About
  • Links
    • Film East
    • Twitter
    • Instagram
    • LetterBoxd
Search by typing & pressing enter

YOUR CART

22/12/2017 0 Comments

Fight Club: Inside the Home of a Psychotic

Picture
Picture
Picture
Picture
Fight Club
Directed by David Fincher
David Fincher’s Fight Club (1999) has been called a great piece of social commentary. From its examination of the crisis in masculinity to the visualizing of mental illness, Fight Club touches on a number of cultural issues that transcended the millennium (Giroux, 2001). In Fight Club, Fincher uses visual cues to symbolize the dominance of the consumer culture on masculinity. Fincher’s visualization of his protagonist’s home demonstrates how consumerism has replaced humanity.

​The main cultural problem Fincher presents throughout Fight Club is the overconsumption of capitalism. Throughout his film, Fincher utilizes the narrator and his environment to demonstrate how society has fallen prey to the capitalist agenda. He emphasizes how the narrator (and society in general) has reduced his identity down to the things he owns. The narrator’s masculinity and dominant male position in society are threatened by consumer culture, leading him on his trajectory to regain his masculinity (Friday, 2003). Fincher illustrates the narrator’s obsession with consumer culture and its ability to hinder his male identity through an examination of his home. When visualizing the mind of a psychotic, the home represents the inner workings of his mind, and, in this case, Fincher illustrates just how much the narrator values his material possessions over his own need to live (Lesson 15: The Unreliable Narrator, Megalomanic Taking Over).

When Fincher takes the audience into the narrator’s home he opens with the narrator on the toilet looking at a magazine. The way the narrator is holding the magazine and the sheer nature of his location leads the audience into assuming he’s looking at the centerfold of a pornographic magazine (Lesson 15: The Unreliable Narrator, Crises). But Fincher then brings the audience into focus and reveals that he is actually reading an Ikea catalog. Fincher uses these images to symbolize how the narrator has replaced sex with consumption. Rather than having a real human relationship, he has found pleasure in the purchasing of things. Additionally, Fincher visualizes how the narrator has replaced human interaction and physical contact through shopping. Throughout the scene, the narrator is on the phone with Ikea salespeople but only speaks to a real human for ten seconds before they are replaced with an automatic voice response. The narrator has replaced his need for physical and emotional intimacy with things. 

As the narrator remains on hold with Ikea, Fincher gives the audience a tour of the narrator’s home to show where his priorities lie. Fincher transitions into this tour by fading from a zoom in on an Ikea home catalog into the narrator’s home, creating the illusion, along with the QVC-style music, of the narrator physically living in a shopping catalog. As Fincher pans through the narrator’s perfectly pristine home, filled with stylish furniture and modern art, he labels all the material goods with price tags and descriptions, as if his home had come directly out of a catalog. His home reflects the life of a man who is successful and content in life - a man who is able to “keep up with the Joneses.” It’s a home that is picture-perfect, just like the ones in the magazines. But then Fincher leads the audience into his refrigerator, where he shows the narrator is living on nothing but condiments, butter, and milk. Despite his home giving off the illusion that he has it all together, his refrigerator, which houses the most important basic necessity- food, is empty. The narrator is nourishing himself, both physically and emotionally, not on actually sustainable substances, but rather on the material goods he buys.  In the mind of the narrator, having the best and most stylish material possessions is more important than having enough food to survive.      

What the narrator’s home represents is his inner mind and his inability to provide for his basic human needs. Instead, he masks his unhealthy living standards - his lack of food, lack of sleep, and lack of human contact - and his derailing masculinity with consumer goods. He disillusions himself by buying things to conceal his crippling physical and mental health.


Works Cited
Friday, K. Generation of Men Without History: Fight Club, Masculinity, and the Historical Symptom. Postmodern Culture. 13(3). May 2003.
Giroux, Henry A. “Private Satisfactions and Public Disorders: ‘Fight Club’, Patriarchy, and the Politics of Masculine Violence.” JAC, vol. 21, no. 1, 2001, pp. 1–31. JSTOR, JSTOR, www.jstor.org/stable/20866386.

0 Comments



Leave a Reply.

    Click the images below to read each article

    Features

    Feasting on Females: Consuming the Female Body in Mimi Cave’s Fresh
    Marmalade and Masculinity: Combating Toxic Masculinity with Paddington Bear
    The Delicious World of Miyazaki: Subverting Western Food Standards in Studio Ghibli
    Ugly, Delicious and Political: Politicising Cultural Dishes
    Representing Oslovian Women, starring ‘The Worst Person in the World’
    Culinary Temptations: Italian Cuisine in Luca Guadagnino’s ‘Desire Trilogy’
    David Bowie is... The Englishman Who Fell to Earth
    Kris Marshall | Love, Actually
    ‘Choose a name; something simple’: Names and Identities in ‘Money Heist’
    The Sad Eyes of Punk: Subverting the Rock Star in Anton Corbijn's Control
    The Ghost of David Bowie: Capturing Bowie's Cultural Legacy in Todd Haynes' Velvet Goldmine
    Re-assimilating the Other: Zombies, Mental Illness and Homosexuality in BBC Three’s In the Flesh
    Global Strangers: Existing Between Borders Film Collection
    Animation Artistry in Cartoon Saloon’s Wolfwalkers
    Riz Ahmed’s Goodbye to Britain: Confronting Identity and Self in ‘The Long Goodbye’
    Young Film Programmers and the Pandemic
    The Hugh Grant Archetype: Stereotyping British Identity
    “America’s Sweetheart”: White Female Privilege In ‘Gone Girl’
    Why a David Bowie biopic will always be doomed to fail
    Film Oddity: David Bowie and the Screen
    "Did you feel emotional the first time you drove in Sacramento?" Driving with Emotion in Greta Gerwig's Lady Bird
    A [Not-so-Distant] Dystopian Future... The Dystopian Landscape of Ridley Scott's Blade Runner
    Politics, Class and the British Home: British Class Represented in High-Rise and Brazil
    The New New Wave of British Cinema: Joanna Hogg and the Middle-Class Social Realist Film
    “I’m Irish.” – Paul Mescal Vs The British Empire
    "Karen, are you crazy?" The Women of Martin Scorsese's Goodfellas
    Crafting Insanity: Experiencing madness in Sherlock: The Lying Detective
    The Modern Greek Tragedy: Examining Yorgos Lanthimos's The Killing of a Sacred Deer through Aristotle's Poetics
    "But Wales is Britain. And Britain is Wales." Exploring British national identity in Netflix's The Crown
    David Bowie is the Englishman from Mars: An Examination of Englishness through Stardom
    Supporting the Black Lives Matters movement through cinematic education
    “Maybe That’s Normal”: The Normality of Mental Illness in Normal People
    Dance, Woman, Dance: Revisiting Jim Henson's Labyrinth
    How Social Realism Contributes to the Fetishisation of Britain’s Working Class
    Slut! The Sexual Liberation of Phoebe Waller-Bridge’s Women
    Time, Illness And Melancholia
    Patrick Melrose And The Trauma Of The Aristocracy
    Is A Most Popular Film Category Good For The Oscars?

    Reviews

    Toronto International Film Festival '22 | Reviews
    BFI London Film Festival 2021 | Reviews
    BFI Flare Festival 2021 | Reviews
    Norwich Film Festival 2020 | Reviews
    Raindance Film Festival 2020 | Reviews
    London Film Festival 2020 | Reviews
    Lie Low | Review
    Review: Macbeth At The Norwich Theatre Royal
    Review: La Traviata At The Norwich Theatre Royal
    A Feminist Day Out At The BFI | Woman With A Movie Camera Summit 2018

    Interviews

    Red Carpet Interviews 
    Toronto International Film Festival 2022
    Interview with Bassam Tarqi
    ​London Film Festival 2020
    Picture
    Interview with Jonathan Blagrove
    Norwich Film Festival 2020
    Interview with Jamie Weston
    Norwich Film Festival 2020
    Picture
    Interview with Stuart Laws
    Grave New World Premiere 2021

    Film East Chats Podcast on BBC Radio Norfolk

    This is a small section of episodes from the Film East podcast. Click here to listen to all episodes. 

      Contact Me! 

    Submit
Powered by Create your own unique website with customizable templates.