Gina Marchetti writes:“Some critics blameNomadlandfor not directly addressing race, labour,...

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Gina Marchetti writes:“Some critics blameNomadlandfor not directly addressing race, labour, immigration, or partisan politics on screen. Despite a conscious effort not to be political, Nomadlandstill invites critical contemplation of these very issues”. Using examples from the formal and narrative elements in the film, explain how Zhao still manages to invite critical contemplation of at least ONE issue such as race, immigration, labour, capitalism, or gender.Bill Nichols outlines how we can analyse documentaries to determine how they differ from other kinds of films. He refers to different angles of analysis, including institutions, practitioners, texts (films and videos), and audience (22). Choosetwoof these and deploy them in an analysis ofThe Gleaners and I.

Ishfaq Ahmad · Accepted Answer

Part 1
Nomadland, a parody of Vagabond directed and written by Chloé Zhao, is a political statement about being alone. In contemporary American film culture, even a private occasion may have political undertones, as shown by the film Nomadland.
Fern (Frances McDormand) embarks on a cross-country road trip in her RV after losing her work at a local sheetrock mill. She recently worked as an incognito Amazon employee in order to meet the material needs of the rest of society. Nomad, recluse, or explorer? Fern appears on this list, or she does not. Having her head shaved and hair cut short gives her a monkish appearance, as if she is refraining from sexual activity while guiding us through the catastrophe in the United States. She said, "I am not homeless; I am house less." Compared to Sandrine Bonnaire in Varda's film, Zhao's political arrogance is not nearly as compelling.
Anti-entertainment, such as Nomadland, is among the new wave of entertainment. It is ideal for the media elite, who are attracted by any indication of an individual's anti-bourgeois, nonconformist decision since they do not have to do any effort. Sincerity dictates that seeing Fern in her genuine form terrifies these individuals and awakens the political leanings they have been concealing via compassion and dishonesty. According to Zhao, Fern's lifestyle has nothing to do with the policies promoted by elected leaders. He argues capitalism is not at blame.
Several performers portray American nomads similar to Fern. Their work is marked by romanticism, realism, a pioneering spirit, and political melancholy. With addition to a young woman covered in Morrissey tattoos, Zhao loves stopping at roadside sites. She adds that his lyrics are "very deep," noting the "Rubber Ring" lines: "When you are laughing and dancing and finally living / hear my voice in your head/and remember me kindly." Nomadland does not demonstrate Zhao's comprehension of Morrissey and Varda's culture of denial or the spirit of yearning; hence, Zhao is either fortunate or deceitful.
Several critics have criticized the film's representation of Amazon, claiming that it does not criticize the firm enough or illustrate the risks of the "gig" economy. It is an intriguing viewpoint from which to view the image. Fran assists elderly individuals at Amazon's fulfillment center in packing boxes for shipment. Numerous folks depend only on Amazon for employment,

Gina Marchetti writes: “Some critics blame Nomadland for not directly addressing race, labour, immigration, or partisan politics on screen. Despite a conscious effort not to be political , Nomadland...

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