Blood and Candy wants to symbolize how personal and cultural ideas may be changed through compassion and acceptance, and as Shields (2004, p. 242) argues, “through a postmodern process of image making”. As we see the values of David, who navigates through Cuba as a Marxist and committed to the trend change, since Diego trains and presents him into a world outside the Castro regime, through declined American goods and art culture. We come across this in the final landscape before Diego leaves for Cuba. David is ingesting the ‘gay’ strawberry ice-cream flavour, since Diego remarks to David, “The only problem is that you have been not gay” to which David replies, “Nobody’s perfect” demonstrating acceptance of homosexuality plus the process of modify. Diego made a decision to leave Emborrachar, as Strawberry and Chocolates shows the flaws of revolution (Dennis, 1995) with Diego’s choices limited due to his sexuality. For a powerful revolution, the us government needs to be more open minded about sexuality and culture. Yet , with the accomplishment and breakthrough of Blood and Delicious chocolate presenting Cuba’s social and political problems, gay privileges within Tanque are now debated and reviewed openly (Dennis, 1995).
Within Moolaade we witness Sembene’s desire to alter interpersonal behaviours in Africa, we come across this when Colle points out to her girl that uncut women are good wives, “A Bilakoro is a superb wife” the ultimate word of Amasatou represents the slight glimmer of hope for transform within the small town, “I was and shall remain a Bilakoro”. Amasatou is not really changing herself for a person, and is short for what the lady believes. Similarly, to Battleship Potemkin, the film can demonstrate how a lone powerhouse, standing so that they believe is actually a basic individual right, can move to a supportive push to change for the best. As we also see wish through the feedback of older, “I feel dissapointed having my own girls slice, Allah as my observe, no additional girl is ever going to be cut”.
General, from the study of Battleship Potemkin, Moolaade and Strawberry and Chocolates, the viewer is able to vitally discuss the various ways in which socio-political issues can be presented in filmmaking. All three films had been a huge success in getting a political and social response whether it has been through cinematic elements, aesthetical cinematics and also the power of a strong narrative. Based on what sort of socio-political issue the director wished to get around to the market, would all depend on what kind of filmmaking technique he would make use of. For instance, assemblage has been found in Battleship Potemkin, to create pressure and a powerful individual emotional response. As well as spark political debates and conversation about the difficulties interwoven inside such as class, human legal rights and religious beliefs. Moolaade, has used the strength of story within a good community of women, to stand up and guard what they imagine is right. No matter what their age inside the film, all of them have a voice, and so they all come with an opinion. They may be not shown as a patient. Therefore , has the spectator rooting for the ladies in the story to succeed, and also to therefore critically discuss the socio-political issues within modern day Africa. Lastly, we have Strawberry and Chocolate. Strawberry and Chocolate, would not use any kind of technical artistic editing or camera work, but rather uses motion picture elements inside its filmmaking in order to go over socio-political problems. Where these issues may be harder to see immediately, it is still woven in the story, within just quotes and character portrayal.
