Current Forum: Session 5: Ideology and Class	Read 6 times 	
Date: 12-Feb-2001 22:34:27	
Author: CASHIN, KATHRYN K. <kkc2311@mailer.fsu.edu>	
Subject: Trading Places 	
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       As many of you have written, Trading Places helps support Mantsios' ideas concerning story lines about class. In fact, it could be argued that Trading Places supports each one of his three tenants. (120) First, the movie does present and reinforce negative class (and race) stereotypes. This is evident when the Dukes try to entice Valentine into the car with an offer of free whiskey and with comments such as "they sure are very musical people, aren't they" implying that all blacks are drunks and musical. Secondly, the movie portrays upward mobility in at least three instances and comic downward mobility. At the end of the movie Valentine, Ophelia and Coleman have experienced upward mobility while the Dukes have plummeted in class and status. Winthrop has managed to do both. Finally, with the characters' rise in status and Winthrop's discovery of his humanity an argument could be made that class doesn't exist - everyone is really the same.
       Since this is presented through comedy and is fairly transparent, our students are likely to be able to grasp and relate Mantsios' three points to the movie. What may be more difficult to convey are some of the more subtle issues. Particularly, I am referring to the idea of capitalism and the power it generates. But the directors help to illustrate this point as well. Numerous low and high angle shots are used in the movie to emphasize the power of capital. For example, the Duke's office is shown from a low angle representing the power associated with the institution itself - a house of capital. In fact, the building resembles a church and the view is from a
worshiper. High angle shots are used to emphasize the Dukes' power and superior position.      
       Two examples are when the Dukes are looking down from their window as they identify Winthrop for the set up and the other is when they look down from their window in the exchange
with what they think is superior knowledge. Another example of a high angle shot that emphasizes power and omnipotence is in the Heritage Club. Before the members are assembled and after they are seated we see the chamber from almost a "god's eye view" again 
emphasizing the power of capitalist institutions.
       But what may best reinforce the typical notion of American middle class and upward mobility is the final scene. The scene uses typical Hollywood conventions to reassure the audience and perpetuate middle class values. Class, race, gender and sexuality all converge here, but in the "right" ways. The men are the providers ("can't we have both lobster and cracked crab?"), the couples are heterosexual and of the same race. High key lighting assures us that all is well, that upward mobility is possible and that capitalism has its rewards.