Communications Film Analysis
Based on the relational dialectics theory, each couple’s communication is the interplay of people’s psychological differences (Baxter and Braithwaite 66). Cinema Verite, directed by Shari Springer Berman and Robert Pulcini in 2011, exposes the filming of the documentary “An American Family” that was released in 1973. Cinema Verite shows several types of relationships that revolve around Pat (played by Diane Lane) and Bill Loud’s (played by Tim Robbins) breakup and depicts how Craig Gilbert (played by James Gandolfini), the producer of the documentary, uses their dialectical tensions to make a successful TV show (Berman and Pulcini). The
relational dialectics theory can explain the support provided in and dialectic aspects of the familial relationship between Pat and Bill as well as the support and dialectical tensions in the platonic friendship between
Pat and Craig.
Based on their differences, Pat and Bill experience numerous dialectical tensions. For instance, they face “connection-autonomy”, “openness-closedness” and “stability-change” tensions (Baxter and Braithwaite 66-67). Bill is preoccupied with his business and likes travelling. His interests are outside his family, while Pat is concerned about children and family problems in general and wants Bill to be an active part of his family. After a fire in Santa Barbara Bill learns that children were in danger from Pam; his only comment is that he heard
something about the fire (Berman and Pulcini). Bill keeps his infidelity a secret from his family, but he openly introduces Craig to his mistress (Berman and Pulcini). Pat is reserved; although she permits to film her
family, she does not want to reveal their problems or secrets. For example, she does not want Lance to be filmed in a transvestite club, because she thinks that it can embarrass Bill and she does not want to humiliate Bill
by telling him to leave on camera (Berman and Pulcini). She supports Bill emotionally and physically. She cares about his reputation, gives him a massage after his business trip, listens to his problems, and so on. Yet,
Bill does not care what Pat feels and knows little about his children’s daily routine. He does not support them in any way except for financially. He is too self-centered. Bill wants things to function in the same way, while Pat reaches the point (she learns about Bills’ numerous affairs), when she cannot tolerate stability anymore and needs a change (a divorce). In addition, Pat hopes that the filming of her family’s daily life will become a so-called “aesthetic moment” (the moment of unity) for Bill and her (Baxter and Braithwaite 68). She hopes to save her marriage, but, unfortunately, the filming process further exposes their marital problems and makes them impossible to ignore.
Craig and Pat develop a platonic friendship, which never grows into anything more than that. They see a possibility of their affair, but they face “disclosure-privacy” and “conventionality- exceptionality” tensions
(Baxter and Braithwaite …
