{"id":1120,"date":"2023-11-08T20:51:30","date_gmt":"2023-11-08T20:51:30","guid":{"rendered":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/?p=1120"},"modified":"2023-11-09T21:32:14","modified_gmt":"2023-11-09T21:32:14","slug":"viewer-holy-motors","status":"publish","type":"post","link":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/2023\/11\/08\/viewer-holy-motors\/","title":{"rendered":"(viewer) Holy Motors"},"content":{"rendered":"\n<p class=\"has-medium-font-size\">In the film Holy Motors, we follow Mr Oscar as he travels around Paris in a limousine. He is a mysterious man with a unique job that requires him to transform into different characters and personas for various &#8220;appointments&#8221; throughout the day. The lines between performance and reality are blurred as he embodies these identities and travels through a succession of bizarre and seemingly unconnected situations.  As Mr Oscar follows through with his appointments, the distinction between acting and living becomes increasingly ambiguous. This reflects the idea that in modern society, we often adopt different personas in various aspects of our lives, whether at work, home or in social situations. Holy Motors questions how real these roles are in comparison to who we consider to be our true selves.  <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"541\" src=\"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/files\/2023\/11\/Screen-Shot-2023-11-08-at-3.52.18-PM-1024x541.png\" alt=\"\" class=\"wp-image-1123\" srcset=\"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/files\/2023\/11\/Screen-Shot-2023-11-08-at-3.52.18-PM-1024x541.png 1024w, https:\/\/scholarblogs.emory.edu\/introtofilm2023\/files\/2023\/11\/Screen-Shot-2023-11-08-at-3.52.18-PM-300x159.png 300w, https:\/\/scholarblogs.emory.edu\/introtofilm2023\/files\/2023\/11\/Screen-Shot-2023-11-08-at-3.52.18-PM-768x406.png 768w, https:\/\/scholarblogs.emory.edu\/introtofilm2023\/files\/2023\/11\/Screen-Shot-2023-11-08-at-3.52.18-PM.png 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"has-medium-font-size\">Additionally, the film reveals very little about Oscar&#8217;s true identity. When asked, &#8220;What makes you carry on?&#8221; Oscar responds with &#8220;The beauty of the act&#8221;. This lets us know that Oscar&#8217;s passion in life is acting. However, because he is always impersonating a different character, we know very little about who Oscar really is apart from performing. This makes us wonder, who really is Oscar? Is he even happy? What happens when you have no sense of self? More so, we can see that it is getting more difficult for Oscar to continue his appointments. He points out that the cameras are getting smaller and more visible making his job harder.\u00a0<\/p>\n\n\n\n<p class=\"has-medium-font-size\">In the film, C\u00e9line plays a big role in keeping Oscar in a good place. She constantly reminds him of his next appointments, to eat, to take care of his health, and to laugh. This shows how demanding Oscar&#8217;s job is because he emerges himself into character so deeply that basic needs become forgettable. However, C\u00e9line helps him and plays somewhat of a mother role in the essence that she takes care of him.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the film Holy Motors, we follow Mr Oscar as he travels around Paris in a limousine. He is a mysterious man with a unique job that requires him to transform into different characters and personas for various &#8220;appointments&#8221; throughout the day. The lines between performance and reality are blurred as he embodies these identities [&hellip;]<\/p>\n","protected":false},"author":8644,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[107,28],"class_list":["post-1120","post","type-post","status-publish","format-standard","hentry","category-viewer","tag-holy-motors","tag-viewer"],"_links":{"self":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/posts\/1120","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/users\/8644"}],"replies":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/comments?post=1120"}],"version-history":[{"count":3,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/posts\/1120\/revisions"}],"predecessor-version":[{"id":1155,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/posts\/1120\/revisions\/1155"}],"wp:attachment":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/media?parent=1120"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/categories?post=1120"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/tags?post=1120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}