tradition that was used to "...place people in different classes in society on account of their social and, in particular, economic differences" (Fourie, 2004:135), however sincethe dispelling of the Soviet Union during the cold war the term has been somewhatredefined to reflect a more unbiased classification of society and the individual.The purpose of ideology, as indicated by Lye (1997) is to encapsulate the socialization process that results in a collective understanding embedded in symbols and cultural practices, this is achieved through the shaping of our cognitive process by ideological"apparatuses" (churches, schools, family, art, etc.). Ideology, however, is not an absoluteterm in the scientific sense as Lye (1997) states that "Any ideology will containcontradictions, will repress aspects of its experience, will 'disappear that which tends tocontradict it or expose its repressions", hence when the ideology of any given text isanalyzed the resultant meanings are not absolute and are subjected to change, or in other words, ideology as a cultural phenomena is constantly in a state of flux.Giannetti (2005), defines ideology as "...a body of ideas reflecting the social needs andaspirations of an individual, group, class, or culture", this definition as a operational termis simplistic and vague, however it does incorporate the broadness that is the term itself.For the purpose of this discussion, ideology "refers to ideas, attitudes, values, belief systems, or interpretive and conceptual frameworks held by members of a particular social group or cultural" (Fourie, 2004: 225).
2.1 Ideology and its cinematic application
Film as a communication medium is bound by the pardigmatic-syntagmatic correlationand its resultant culturally bound implications and meanings. As a result it is necessary tonote that the explicitness through which cinematic meaning is convey should be seen as avariable process, rather than a constant and all-encompassing ideological expression of the filmmaker. Giannetti (2005:428-429), describes the three broad categories throughwhich the ideological nature of film can be ascertained, be it neutral, implicit or explicit.