The problem with Christmas 24

The form and tone of a Christmas film is an interesting one. Given the nature of the holiday season, viewers are far more likely to be forgiving when it comes to a film’s quality, allowing for poor acting or cliché so long as the film’s central conceit of celebrating Christmas, is successful. There can be little other explanation then, as to why so many films that largely focus on the same theme or topic attract multiple viewings. While some of these films are permissible, despite their failings, some, such as those that feature on the Christmas 24 channel is entirely questionable in their entire premise and execution.

Those films that are offered and presented for consumption at Christmas time on this channel are seemingly innocuous, with their entirely vanilla representation of relationships and family dynamics apparently entirely innocent and inoffensive. Arguably though, it is this very presentation, in its simplicity that is actually so sinister.
The world of Christmas 24 is overwhelmingly white, and WASP. The relationships are heterosexual, and the representation of all involved is entirely heteronormative. The diegesis that exists within these films is one that is entirely unrecognisable in reality, but though its persuasive presentation and manipulation of festive emotions, form some manner of hyperreality with viewers believing that these worlds did exist, and can exist once more.

Given the overwhelming conservative approach that these films take, and the core ethos that it attempts to engender to its audience, these films despite their seeming inoffensive nature, are in fact utterly pervasive and should be treated as such.


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