Note: Sample below may appear distorted but all corresponding word document files contain proper formattingExcerpt from essay:
He was twenty-five when he died." ("Wilfred Own," 2005)
One figure, however, besides the more aristocratic poets, who is entirely fictional is a working class man named Billy Prior, a who had risen through the ranks to become an officer, but is now mute. This character is used, not for historical accuracy, but as a symbolic state of the working class during this period, and as a contrast to the highly articulate, and also upper-class experiences of Sassoon and Owen. The film thus transposes reality, when it is visually or verbally suitable for conveying its theme, with occasionally flights of fictional 'poetic' reality. In other words, it would have been dishonest to only show the experience of psychotherapist, poets, and the upper classes of a war that was fought by large numbers of ordinary working class men, many of whom became officers like Prior, as more of the aristocratic 'officer class' went mad or were killed.
When assessing the film's historical accuracy, thus one must say it is both highly accurate on a technical and an emotional or thematic level, with occasional flights of justified fiction that tell a cinematic 'truth.' As the film goes on, the castle of the aristocracy where the men are stranded becomes increasingly symbolic of the bankrupt ideology of an England, that let its men die, and will cause the death of one of the main characters. The quoted wartime poetry seems 'poetically' fitting but is an actual, real reference to the poets who experienced the fate depicted in the film, even though in reality it is unlikely that the psychoanalyst would read as much poetry as he does over the course of the film, during his daily rounds.
Fictional and representative figures such as Prior are used to give added ideological heft to the overall message of the film, even if the audience knows they are fictional. And always, it is important to note that although Prior may be fictional, his affliction of muteness was common and it is not necessarily a cinematic creation, at least according to Dr. Rivers. Also according to Dr. Rivers, this complaint was more common amongst ordinary soldiers, rather than officers -- another poetic reality, stressing the voicelessness of ordinary men, even men such as Prior who had successful subverted some of the assumptions assigned to the lower classes.
Finally, the film is also realistic in its portrayal of common psychological techniques during the era. At one point, Dr. Rivers visits a London hospital to observe electroshock therapy to cure muteness. However, this true event is also transposed against River's own fictional musings, words cannot really be established with outside documentation.
Not every reviewer was enamored of the film, as it has such a clear ideological message. "Another retelling of the great left wing myth to come out of the Great War: that it was all the generals' fault," wrote James Boman. "The real lie is the leftist promise that all the hard things in the world -- whether fighting wars or earning a living or raising your children -- can be avoided if you design a political system cleverly enough. In fact, the war was a serious business. It was fought for the leadership of Europe and the world, and both Europe and the world would be vastly different places today if the Germans had won it." (Boman, 1997) however, whether one agrees or disagrees with its historical assessment, the film's accuracy in terms of the literature and incidents it cites, gives it an ideological weight, and its advocated view has the clarity of an essay, with carefully constructed arguments for the admittedly biased, but always reasoned side it presents.
Bowman, James. "Behind the Lines: Regeneration." Film review. Directed by Gillies Mackinnon from a screenplay by Allan Scott and based on the novel by Pat Barker. 1997
Sassoon, Siegfried." World Book Online Reference Center. 2005. World Book, Inc. 10 Nov. 2005 http://www.aolsvc.worldbook.aol.com/wb/Article?id=ar725090.
Behind the Lines: Regeneration." Directed by Gillies Mackinnon from a screenplay by Allan Scott and based on the novel by Pat Barker. 1997.
Wilfred Owen." Lost Poets. Emory University. 2005. http://www.english.emory.edu/LostPoets/Owen2.html[continue]
"Film Behind The Lines Is" (2005, November 10) Retrieved December 3, 2016, from http://www.paperdue.com/essay/film-behind-the-lines-is-70261
"Film Behind The Lines Is" 10 November 2005. Web.3 December. 2016. <http://www.paperdue.com/essay/film-behind-the-lines-is-70261>
"Film Behind The Lines Is", 10 November 2005, Accessed.3 December. 2016, http://www.paperdue.com/essay/film-behind-the-lines-is-70261
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
Conclusion It is hard to deny that Sophie's Choice indeed has the trifecta of what I believe good movie-making needs: superb acting, sound, and cinematography, as it was nominated excellence in acting (won by Meryl Streep), cinematography, and music by the Academy of Motion Picture Arts and Sciences' annual Academy Awards. While I have seen many movies, few have touched me the way Sophie's Choice has. I can remember the seamless
The multiple camera views include shots from inside the landing craft, from the beaches, facing the coastal defenses and also from the German perspective looking out at the largest invasion of land by sea in history featuring thousands of vessels and stretching further out to sea than the human eye could see (Katz, 2004). Realism and Social Response and Political Influence In general, the film depicted combat scenes as realistically as
The fact that she flirts with gender roles and norms is equally as dangerous. For Corky, the danger is manifest in the potential betrayal and also in the eventual show down between the women and their male captors. Jessica is portrayed as a more passive figure, as a more classic pre-feminist femme fatale; whereas Violet is a more active figure, a true "postfeminist good-bad girl hybrid." Things happen to Jessica,
Women do play some role in the promotion of the tough guise image. Whether they would like to admit it or not, most women's idea of a man is one that is strong, macho and protective of them. The saying that, 'Nice guys finish last' has some truth to it. Many women look over the shy, quiet type of man because of the images they have seen in the media
From this came our insistence on the drama of the doorstep" (cited by Hardy 14-15). Grierson also notes that the early documentary filmmakers were concerned about the way the world was going and wanted to use all the tools at hand to push the public towards greater civic participation. With the success of Drifters, Grierson was able to further his ideas, but rather than directing other films, he devoted his time
For Private Witt, the idea is found in another world. For Sgt. Welsh, no idea exists -- and he tries to get Private Witt to see as much. Yet, Malick's point is that such a world does exist. In fact, he begins the film with the prayerful chants of the islanders, and rolls credits to the same chant. At one point, one of the soldiers (Dale) sits in the pouring