Note: Sample below may appear distorted but all corresponding word document files contain proper formattingExcerpt from essay:
An example is when Antonia rides his bicycle to hang up posters and advertisements for the cinema. A large image of the American film star Rita Hayworth provides an ironic and telling contrast between the glamour and wealth of Hollywood and America and the lives of the ordinary people in postwar Italy (Ebert, 1999).
There are many reasons why this film has been critically acclaimed. As one critic notes; " 'The Bicycle Thief' is so well-entrenched as an official masterpiece that it is a little startling to visit it again after many years and realize that it is still alive & #8230; ( Ebert, 1999). It is the films exploration of human nature and the insight that it provides into human motivation that is one of the central reasons for the popularity of this film. For example, in the last sequence of the film, Ricci is also tempted to steal a bicycle, which implies that the cycle and theft and poverty would continue ( Ebert, 1999). In the final analysis this film is a tribute to the human spirit and of endurance in the face of adversity.
3. Kramer vs. Kramer
This drama was directed by Robert Benton and is based on the novel by Avery Corman (Curran, 1998, p. 187). The movie stared Dustin Hoffman and Meryl Streep as the two main characters.
The film revolves around the break-up of a marriage and the fight for the custody of a child. The husband and wife in the film live in New York and the marriage ends when the wife, Joanna, becomes disillusioned with domestic life and leaves to "find herself" and explore her own potential (Curran, 1998, p. 187). As a result the husband finds that he has to deal with bringing up a young child on his own, as well as a demanding career. This change in his life leads to him losing his job because of the pressure of single-parenting. However he also finds a new value in his life -- which is a "love of parenting" (Curran, 1998, p. 187). Despite her initial absence the wife decides to fight for the custody of the child, which leads to the tense and well-acted drama of the court battle.
The film was very well received by the public and critics. It received a plethora of Academy and other Awards. These were for Best Picture, Director, Actor, Supporting Actress (Streep), Adapted Screenplay; Academy Award nominations for Supporting Actor Supporting Actress, Cinematography, and Editing; as well as the New York Film Critics Circle Awards for Best Picture, Actor and Supporting Actress. (Curran, 1998, p. 187).
Kramer vs. Kramer has been dismissed as being been overly sentimental by some critics but has also been applauded by many others. The positive response to the film is based on its exploration of human nature, as well as its investigation and dramatization of the topical issue of marriage and the family. The film is also seen as being relevant in terms of the contemporary debate about gender issues. This refers the role of the woman in society and in the home and the liberation of the female stereotype from male orientated perspectives.
Joanna leaves her husband and son in order to search for her own sense of self. This film has also raised the ire of some feminists as Joanna appear in less than a complimentary light in some scenes compared than there husband. The plot also suggests the disruptive influence on the family of the woman who enters the workforce and is involved in a career. One critic notes, " in Kramer vs. Kramer, female independence and entry into the job market threatens the family and forces the man to take on new domestic burdens" (Lipsitz, 2001, p. 169).
The film is also about human development and learning through new and often painful experiences. Ted, the father, has to learn a completely new role in becoming a single parent. "Ted learns how to take care of Billy, devoting more energy to his family than to his work, and finally losing his high-powered job because of his new priorities" (Kramer vs. Kramer,1979, NYT Critics' Pick). In this sense the film can be compared to many other films in this genre; particularly with those that have explored the female side of parenting and the question of the women's role and right to freedom in society. One can refer to films such as an Unmarried Woman (1978), Alice Doesn't Live Here Anymore (1974), and the Turning Point (1977) (Kramer vs. Kramer,1979, NYT Critics' Pick).
This film tends to view the situation more from the male point-of-view in the focus on the changes that the main male character has to undergo to become a father. The divorce forces Ted to change his perspective as well as his lifestyle. However, the learning curve and the process of understanding the complexity of gender roles also refer to Joanna's character. While she wins the intense court battle for custody of her son, she also becomes aware of the intensity of her husbands care and love for the child. This leads her to reassess and rethink her ideas and desires when she "…finally grasps how close father and son have become" (Kramer vs. Kramer,1979, NYT Critics' Pick). The film can therefore be seen as an exploration of both male and male desire for selfhood and self-actualization.
A possible reason why this film was to garner five Academy Awards is that it deals with a problem that has become increasingly common in modern society, as well as exploring the issue of the male and female search for meaning, identity and personal freedom. The film also deals with the issue of the family at a time in when the nuclear family is under threat and a pervasive topic of debate and discussion. In the final analysis the film is also carried by the excellent performances of all three main characters.
'2001: A Space Odyssey', 'Thus Spake Zarathustra'. Retrieved April 5, 2009, from http://www.crystalinks.com/2001z.html
Anyanwu, C.J. (1998). Virtual World and Virtual Reality. 154. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=5001399400
Arnold, G. (1999, April 4). Film Institute Pays Tribute to 'The Bicycle Thief': De Sica's Classic Tale. The Washington Times, p. 5. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=5001803027
Brevet B. ( 2008) One Scene Specifically Gives 'Kramer vs. Kramer' Its Heart.
Retrieved April 6, 2009 from http://www.ropeofsilicon.com/article/one_scene_specifically_gives_kramer_vs_kramer_its_heart
Bresler, R.J. (1997, March). The Death of Hollywood's Golden Age and the Changing American Character. USA Today (Society for the Advancement of Education), 125, 64+. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=5002227243
Clarke. Meanings: The Myth of 2001. Retrieved April 5, 2009, from http://www.palantir.net/2001/meanings/clarke2.html
CRITICS' CHOICE TOP TEN FILMS by DEREK MALCOLM & CHARLOTTE O'SULLIVAN. (2006, October 12). The Evening Standard (London, England), p. 47. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=5017477274
Curran, D. (1998). Guide to American Cinema, 1965-1995. Westport, CT: Greenwood Press. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=101293039
De Sica, Vittorio. (2007). In the Columbia Encyclopedia (6th ed.). New York: Columbia University Press. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=112855301
Ebert R. ( 1968) 2001: A Space Odyssey. Retrieved April 5, 2009, from http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19680412/REVIEWS/804120301/1023April 12, 1968
Fabe, M. (2004). Closely Watched Films: An Introduction to the Art of Narrative Film Technique. Berkeley, CA: University of California Press. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=105354088
Greydanus S. 2001: A Space Odyssey (1968). Retrieved April 5, 2009, from http://www.decentfilms.com/sections/reviews/1658
Hinrichs, B. (1996, January/February). A Trip to the Movies: 100 Years of Film as Art. The Humanist, 56, 7+. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=5002253226
Kramer vs. Kramer (1979). Retrieved April 6, 2009 from http://www.imdb.com/title/tt0079417/
Kramer vs. Kramer: Allmovie. Retrieved April 6, 2009 from http://www.allmovie.com/work/kramer-vs.-kramer-27688
Kramer vs. Kramer: Columbia Pictures. Retrieved April 6, 2009 from http://www.metacritic.com/video/titles/kramervskramer
Kramer vs. Kramer: NYT Critics' Pick. Retrieved April 6, 2009 from http://movies.nytimes.com/movie/27688/Kramer-vs.-Kramer/overview
Kramer vs. Kramer: Radiotimes. Retrieved April 6, 2009 from http://www.radiotimes.com/servlet_film/com.icl.beeb.rtfilms.client.simpleSearchServlet?searchTypeSelect=5&frn=9289
Kramer vs. Kramer: Synopsis. Retrieved April 6, 2009 from http://www.fandango.com/kramervs.kramer_v27688/summary
Libby B. Masterpiece: "2001: A Space Odyssey."
Lipsitz, G. (2001). Time Passages: Collective Memory and American Popular Culture. Minneapolis: University of Minnesota Press. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=114263988
Movies: Kramer vs. Kramer. Retrieved April 6, 2009 from http://www.answers.com/topic/kramer-vs.-kramer
Poole, R. (2001, January). 2001 a Space Odyssey. History Today, 51, 39. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=5000073457
Puccio J. "2001: A Space Odyssey." This is why people buy high definition. Retrieved April 5, 2009, from http://www.dvdtown.com/reviews/blu-ray-2001-a-space-odyssey/5322
Ricciardi, a. (2006). The Italian Redemption of Cinema: Neorealism from Bazin to Godard. The Romanic Review, 97(3-4), 483+. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=5019433518
Scheurer, T.E. (1998). Kubrick vs. North. Journal of Popular Film and Television, 25(4), 172-182. Retrieved April 8, 2009, from Questia database: http://www.questia.com/PM.qst?a=o&d=95180720
Shoeshine - Sciuscia (Vittorio De Sica -- 194. Retrieved April 8, 2009, from http://www.cafepellicola.com/2009/01/15/shoeshine-sciuscia-vittorio-de-sica-1946/
Snider E. ( 2009) Kramer vs. Kramer. Retrieved April 6, 2009 from http://www.ericdsnider.com/movies/kramer-vs.-kramer/
Synopsis for 2001: A Space Odyssey. Retrieved April…[continue]
"Space Odyssey This Film Has" (2009, April 09) Retrieved December 9, 2016, from http://www.paperdue.com/essay/space-odyssey-this-film-has-23148
"Space Odyssey This Film Has" 09 April 2009. Web.9 December. 2016. <http://www.paperdue.com/essay/space-odyssey-this-film-has-23148>
"Space Odyssey This Film Has", 09 April 2009, Accessed.9 December. 2016, http://www.paperdue.com/essay/space-odyssey-this-film-has-23148
The film shows that human beings unlike the robots were way too dependent on habits and routines that make people unfocused causing people to not be able to make their own decisions (Barnes). Later on, when Wall-E ends up by accident bumps into one of the women, she understands that her attires have transformed into a different color and that she lastly opens her eyes and observes everything from
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
digital age include worlds that are highly imaginative (eg. Harry Potter films). Films are sometimes conceived in a literary form and then turned into a script and a film. Films since the 1920s and into the 21st century have used physical models and stage properties of some kind (eg. Metropolis, Blade Runner, 2001: A Space Odyssey and Harry Potter). In the digital age, visual effects are created by composite
movie industry in America has been controlled by some of the monolithic companies which not only provided a place for making the movies, but also made the movies themselves and then distributed it throughout the entire country. These are movie companies and their entire image revolved around the number of participants of their films. People who wanted to see the movies being made had to go to the "studios"
O Brother, Where Art Thou? Homer in Hollywood: The Coen Brothers' O Brother, Where Art Thou? Could a Hollywood filmmaker adapt Homer's Odyssey for the screen in the same way that James Joyce did for the Modernist novel? The idea of a high-art film adaptation of the Odyssey is actually at the center of the plot of Jean-Luc Godard's 1963 film Contempt, and the Alberto Moravia novel on which Godard's film is
Scorsese equates him with "a magician enchanted by his own magic." This freedom allowed Welles to create from narrative techniques and filmic devices a masterpiece that is self-aware of its own form. It intends to communicate this self-consciousness to the audience, thus contradicting the classical canons of filmmaking whereby the camera ought not to be noticed and the shots should be seamless. In other words, Welles expanded the art
Siegel's 1956 film version of The Invasion of the Body Snatchers uses a number of realistic techniques like undistorted camera angles, and shots of mundane activities and locations to establish the rationality and logic of the daytime world of small-town California. As the movie begins to shift into the nightmarish world of the alien invasion, the shots become increasingly distorted, dark and gloomy, showing the slip into the subconscious,