Film Analysis from a Design Perspective: Reading Raging Bull
Elements of Design
The focus of this paper is a pivotal scene from the film Raging Bull, starring Robert DeNiro as real life middleweight boxer, Jake La Motta. Jake's emotional status is reflected in multiple aspects of the film production, such as his physique and costuming, the cinematography, the editing, and the direction. Film communicates the narrative's physical reality and psychological reality with meticulous attention and applied creativity to all of the aspects of filmmaking. The efficacy and condensation of the communicative ability of film is one of the numerous reasons why humans have loved the cinema for over a century. The paper analyzes the scene wherein Jake is locked in prison from a design perspective.
Film Analysis from a Design Perspective: Reading Raging Bull
On December 19, 1980, Raging Bull, directed by Martin Scorcese, was released to the international public. The feature film is shot in black and white, giving it a classical aesthetic and historical feel. The film, after all, is based on actual events in the life of Jake La Motta, a moderately successful middleweight boxer in the 1940s and 1950s. The film is a story of a sadomasochist boxer who rises to the top of the middleweight boxing world and falls sharply and hard. It is a story of how an imperfect man turns his frustrations and violent tendencies to a middleweight boxing championship during the World War II era. La Motta hails from the Bronx, a borough in New York City with a reputation for being a rough part of town. The screenplay is an adaptation of the book written by La Motta as a limited autobiography. The focus of analysis in this paper is of Jake's entrance into his prison cell for the first time. The paper asserts that with the assistance of multiple aspects of the film production, the scene is a success, which likely contributed to the selection of Robert DeNiro as the winner of the Academy Award for Best Actor in this film.
Jake La Motta is a talented boxer when the story opens. He…… [Read More]
The natural world allows us to show of more of our individual talents, whereas the urban landscape seems to only allow us to show what is needed of us in terms of industry.
Modern Times echoes these themes and images of the early representation of the modern city. However, the film is much more comedic, but with the same message. For example, the factory scene shows the same monotony. It is comedic, yet it is also representing the dehumanizing of urban workers because of the extreme technological advances (Hicks 2007). This film represents a strange sense of automation taking the life and quality out of production within modern urban environments. There is the incessant need to be faster, and Chaplin's character can't even take a short break. Yet the workplace is not an ideal environment -- the fly that keeps bothering him represents the constant torture the modern worker endures during a daily shift. Still, there is a need to continue to automate processes in order to streamline production processes. The introduction of the machine that is supposed to eliminate the lunch break represents the films parody of how technology is isolating and disenfranchising the modern worker. There is a constant need to "keep ahead of your competitor" (Chaplin 1936). This forces Chaplin's character to eat corn through a device that doesn't work properly and portrays an extremely negative view of technology.
Overall, in both films, there is a sense of separation between the working class and the elite who actually own the means of production alongside a very hostile image of the modern city. Essentially, there is too much going on to really pay attention to the individuals who are most in need. Families are not surviving and the work that is available is unable to care for the families in need. There is an increasing sense of desperation within the working poor; even a meal of bananas is appreciated in such hard times within a harsh urban landscape.… [Read More]
Among the various styles of producing films, it has been observed the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s were quite well-known for their feminine characters that were the protagonists, the femme fatale. This was most common with the French, later accepted in the United States. There might have also been reservations over these films probably because of the moral implications and repercussions that such 'dark films' would have in society.
Generally, film Noirs were characterized by the presence of a femme fatale who was the protagonist. The whole movie would revolve around this character because virtually every thing that took place in the movie would involve her (Doane, 1991).
The femme fatale was almost the complete opposite of what a heroine is. A heroine is somewhat a moral, law abiding women, and usually one on which the whole story or movie would be focused.
In contrast to the role a heroine used to play, a femme fatale was just as important because it was a role on which the film depended. Without her the film would not be able to portray the message it intended to. This is a similarity that can be drawn up between the two kinds of female protagonists. But the contrasts are also severe enough to create an abyss in the moral character in each of the two protagonists.
The femme fatale was one that controlled the movie through her alluring sexuality and achieved whatever she wanted to through her sex. This means that she used the fact that she was a female to get the opposite sex to do whatever she wanted.
Often, the sexual character of the femme fatale was exemplified in the way that she probably didn't have any other way to achieve what she wanted, other than using her sex. The hard life and hard hearts these characters had, reflected the way that they led their lives at the time of war and post war. This is reinforced by the fact that there was much poverty and strife at about these times, as countries like…… [Read More]
The spectator is unwittingly sutured into a colonialist perspective. But such techniques are not inevitably colonialist in their operation. One of the innovations of Pontocorvo's Battle of Algiers is to invert the imagery of encirclement and exploit the identificatory mechanisms of cinema in behalf of the colonized rather than the colonizer (Noble, 1977).
It is from within the casbah that we see and hear the French troops and helicopters. This time it is the colonized who are encircled and menaced and with whom we identify. The sequence in which three Algerian women dress in European style in order to pass the French checkpoints is particularly effective in controverting traditional patterns through the mechanisms of cinematic identification: scale (close shots individualize the three women); off-screen sound (we hear the sexist comments as if from the women's aural perspective); and especially point-of-view editing. By the time the women plant the bombs; our identification is so complete that we are not terribly disturbed by a series of close shots of the bombs' potential victims (Mast & Kawin, 2000).
3. Theorizing Technology
During Hollywood's transition to sound, technicians' duties often seem almost evenly split between working on the set and writing theoretical treatises on sound representation. Rarely have technicians been so forthcoming with their opinions on the logic and conceptual bases of filmic construction, and even more rarely has the theoretical arena seemed so central to Hollywood filmmaking. Page after page in scientific and industry journals emphatically promote competing aesthetic models-based either on phonographic fidelity or telephonic intelligibility, but why? What function did the articulation of aesthetic norms and standards play? Far from being incidental or epiphenomenal, technicians of the period seem nearly obsessed with articulating their positions on questions of representational illusion, accuracy, propriety, and validity. Advocates of competing models of sound representation justify their nearly antithetical aesthetic allegiances in the name of the same putative standard -- a supposedly transparent "realism" -- despite the utter incompatibility of their different norms of recording and reproduction (Bordwell, 1997). Put more complexly, each naturalizes his own ideals of practice by demonstrating their compatibility with a particular notion of representation that is described as obvious and as scientific, and which comes to…… [Read More]
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 a brand new perspective and the suddenly comes to the conclusion that she does not have to be totally reliant on technology.
Actually after watching the movie, it had a way of making an individual realize that there are times that a lot of people actually we do depend on technology than they do anything else. Most people do have things such as game consoles, computers, cell phones, and televisions, and these are just a few of the items. The researcher did learn that most people have a habit of listening d to what advertisements tell others are the utmost new matters to have and a lot of people actually go out and purchase these items rather quickly or right away.
Wall-E appears to be the only robot in the film that is totally anthropomorphized, even though it is unclear if the civilized facets of his "personality" are a part of his indoctrination or established over time. He spent over 700 years quarantined on earth gathering ornaments that humans had left behind and then looking at old films that showed some kind of human emotion. He is then able to record, learns, and achieves the dances the he watches in old human musicals (Barnes). The robot also started to befriend things such as a cockroach and the starts to express some kind of honest concern for its security whenever it gets zapped, crushed, or vulnerable in any kind of way.
When it comes to being anthropomorphized, WALL-E was also displaying a lot of the qualities that show human interactions and comprehension as described by many field studies by Turkle.…… [Read More]
Their decision and ability to not only highlight the portions of the film that nest exemplify this (i.e. Streep's scenes as Julia Childs) but to also tie the rest of the film into the same perspective they were hoping to entice their viewers into adopting (i.e. The worship of Childs from afar a la Powell) accomplished exactly what was needed.
The construction of the television spots used in the marketing campaign for Julie & Julia were not effective only in legitimizing the story of Julia Childs told in the film, but also helped to draw younger viewers to the film. Amy Adams is a quickly emerging yet very well-received actress, and her story in the film modernizes what would otherwise be a historical piece. Though this historicism was the main focus of the advertising campaign, the television spots also reflect and understanding that younger audiences will not necessarily be drawn to such a movie. The voice over and the scenes of Adams as Powell in a cramped, modern apartment with her scruffy-yet-handsome young husband are all meant as enticements to the younger generations of film goers, and are effective without diminishing the sense of respectfulness, quality, and focus on the Julia Childs story ("Calling" 2009; "Figuring it Out" 2009).
this might sound at least slightly ambiguous, and strangely this was an effective way to market this film. The marketing campaign left little doubt that we would be seeing a phenomenal actress -- who is herself an American institution -- portraying the equally famous and far more influential larger-than-life persona of Julia Childs, while at the same time inviting romantic-minded members of the younger generations to experience a quaint and somewhat original modern love story. These marketing efforts were only enhanced by the critical response affirming the tacit and explicit claims made in the campaign, which also had the effect of increasing the legitimacy of the film's intent and execution as exemplified…… [Read More]
Take the movie the Maltese Falcon, for example. The character played by Humphrey Bogart is not driven by an idealistic approach, but by the financial motivations that different characters will offer him throughout the movie.
At the same time, the main female character is usually the femme fatale type, dangerous, yet attractive, with whom the main male character tends to bond. This is not, however, the usual Hollywood type love story: the characters have a non-committal relationships and, like the other characters, are ready to betray one another if the situation imposes this.
In my opinion, following the definitions of genre and style and the discussion previously presented on this topic, as well as the main assumptions related to the film noir, we can argue that the film noir is a film genre rather than a film style. The main reason for this is the fact that there are several common characteristics of film noirs that group this type of movies into the respective category. It is not the particular way in which the director decides to express himself artistically or a certain particular interpretation of one of the artists that denote the film noir style. It is a whole category of such movies reuniting common characteristics as the ones mentioned in the previous paragraphs.
Further more, the film noirs are not a limited expression in the context of movies. There was a period of time when this type of movies was created on an extended scale and when this mean of expression was characteristic for many of the movies during the period that was mentioned. The film noir was thus more than a style, much like a category and genre.
The common characteristics of the film noir are structured around those elements that form the common denominator for classifying movies, namely elements such as setting, theme or mood. All film noirs share similar styles in the approaches of all these categories. Following all the arguments presented, film noir is definitely a film genre.… [Read More]
In the heist itself, time overlaps, and actions that have already been shown are repeated from another character's point-of-view. The audience is left to pout the pieces together so that we see a character do something and then se how it helps the next action lead to the desired conclusion.
At the racetrack, with the announcement of the start of the fifth race, the film cuts to Johnny, in the words of the voice-over narrator "beginning what might be the last day of his life." Such a voice on the soundtrack emphasizes again the uncertainty of the course of action being taken by these criminals, contributes to the suspense, but also keeps a sense of doom in the film, as if the ending were already known by Fate. From this point until the end of the robbery, the pace of the film speeds up as the camera cuts from one completed action to the next, playing out the well-thought-through plan. And shifting the point-of-view among the main characters until they are all in place for the robbery itself. The film finally focuses on Johnny, who is the only person to actually carry out the robbery and gather up the money. There is no conversation during this sequence aside from a few barked orders from Johnny and commentary by the voice-over narrator, a seemingly objective outside voice suggesting that some greater power is watching over all that takes place and that there will be an accounting at some point. Of course, the audience knows more than the conspirators know because the viewers are aware of the other gang and its plan to take the money away, summoned to this task by the disloyal wife of one of the conspirators. During the robbery, the mise-en-scene is sparse, as it is throughout the film, keeping tight control of the camera and its movements and focusing only on what the filmmaker wants the audience to see and consider. Such a tight use of the camera also contributes to the suspense, for the viewer never knows if there is something just off camera that may…… [Read More]
The 1945 film "Mildred Pierce" is the epitome of film noir, complete with the femme fatale, theme of betrayal and hopelessness and use of flashbacks. While the 1954 "On the Waterfront" also uses the theme of betrayal and hopelessness, it breaks from the film noir genre, and rather than using flashbacks, it is told in present time and the use of the femme fatale is replaced by an unscrupulous union leader.
Both movies possess the theme of family dynamics. In "Mildred Pierce" there is the element of a mother-daughter relationship as well as a forbidden affair between Mildred's second husband and her spoiled daughter from her first marriage, Veda. Sexual tension and melodrama runs throughout the movie: between Mildred and her first husband Bert; between Bert and Maggie Biederhof; between Mildred and second husband, Monte Beragon; between Mildred and her business partner and long-time friend, Wally Fay; and between Veda and Monte. In 'On the Waterfront," the family dynamics is between the two brothers, Terry and Charley Malloy, however, the family dynamics also extends to the loyalty between the dock workers. As far as sexual relationships, there is only one and that is between Terry and Edie, the sister of a slain dock worker.
Both movies possess the element of betrayal and hopelessness. Terry adores and looks up to his older brother Charley, who works for the crooked union boss, Johnny Friendly. Terry trusts Charley in all decisions, believing that Charley has his best interests at heart and/or that Charley is smarter and knows what is best in given situations. Mildred so adores and worships her oldest daughter Veda that it destroys her relationship with her first husband and ultimately her second.
As in all film noir, betrayal, along with hopelessness, is a major theme, and "Mildred Pierce" depicts this in classic form. The film begins with ocean waves crashing in the moonlight upon the shore as the credits are washed away with each wave to a typical film noir dramatic music score. It…… [Read More]
She must deliver the government plan to an end and be successful. She is determined and uses all her feminine best cards. At the beginning of their meeting she seems to be a superficial, sex interested woman, giving a slight sense of nymphomania. During her adventure with Roger Thornhill she falls in love with him. A theme frequently used in American films (take for example all James Bond films, sexy women ready anytime to jump in the hero's arms). At the end Eve and Roger seem a happily married coupled going on a honeymoon, and the viewer is given the impression of the perfect companion, a future ideal mother and wife, and Roger the devoted husband. They had there moments of doubt, when Roger thought Eve betrayed him and named her a person with no feelings, but Roger realized his mistake and they reconciled. The characters seem to have been "educated," transformed because of their experience together; they have "grown up."
The final battle with the foreign agent on Mount Rushmore is again outrageous because it can be considered unrealistic, but in spite of this, it is reckoned as a Hitchcockian masterpiece. The ending is fabulously constructed. As Roger is fighting to pull Eve on top of the mountain the frame changes and the audience is transported into the train where the couple looks so happy. So the American cinema theory is respected, the viewers are given the satisfaction of a happy ending. Concerning the final scene from the movie Alfred Hitchcock confessed in Cahiers du cinema. No.102: "There are no symbols in North by Northwest. Oh yes! One. The last shot, the train entering the tunnel after the love-scene between Grant and Eva-Marie Saint. It's a phallic symbol. But don't tell anyone." The heads of the presidents on Mount Rushmore are considered "guardians of order." They are the barrier which Eve and Roger must break in order to escape.
American cinema values the strict division of the characters into good and evil, and in…… [Read More]
Film Analysis: "Boesman and Lena" -- a drama of ideas, not people
The central protagonists of Athol Fugard's drama "Boesman and Lena" have what turns out to be a nearly impossible life task. Not only, the drama suggests, must they struggle to survive having lost their home and community. To become emotionally whole again, the depressed Lena and controlling Boesman must find a way to reconstruct their previous relationship as man and wife, to find some emotional comfort in a place of desolation. Gradually, as Fugard's narrative evolves, it becomes clear to the viewer that this will not be possible, that the two are too broken by the oppressive web of the apartheid system to really recreate a loving partnership. However, it also becomes clear to the viewer of the filmed version of "Boesman and Lena" that the actors who play the protagonists in this drama of the South African playwright have an even more daunting task -- these actors cannot really convey these characters as fully human entities. Rather, Boesman and Lena, despite the emotional force of the acting evidenced in Danny Glover's and Angela Bassett's portrayals manage to exist only as symbols, not as fully developed human beings with complex feelings and relationships with one another.
It is hard to believe that the two angry, screaming characters on the beach and in the shantytown ever existed as husband and wife in anything approaching a loving partnership. The film is only an ineffectual rendering of what appears to be a dated play, and the film makes no effort to either update the feminine passivity of Lena for modern audiences or even to vary Fugard's sparse staging techniques for the more expansive canvas of cinema. True, when viewing the bleakness of the marriage, neither the film nor the play aimed to show Fugard's duo at their best. The play begins depicting Boesman and Lena as scavengers, left with nothing. This literal state of being stripped down to their barest essences mirrors their barren mutual emotional states, and the child they have lost. There is nothing left…… [Read More]
In fact, the reviewer seemed to make it clear that this film would provide insight even for people well-familiar with the comfort women story. Three survivors talk about what they endured as comfort women, and how that has continued to impact them and their lives, to this day. The reviewer describes the women using graphic detail, which is an interesting and anomalous phrase. After all, would not one expect to find descriptions of rape to be graphic and disturbing? However, the euphemistic phrasing that is employed to justify human rights violations like this one, such as calling the women "comfort women" rather than "sex slaves" softens the impact of what has been done, even years after the fact. Therefore, while it is clear that the reviewer has previously studied these events, it is equally clear that the reviewer did not ever really consider the impact that being forced into prostitution for an enemy army would have on a person.
The reviewer did criticize the director's use of artifice in the movie. For example, the movie features interviews with soldiers who used comfort women as well as with comfort women. However, the reviewer criticizes the director for changing background music when interviewing the former soldiers, feeling that it was an artificial way to help highlight the differences between the victims and the victimizers. He felt that the strength of the information contained in the documentary was powerful enough to stand on its own without the use of such manipulative devices. He credits the documentary's director with attempting to provide a balanced perspective, by allowing former soldiers to speak about the practice, as well as Japanese professors. However, the review itself suggests that both the documentary's director and the reviewer were biased towards the soldiers, ignoring the possibility that these soldiers, mostly very young men, were unaware of the circumstances that led to these women being present at the comfort stations. Considering that possibility would have led to a more interesting review of the film, without minimizing the horror of what those women were forced…… [Read More]
The first part ends with Lincoln's assassination and with influential abolitionists wanting to punish the Southern states.
The second part of the movie presents the characters after the end of the war as they attempt to reach their goals. Austin travels south with the intention of taking care that blacks are being set free and that they receive their basic rights. Ben Cameron is disappointed that his people now have to treat blacks as equals and decided to form the Ku Klux Klan.
Flora Cameron commits suicide after being chased by Gus, a former slave that tried to convince her to marry him. Ben quickly apprehends Gus, hangs him, and leaves his body in front of Lieutenant Governor Silas Lynch's house. Lynch responds by ordering the executions of all those part of the Klan. The Camerons manage to escape Lynch's people and they take refuge in a country home.
As Austin is not in town Lynch tries to force Elsie to marry him, but she refuses and screams for help. Members of the Klan quickly arrive and save her. Also, the Klan chases all the influential black people from the town and save the Cameron family.
The movie ends with Phil Stoneman marrying Margret Cameron and Ben Cameron marrying Elsie Stoneman. The final picture shows how Jesus rules over a world where there is no war.
The Birth of a Nation" is a remarkable film that had appeared in an age when filmmakers only dreamed of achieving such success. The script and the wonderful acting contribute in making the audience feel that the film has a sense of reality.
The negative side of the movie is the fact that it promotes racism and hate against black people. The only good thing about the movie is that is presents a captivating story. Apart from that, the movie highly exaggerates the concept of perfect white men that thrive…… [Read More]
Film Criticism of Casablanca
Casablanca, one of the most famous films of the last one hundred years, uses various film and music techniques to convey the story of Humphrey Bogart and Ingrid Bergman's tragic love triangle set in World War II's North Africa. The film connects on many human levels due to its use of seamless shots including close-ups, deep focus and dissolves to name a few. The technique of mis en scene, which literally means use of stylistic items such as scenery, lighting and costumes also artistically builds the drama. The use of music also plays a huge role in setting the scene for romance in the film. It, too, can be considered a character, after all no one can forget the line "Play it again, Sam." The following paragraphs takes an in depth look at such examples in the film.
Montage and overlapping of scenes opens the movie dramatically while a voice over brings the viewer an update as to the tragic events of war. The voice over quickly cuts away to action creating suspense and captivating the viewer. The background music is also cut dramatically to follow this scene. The outside action is edited in short cuts to emphasize the drama. In contrast when inside Rick's Place, the shots are longer and in deep focus to create an attachment to the characters and their unique situation. Once the Humphrey Bogart character realizes that the Ingrid Bergman character has returned to Casablanca, his reaction of sadness and regret is painted in darkness. In contrast, the next scene as a flashback of his…… [Read More]
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 inside of the English language?
FILM and TV SUBLANGUAGE
We've come to a certain point in the history of film.
In the writing of the script for film/TV, a sublanguage, the writer's deep collection of his/her responses to life. Under specific circumstances, individuals in a particular area of expertise alter/change/utilize a language, in this case, English, to fit their profession, in turn making it easier of those in the profession to understand. This practice of altering specific words/terms also makes it more difficult for those on the outside to understand the profession's inside jargon.
The term, to "pan" out, for example, denotes this practice. A pan in "normal" English would refer to the cooking utensil. In film terminology, however, the term "pan" refers to the camera zooming out, therefore creating a "panoramic" view of the scene. Another example: The "can" in film terms refers to the container used to store film rolls; incidentally manufactured from aluminum, just like a "can." Basically, it's just reusing words from English but putting them into a different context, thus creating a bit of a sublanguage inside of the English language itself.
Specific Terms the following depicts a number of terms relating to the film TV sublanguage.
Academy leader: A leader positioned at the head of release prints which relates information for the projectionist. It also features black numbers on a clear background; counting from 11 to 3 at 16 frame intervals (see SMPTE leader). Big Close-up (BCU): A shot taken extremely close to the subject, closer than necessary for a close-up.…… [Read More]
These blows come in the form of beatings and disappointments encountered by Antoine while he is a student at a prison-like school. Truffaut paints the starkness of his reality effectively in his use of black and white hues. The boys are dressed mainly in dark formal clothes and their surroundings are also dark. This is contrasted with the brightness of the outside world in which Antoine is constantly looking for. He is left to his own devices, as the adults of the film appear to be "hypocritical, unsympathetic, unperceptive and untrustworthy" (Mast 353). This depicts a gloomy picture of Truffaut's outlook on life. His methods of camera technique, palette choice and story structure further promote this feeling. His choice of loner and misfits like Antoine who feel stifled by society also promote changing definitions in society. Truffaut wanted to put these ideas out into the public not only to express his discontent but to also call attention to such social issues.
Truffaut's earlier pieces focus on childhood as a theme. He focuses on the relationships of children with each other and adults to shed light on the fact; innocence has been lost as a result of the war. He believes it is no accident society is changing and life is uncertain. It is this idea, "this deeply rooted existential sense of responsibility, the idea that there are no accident, that makes the childhood world so fascinating for Truffaut and that gives Les Quatre Cents Coups its special tension" (Monaco 16). In doing this, the viewer become uncomfortable but completely entranced. The viewer is reminded there are no accidents yet also knows nothing is guaranteed which is a contradiction.
Out of all Howard Hawk films, Rio Bravo stands alone in expression of existential ideas. This mainly comes from Hawk's ability to as Todd McCarthy explains, "his success in putting his seal on them becomes more understandable in light of his freelancing" (Drabelle 2) as his work was his alone. What does Rio Bravo tell us about the questions Hawks had about the world?
The film Rio Bravo is a story about a small town in the American West where a sheriff must hold seek help to keep the bad guy's brother in jail. This dilemma puts the sheriff on the moral fence. He must fight between the law he knows is…… [Read More]
This is important, because the director was using these individuals to show how the struggle for independence was carried out by: ordinary people who wanted to make a difference. (Johnson)
Since the film was first released in 1966, sympathy has changed dramatically. What has been happening is: the views of the FLN and their leaders are seen as heroes throughout the film. As they are representing the struggles that Algerians are going through during the independence movement. In this aspect, the movie was about the people standing up to: capitalist regimes that were exploiting many countries. (Johnson)
However, as time has went by, the use of these tactics by the FLN (mainly bombings) has changed. What has been occurring is that, this has become a common form of attack that many terrorist groups are using against innocent civilians. After the events of September 11th and the feelings associated with what happened, means that a shift has occurred in how audiences will view the film. (Johnson)
As a result, they are now looking at the movie as a genre that is highlighting how terrorism has become a common tactic of many different extremists groups. This is significant, because these kinds of changes in perceptions, means that the audience is no longer sympathetic with the FLN. Instead, they take more of a neutral standpoint by: showing how these kinds of tactics would ultimately fail at the end of the film. This is when the 10th Para would isolate and kill the leaders of the FLN. Once this took place, the uprisings in 1957 was successfully suppressed. However, a few years later a general strike would force the French to give in to the demands of the people. This is significant, because it is highlighting how terrorist tactics will fail in the long run. What will create lasting changes are ordinary people, who no longer will accept the status quo and are joining together in a form of massive protest. (Johnson)… [Read More]
Film And Television and Culture
One of the principal concepts that Robert Zemekis' 1994 motion picture Forrest Gump is meant to put across regards the problems that society has to deal with. Consequent to watching this film, most viewers are likely to look back and think about all of the issues in Forrest Gump's life. The fact that Tom Hanks soundly plays the character contributes to making the audience relate to him, especially considering that his emotional nature increases the overall feeling that one has while viewing the film.
Forrest Gump is a rather ordinary individual who somewhat accidentally becomes a part of a series of historic events. Having been challenged by life's hardships, he continuously strives to achieve his goals, regardless of the fact that he often comes across tough situations. His below-the-average IQ and his failure to connect with the love of his life in his early years do not prevent him from eventually marrying her and from becoming a wealthy individual.
3. Although Forrest Gump appears to be focused on the character of Forrest Gump more than it is meant to discuss historic events, one might be inclined to consider that the film is actually intended to satirize American efforts in the Vietnam War, the counterculture of the 1960s and 1970s, and the Watergate Scandal. The principal character is most probably meant to represent an individual who puts morality before everything. The fact that he is not very intelligent supports this belief, as his naive personality prevents him from ever wanting to perform unethical activities.
4. Forrest loves everyone and everything but keeps realizing that it is almost impossible for him to save the world. He gradually enters a desperate situation as Jenny leaves him, the Vietnam War requires his help, and several other matters come to affect his life negatively. In spite of his life's hardships, however, his determination assists him in overcoming every unfortunate event that he comes across. His dumbness is, in point of fact, one of the things that prevents him from becoming disillusioned and from being put…… [Read More]
Prisons can be more than a place where one is confined for what they have done. A prison can be a great number of things; a prison can be a psychological, social, emotional, or physical construct. Pedro Almodovar explores these four types of prisons in two of his films, Volver and Todo Sobre Mi Madre (All About My Mother). In both of these films, the characters find themselves held prisoner by what they keep as secret; the ramifications of these secrets sometimes force characters into seclusion, whether it is self-imposed or a result of social/cultural fears. Volver and Todo Sobre Mi Madre's narratives demonstrate the effects that these four types of prisons -- psychological, social, emotional, and physical -- have on the people that are forced into confinement.
"Almodovar is most interested in melodrama, approached from a variety of angles, some of them skewed" (Mast & Kawin, 2003, p. 529). A common link between Almodovar's films is that the narratives are centered around strong female characters. The auteur theory holds that "great movies are the work of a single creative mind" (Simon, 2010, p. 413). The auteur theory can imply that a director's works are recognizable and cohesive, as a cinematic canon, through themes or trademarks that carry from one film to the next. Volver and Todo Sobre Mi Madre can be attributed to Almodovar through the cast, theme, and characters. Almodovar is known for frequently casting Penelope Cruz in his films and the actress is cast in both films; in Volver Cruz is the film's leading female protagonist and in Todo Sobre Mi Madre she plays the role of Rosa, a nun who is forced to leave her work to have a baby. "Pedro Almodovar, the self-taught auteur, reinvented what it means to be a 'beautiful women,' capturing women as images everywhere from the monastery to the gutter. Nuns, transvestites, housewives and junkies are portrayed as luscious and erotic through Almodovar's lens" ('The Pedro Almodovar Archives' Explores A Life Drenched In Beauty And Drama, 2012).
Volver is a 2006 film that centers on cast of female characters that are forced to confront one crisis after another. Throughout their ordeals,…… [Read More]
Film: Family Prays Together Stays Together Tyler Perry Select a film, short story, drama worthy time analysis, Aristotle's ideas good dramatic storytelling lecture, analyze story a 750- 1
Tyler Perry's movie drama "The family that preys" represents the story of two families that eventually are forced by circumstances to work together and to get along, regardless of the discrepancies that exist in their life style, mentality, and dreams.
The story line is relatively complex in the sense that there are numerous events that take place throughout the film, from marriage, to drama, from happy moments to sad ones. From this point-of-view, the story and the plot itself resembles the complexity of everyday life, with all intricate affairs and developments that usually do take place in people's lives. An aspect however that may seem somewhat unrealistic relates to the way in which paths cross between the two families. In every day life, and especially given today's circumstances, there are not many occasions in which someone may organize and host a wedding for someone else from outside one's family as in the case of Charlotte Cartwright when she organized the wedding for her best friend's daughter Andreea. In fact, this is the starting point of the film and the triggering moment for the eventual plot. As a result of such circumstances, Andrea and William meet and the connection between the two is obvious and will lead to complications along the film.
These types of actions however are rather common in everyday life in the sense that in fact life is a series of coincidences and of favors and exchanges of kind actions. The fact that Andrea is hired by William triggers a series of events that would lead Andrea to end up despising her own husband, cheat him and interfere in William's marriage as well. These events in chain are very plausible from the point-of-view of cause and effect and determine the development of a believable…… [Read More]