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…… [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 intrude and spoil the heist. The camera takes fast…… [Read More]
Devi's life is shown as sadly representative of many women's in India of lower castes. She is forced to marry as a child to a man she does not love, because her parents cannot afford to feed her. Her husband beats and humiliates her. Devi's abduction by bandits is portrayed as a relief, rather than penance for the young woman.
After Devi is abducted in the film, her anger against men is so intense; she physically lashes out even at her lover. However, eventually she finds a sense of friendship and fellowship amongst the bandits. The film explains Devi's criminality as a product of her oppression due to her caste and her gender. It turns her life into an instructive parable for the reader as to what can happen when the marginalized people of the world have no voice. "The press is fascinated by her boldness, by the way she disguises herself as a policeman, by her practice of befriending young girls and interrupting the weddings of children" (Ebert 1994).
However, although the film may be artistically powerful and be motivated by good intentions, the fact that it is about a living person raises additional ethical questions that might not be raised by Shakespeare's appropriation of Macbeth and Richard III, or even Oliver Stone's lose historical interpretation of the assassination of John F. Kennedy in JFK. An artistic work can transform a living person's reputation and life in a manner that has a real, material impact, as in the case of Devi's assassination.
Ultimately, in a free society there is a limit to how much a causal connection between art and action can be punished. The would-be assassin of Ronald Reagan was obsessed with the film Taxi Driver, a great classic of modern cinema, and wanted to impress one of the actresses in the film, Jodie Foster, with his murderous intentions. The assassin of John Lennon was obsessed with the book the Catcher in the Rye. Merely because a disturbed individual misinterprets a work of art does not justify censorship. If an artist were held morally and ethically responsible for every action that could be linked to his or her work of art, art would not exist.
This may seem harshly insensitive to someone who feels that a loved one has been harmed, due to the effects of a work of art. But a free society must tolerate the…… [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 the end good is triumphant. In "North by Northwest" there are the good guys: Roger and Eve and obviously the U.S.A. government (C.I.A, F.B.I. As a unity, take as an example the U.S.A. government…… [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 of…… [Read More]
Surprises are definitely not this film's strongpoint and whoever enjoys them might want to look away. Nonetheless, the acting and the story together compensate for the lack of tension and shock.
The movie shows how people are trapped because of their belonging to a particular group. Because of the insecurities they feel, individuals are unable to discover themselves and are thus likely to spend their whole lives feeling sorry for what they are. It takes only a small time for Ana to mature and realize that there is nothing wrong with her, whereas it is almost impossible for her mother to escape the prejudice she was taught during her lifetime. Even when she is presented with the opportunity of enjoying herself, Carmen prefers to leave her daughter and the rest of the factory workers.
While the movie follows Ana as she grows from a teenager into a woman, it also shows how her principles were unaltered by the environments she came across. Even with her strong determination, Ana is aware that she still has much to learn and is not reluctant to admit her lack of confidence when the circumstances ask for it.
Although there are several stereotypes in this movie, it is not directed at the ordinary public, who is fond of seeing happy endings the way they were accustomed to. Ana proves that she can become happy without leaving behind her particularities and embracing the life society promotes. She does not lose weight and she does not become white (in character) so as for the public to appreciate her. She nevertheless succeeds in getting the public positive reception with the fact that she loves what she is and is not embarrassed of it.
Ana's mother, Carmen, is the villain in this story. However, whereas people are familiar to hating villains, this is one who is more difficult to detest. It is obvious that Carmen did not want to become the biased person she did and that the surrounding environment offered her little chances to be herself. Unlike Ana, Carmen yielded in front of the people and conditions telling her that she had no chances but to work in low-paid positions in order to survive.
Restrictions are generally fought against during this motion picture, with strong willed character Ana being unwilling to accept having to…… [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…… [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…… [Read More]
The rapid approach of the train is contrasted with slow, sensuous and lingering shots of the partially unclothed woman.
This contrast of beauty and peril speaks directly to the experience of the filmmaker himself. Among the countless experimental techniques exhibited in Vertov's film, he employs a variety of modes which suggest self-reflexivity, especially as it relates to the filmmaker's balance of beauty and peril. From the very opening scene, there is a meta-reality implied by the acknowledgement of the content itself as being cinematic in nature. That is, the opening theatre sequence in which viewers file in, an orchestra prepares and a man readies the projector seems almost to reverse the concept of opening credits by mimicking the experience of the audience itself.
Such devices are employed thereafter as a vehicle for the delivery of the film itself. Long sweeping shots capture the filmmaker himself, traversing a symbolic demonstration of modern life. As Vertov observes the lives of citizens in the various Soviet cities used for the film's gathering of imagery, he transcribes the process of creating a film to an awakening in the early outset. The images of sleeping citizens, opening factories and vistas at dawn suggest a collective morning that implies more than just the act of rising for the day. Vertov connects the experiences of morning with the presentation of the filmmaker setting out for a day of observation. The connection implies that the morning being portrayed is not necessarily a single morning on a single day of shooting but, instead, a representation of the experience of morning as it varies across the experience of different Soviet lives. This is the virtual gaze in action, presenting morning not as we might perceive to be the beginning of a linear narrative, but morning as an act daily awakneing that is highly differentiated by universal to the human experience. This corresponds with Friedberg's explanation that "the virtual gaze is not a direct perception but a received perception mediated through representation." Friedberg continues by explaining that the virtual gaze "travels in an imaginary flanerie through an imaginary elsewhere and imaginary elsewhen." (Friedberg, p. 2)
Quite so, the way that Vertov jumps rapidly from one place…… [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. A BCU reveals extreme detail, such as a specific…… [Read More]
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 acting, the haunting music, and the visual beauty of the film itself. In viewing Sophie's Choice, it's easy to see that a great film is so much more than commercial success or box office revenue; a great film is compelling. It grabs hold of you and doesn't let go. In looking for movies that resonate with the viewer, one cannot come any closer to perfection than Sophie's Choice, one of the most compelling films of all time, a gripping drama that is not only a good film, but a great one with fantastic acting, a superb musical score, and fantastic cinematography -- truly an American cinematic treasure in my mind.
Works… [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 right…… [Read More]
Film -- Chappelle's Show & Satire
How is Television Limited and Full of Potential to Express Satire & Social Commentary:
Chappelle's Show & Comedy Central
Television has always and will continue to be a space for satire and social commentary in America. America is the home of the original and most hard-core television culture. America is home to the most channels available of any other singular country in the world; it is likely that several to many countries combined do not have as many television channels as America. Furthermore, because of American cultural practices and social institutions, American households are far more likely to have multiple televisions within a residence. Americans are expressive and opinionated. We want our television to reflect who we are and who we aspire to be, so if television content does not follow suit, we will not consume it. Therefore, television is still a viable space for commentary and satire. The Nielsen Company, the company that monitors television ratings is not shutting down any time soon; that is to say, ratings still matter a great deal. If people do not watch, the corporations who own the networks will suffer financial loses and cultural influence. The paper will reference Chappelle's Show and its network, Comedy Central as a way to contemplate the relationship between capitalism, culture, and commentary.
It is the opinion of the author that the largest factor in determining what kind of satire exists on television is the Federal Communications Commission (FCC). The FCC determines the limitations of making political statements on television. It is true that with time, culture changes and culture is influential on values and satire. Television is regulated a great deal more by far than the Internet. If one desires to make a political statement, it will do so, relatively unencumbered, on the Internet. Yes, regulations of Internet content exist. Yes, the regulation of Internet content is a "hot topic." Part of the reason, if not the greatest reason why the regulation of Internet content is still an issue at all, is because the top ten corporations of the world have yet to figure out or influence legislation enough to regulate and censor the Internet. These corporations just have not figure out how to exert the same…… [Read More]
The film industry produces experience goods for consumer enjoyment and consumption, and substantively relies on consumer differentiation for the economic success of movies. Moviegoers appear to differentiate films primarily on the basis of genre, starring actors, exposure to promotion, recommendations from other moviegoers and film critics, and -- for the dedicated film buffs and connoisseurs -- directors, cinematographers, and even screenwriters associated with the film production (Albert 1998, De Vany 2004, Eliashberg and Shugan 1997, Hand 2002, Krider and Weinberg 1998, Nelson et al. 2001, Ravid 1999, Smith and Smith 1986, Wallace, Steigermann and Holbrook 1993). Access to information about films is related to the resources and networks that moviegoers enjoy, and on the attention that films garner, as expressed by the media and through social networks. Information about films is accessed by moviegoers from many sources: 1) The genre of the film; 2) the rating of the film by the Motion Picture Association of America (MPAA); 3) the country of origin of the film; 4) variables related to star power, as measured: a) by number of actors listed in Entertainment Weekly's list of 25 Best Actor and 25 Best Actresses; and b) the number of actors and actresses who were in the top 20 box office gross in their acting careers, as measured by The Movie Times website; 5) the production budget for the film in millions of dollars; 6) whether the film was a sequel to an earlier movie; 7) the relation of the film's release to holiday weekend, Christmas season, or during the summer from Memorial Day through Labor Day; 8) the number of screens on which the film was shown during the first weekend of its release; 9) gross revenues in millions of dollars for the first weekend of release; 10) the rating given by Roger Ebert, film critic from the Chicago Sun-Times; and 11) the Academy Award nominations and award wins for the film. Of these several predictor variables, the last one -- Academy Award (Oscar®) nominations and wins are of primary interest in this discussion.
Researchers have investigated each of these variables or combination of variable, and a number of prominent studies are discussed here.
Theoretical…… [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 down by the challenges in…… [Read More]
The leading lady of the film within the film is crazy, without the need for abusing any form of intoxicating substance. But the primary difference between the contemporary and the past film does not lie in any of these imperfect parallel details involved in their mutually chaotic plots, nor the minute distinctions in the minds and portrayals of stock characters. Rather, the difference lies in the way that DiCillo's style of storytelling constantly forces the audience to remain on edge, unaware if they are watching real life or the film that is being filmed -- or the director or actor's idealized dream of what the creative product should be. Thus, the later film has an added nuance about how the creative process can take over the lives of actors and directors, as well as seem absurd to individuals outside of the movie business. It also forces the viewer not simply to laugh ironically at the lives of the people before them, but to realize that both the viewer, the actors, and the people behind the set are all engaging in a kind of fantasy, whenever the process of filmmaking…… [Read More]
They need their aggression to be released but fail to do it, as they are afraid to be judged by others. If the person is alone he will be misunderstood, but in a group of co-thinkers he maintains inner strength and becomes open. It was used by Tyler who manipulated peoples' nature in his private purposes. Tyler's phenomenon is obvious: his ideas are simple and close to people who had experienced aggression. He doesn't have any political or social program, he doesn't support any political opposition to American system: either Communists or neo-Fascists. He doesn't need it as it will limit the number of his supporters, moreover all those ideas are well-known and are well-known to be false ones. Tyler's one is new, universal and is too temptating not to be followed.
This doctrine proclaimed by Tyler has a danger for a society as it may result chaos and anarchy. A group of fanatics who have the only aim to fear everyone by terror is very dangerous. The example of international terrorism is a brilliant one to demonstrate the circumstances anarchy may cause.
The movie of course stands against Tyler, but the danger of split personality on the example of the main hero is a threat to existing social stability. The main problem is that society itself is guilty in creating this threat, proving a well know physics law about entropy (or disorder), which grows in isolated space. Is there any exit in such kind of situation? It may seem that nothing can help a person as frustration occupies his mind leaving no space for anything else. Still the author has another idea: narrator's panacea is love. Love is the only thing which can help him to survive. Love is the only thing that saves him. A strange girl named Marla, who also is disillusioned by routine life, attends the same support groups the narrator does. But different to the narrator, she has inner strength and confidence and has an opportunity to make choices, while Jack is enslaved by his alter ago embodiment in the face of Tyler Durden. If Jack had been…… [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, the women demonstrate composure and are able to overcome obstacles by confiding in each other and letting go of the past and the secrets…… [Read More]