Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity (1944), which shocked Hollywood in the year of its release and was just about banned by the authorities, may be considered as the archetype for film noir, even though some critics trace the origins back to such rough but significantly less pessimistic films as This Gun for Hire, High Sierra, the Maltese Falcon, and Stranger on the Third Floor. Modified by Wilder and Raymond Chandler from a James M. Cain novel, Double Indemnity is the squalid story of a Los Angeles insurance agent (Fred MacMurray) sexually ensnared by a client's wife into killing off her husband for his death reimbursement; it has been declared a film without a solitary trace of compassion or love.
Without a doubt, these are characters remarkably missing from all films noir, as conceivably they seemed not present from the postwar America which created them. Like Double Indemnity, these films succeeded upon the unembellished interpretation of greed, desire, and unkindness because their fundamental theme was the profundity of human immorality and the absolutely unheroic character of human beings -- lessons that were almost not taught but without doubt re-emphasized by the one of its kind horrors of World War II. Nearly everyone of the dark films of the late forties take the structure of crime melodramas for the reason that (as Dostoevsky and Dickens recognize) the devices of crime and criminal detection afford an ideal metaphor for dishonesty that cuts across conformist moral classes. These films are frequently set in southern California -- the geographical archetype for a social order in which the breach between anticipation and reality is determined through mass hallucination. The central characters are regularly unfeeling antiheroes who chase their foundation designs or basically drift aimlessly from side to side in sinister night worlds of the metropolitan American harsh world, but they are even more frequently decent people trapped in traps set for them by a crooked social order. In this…… [Read More]
Movie Critique: The Pursuit of Happyness
When it comes to film making, the subject of rags to riches tales have been one of the most common subject for many filmmakers. Most film viewers have watched a number of movies that revolve around a financially broken protagonist making it big. However, in the post Y2k era, it is a common perception among many that a movie has to be high on graphics, special effects and budget in order to make its mark on the audience. Low budget rags to rich tales are seldom able to leave a significant mark over the audience and enjoy little limelight at the box office.
The 2006 Will Smith starrer, 'The Pursuit of Happyness," is clearly not just another tale of how a man starts fro dire to economical circumstances and makes it big. The Pursuit of Happyness, despite of not being a high budget movie and any other noticeabke special effects, is utterly inspirational and high on emotional appeal. The genre of the movie is of a biographical drama, that is inspired from a true story of Chris Gardener, a man who struggled from ground zero to become an owner of an established brokerage company. It takes the viewers on a journey of hurdles, hardships and struggles that Chris had to go through in order make ends meet. What makes the movie's eotional appeal stronger is how the movie does not monotonously focuses on 'making it big', but manages tp touch smoothly upon how the struggling protagonist gave importance to his family ties.
For the most part, the movie remains smooth, natural and simple and it is this natural and simplicity that striked the audience's emotional strings and helped developing a stronger connection with the audience. That said, despite of its steady pace, a series of never ending hurdles that the protagonist is made to face in order to reach his goal, has made the movie mentally exhaustive at some points. Nevertheless, The pursit of Happyness beautifully explores the struggle for success and survival of an individual and the underlying layers of emotions and pain in a natural and honest manner.
Cast: Will Smith, Jaden Pinkett Smith, Thandie Newton.…… [Read More]
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,…… [Read More]
com). Pricilla Dean, despite her odd and some might say crooked features and curvy figure, had an interesting though brief career offering audiences a unique and fierce performance in Outside the Law in 1920 (Stanford.edu, 2011).
It's rare nowadays to have published short fiction in movie magazines. This one utilizes five stars under the headline and above the title.
This article demonstrates that human beings still write simple "how-to" style articles even nowadays, and that explaining from one person to another how to accomplish something is a timeless endeavor. The headline of this article demonstrates what a new profession the movies were and represented a field that one could "break into." One typically wouldn't see an article of such simplicity during modern times. Another interesting aspect of this article is that it's written by Mabel Normand. Mabel Normand was an actress and comedienne of the era; she was very popular with audiences and starred in movies like Mabel's Married Life and Mabel's Busy Day (imdb.com). Her last film was in 1921 but it was boycotted mostly by audiences in lieu of the odd death of Tod Browning (imdb.com). People wondered if she might have a hand in it due to her jealousy over Browning's affair with Minter (imdb.com).
This page displays the heavy stylistic choices of the decade with the collage of pictures placed into a curved, larger shape -- evocative of antique furniture such as a decorative screen or mirror.
The headline of this article uses the dash to break up the word "Shh" a grammatical choice that one simply doesn't see often nowadays. The byline of "Irma, the Ingenue" is a quaint way to give someone credit for the article.
"Film-Flam" is a colloquialism of the decade that one simply doesn't hear nowadays. The decorative banner that is scroll-like as a means of decorating the headline is yet another stylistic choice that isn't used often in modern times. The photograph of the woman crouching in imitation of the RCA dog might be considered derogatory nowadays and strictly avoided. The actress depicted is Shirley Mason, who…… [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…… [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…… [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. Just like Cog, WALL-E has the capability of physical acknowledgment and continually makes eye contact. In a lot of the different scenes, WALL-E even definitely follows around EVE with his eyes out of what could be called infatuation. Just like Kismet, WALL-E utilizes articulation (Corliss). Even…… [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 by…… [Read More]
" (p. 52)
Some of the famous action adventures include the latest ventures like Transformers. It is a classic example of new age action adventure movies which has a great deal of science fiction involved. Some action adventures also include a healthy dose of comedy like Jackie Chan movies such as Rush Hour.
Romance is possibly the one genre that is not likely to disappear. Even though over time, it has taken on a different role, it has always been the central strength of cinema. Romance had always been there and there have been some unforgettable romantic movies over the decades. Movies like "An Affair to remember," and Casablanca were the types of romantic movies we saw in old days. Things have changed and romance has become more cynical, less melodramatic but equally charming. There are still times when some traditional type of romantic movies comes forth like "Notebook" but modern audiences have lost the taste for sappy dramas. More people will happily watch "You've got mail" or "My Big Fat Greek Wedding" than some old melodrama simply because tastes have changed and people can digest romantic with comedy but not romance alone.
Animated movies are now more popular than ever before because of the advancement in technology. These movies became popular with Disney's various cinematic adaptations of fairy tales. But over the years, they have become more sophisticated and full length movies are being made using animation. Some known names include Lion King, Ice Age 1, 2 and 3 and also The Incredibles. These movies have no actual humans as characters but these ventures are so realistically developed that no one can call them cartoon or simple animations. They look and act real with voiceovers by famous actors and hence have become a very popular genre in Hollywood.
Biopic films are neither as popular as animated nor are they as frequently made but they are still an important part of what constitutes good cinema. Biopic films are actually "biographical films" which depict the life of a person,…… [Read More]
Not only does Nichols provide a good context for the many paradoxes that can confront film studies with his insightful and thoughtful introduction, but he also shows how sharing approaches and methods can help to stimulate a lot of the best writing regarding film. In addition he shows many of the common problems that are seen and deals with the contradictions that appear. Like the first volume of the anthology, this second volume also provides smaller introductions so that each essay and piece of information can be more easily understood. It also allows a reader to peruse the book and find the pertinent piece of information that he or she needs at that point in time, which can be very valuable, especially for a novice to the film industry trying to find information quickly. Having the smaller introductions before each piece also help to showcase each item within the context of the larger film genre as a whole and help suggest various ways to link certain essays with other pieces of work in the anthology. These kinds of tie-ins are especially helpful to someone who is working to learn as much about the film industry as quickly as possible.
The final part of the book is likely the most important because it helps to convey the diversity of the information that was collected in it. There is everything from neoformalism to gay criticisms, and from phenomenology to statistical analysis, providing a wide range of issues to address and consider. This very broad range of approaches that are addressed in the book shows the fall of the post-structuralist style of criticism as well. During most of the seventies and into the early eighties, that kind of criticism was the most popular, but once other styles were explored it begin to lose some of its following with people who saw that there were better ways to look at and address issues, and that there were better ways to do justice to the film genre and the people who work within it. This is something that Nichols has shown throughout his anthologies, but…… [Read More]
Movie production is one of the world's most enduring, exciting, and economically prosperous industries. Whether Bollywood or Hollywood, Bonnie and Clyde or Batman Returns, the film industry continues to rake in the dough and please a wide range of audiences. Chapter 6 of the text describes the origin of the film industry and its evolution and development. The authors also discuss the potential for film to influence cultural values as well as its importance in shaping them.
The film industry began somewhat as an offshoot of still photography, which first made an impact in the late nineteenth century. The commercial appeal of motion pictures was soon apparent and innovators in the United States and in Europe helped to develop the technologies required to run the cameras and viewing equipment. For example, early movies capitalized on the viewing box and photographic technology invented by Americans like William Dickson and George Eastman but it was the French inventors Auguste and Louis Lumiere who developed the ability to project the photographic motion pictures onto a wall or screen. As a result, the first film house opened in Paris, not the United States, in 1895. However, Thomas Edison seized upon the new projection technology and patented a projection system. Edison's company would later develop sound technologies that were used to enhance the viewing experience of early motion pictures.
The film industry flourished in the 1940s and reached its peak around 1948, when weekly revenues peaked at an astounding $90 million. The film industry in the United States has never yet enjoyed such tremendous prosperity, mostly due to the invention and popularity of the television. However, films remain one of the most vital creative industries in the nation and throughout the world.
The film industry responded to television's popularity first by attempting to trump television's technology. However, innovations such as Smell-o-Vision, 3D glasses, and peripheral vision screens fell short of revitalizing box office sales in the 1950s and 1960s. Therefore, the motion picture industry ventured where no television producer had gone…… [Read More]
In Henry: Portrait of a Serial Killer, the selfishness seems even more chilling. Henry's murder spree starts with the death of two prostitutes, and it is the lack of significance that Henry gives to those murders that is startling. It would probably be freeing to lose that connection to people, to be in a position where human life means nothing. However, it would also be alien and frightening. That is why movies like Silence of the Lambs have such a tremendous appeal; Hannibal Lecter may have killed many people, but he is clearly capable of forming some level of emotional attachment. He seems so charming and engaging that he turns into the hero of the movie, though his actions do not support that role.
Finally, serial-killer thrillers tap into the basic fear of strangers. Serial-killers are distinguished by the fact that they do not target those close to them. In Copycat, the killer actually goes after the detective in charge of the case, providing the adrenaline rush of an escape from death. In Silence of the Lambs, Clarice is only momentarily in danger, but the serial killer's victim is placed in a pit in the ground, in a dangerous and demeaned position. The fact that she turns the tables on the killer, by abducting his little dog and holding it hostage takes the vicarious scare further by showing that someone could triumph in that situation. Of course, Henry: Portrait of Serial Killer may be the scariest movie of them all, because it portrays Henry sitting in the mall, casually scanning for his next victim; most movie-goers have walked in a mall at sometime, and that scene makes it clear that they were all potential victims.
Serial-killer suspense movies evoke a wide-array of emotions. They challenge the audience to try to understand the serial killer and…… [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.…… [Read More]
The couple that hopes to adopt Juno's baby is well cast (especially Jennifer Garner, the wife) too.
Juno, above all, takes center stage with her pretty face, her ponytail and hoodie, and her wise cracks, which is quite typical of an intelligent, perceptive high school girl. Paulie too is an ideal actor for that role as he and Juno go from just having some teenage affection for each other into a more serious couple facing a more serious issue that could have been a tense disaster but for their intelligence and social savvy.
When Juno runs into Jennifer Garner (the woman who will adopt Juno's baby) towards the end of the film, even though the married couple's bonds are fragile so Juno may not be giving up the baby to a couple, the viewer sees how perfect a choice Garner was for this role.
What's the theme? Do other elements work together to develop this theme? Those in the pro-life movement who thought this film was about their particular political position are wrong. And those in the pro-choice movement who believed this was about them got it wrong, too. The real theme, according to the New York Times, is "pro-adulthood"; Page said it is "absurd" to suggest that it is a pro-life film. She notes that Juno had a choice to make and she made it apart from any ideology or political viewpoint. Directing: Jason Reitman made all the right moves, from setting, to actors, to music, and even though there had been 2 other movies in 2007 about unplanned pregnancies, Juno stood out as a comedy with class, style, and substance.
Is the setting effective? Why? The movie was filmed in British Columbia at a secondary school that is 100% believable as a high school setting.
The soundtrack and music are wonderful in this film. Recording artist Kimya Dawson used music she had previously recorded that were similar to what Page wanted (Moldy Peaches type music). The soundtrack has 19 songs (from a wide variety of artists including the Kinks, Buddy Holly and the Velvet Underground) and it went to #1…… [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…… [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…… [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…… [Read More]