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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
... 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.
References
Chaplin, Charlie. (1936). Modern Times. USA.
Hicks, Jeremy. (2007). Dziga Vertav: Defining Documentary Film I.B. Tauris.
Marko, Daniel. (2002). The man with the movie camera: Speed of vision, speed of truth? Web. http://www.25hrs.org/vertov.htm
Vertov, Dziga. (1929). The Man with the Movie Camera. USSR.
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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
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
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sound technologies and sound design in Film Sound in films Experiments in Early Age Developments Crucial innovations Commercialization of sound cinema: U.S., Europe, and Japan Sound Design Unified sound in film production Sound designers in Cinematography Sound Recording Technologies History of Sound Recording Technology Film sound technology Modern Digital Technology History of sound in films Developments Sound Design Sound Recording Technologies The film industry is a significant beneficiary of performing arts. The liberal arts combined with latest techniques and advancements experienced a number of stages. The