Essay On Tracey Moffatt And Shirin Neshat

Essay On Tracey Moffatt And Shirin Neshat
This quote by Aristotle is shown to be true as art is known as a language in images, and is a way
artist can communicate ideas and express conceptions, about self, culture, community and mostly
social definition. This is true as it shows that the internal mannerism and detail in art, is their reality
and shows what is most important and significance in the artwork rather than the outward
appearance of the artwork itself. Tracey Moffatt and Shirin Neshat are two artists who link back to
Aristotle quote and not only that but through their artworks represent images and concepts which
relate strongly back to the aspect of social definition. Moffatt's artworks strongly link back to the
social issue of child abuse as it follows the concepts of parents having a negative ... Show more
content on Helpwriting.net ...
This is effectively displayed in her two photographs Door Dash 1979 (1999) and Piss Bags, 1978
(1999). Shirin Neshats artworks are also strong examples of how parents negatively influence their
children, in her case it relates to how in Islam the parents don't allow their daughters to get an
education. This is shown in two of her artworks Speechless' (1996) and (NAME OTHER
ARTWORK).
"I have always made photographs, and the photographs have always...felt like small films...It's
usually a twisted storyline. Like me" (Tracey Moffatt, 1998) Born in 1960 in Brisbane, Tracey
Moffatt is an adroit artist with topical and poignant themes. She is arguably one of the most famous
Australian artists, and her work consists of many different series of photographs. One of which is
her artwork 'Door Dash 1979' (1999), in her series Scarred for Life, II (1999) is a photolithograph.
The photolithograph is a process used in microfabrication to pattern parts of a thin film or the bulk
of a substrate. It uses light to transfer a geometric pattern from a photomask to a light–sensitive
chemical "photoresist", or simply "resist," on the substrate (Margaret Rouse, 2013).
... Get more on HelpWriting.net ...

Dangerous Minds Movie Analysis
On the surface, Dangerous Minds is a film about a teacher who helps her students to change their
lives for the better. The start of the film begins with LouAnne Johnson accepting a full time teaching
job at Carlmont High School. Ms. Johnson did not know that the kids she would be teaching were
tough and rowdy kids that come from under–privileged backgrounds. As the film goes on, Ms.
Johnson wins the hearts of her students by connecting with them and standing up for them against a
resistant administration. By doing this she inspires her students to reach their full potential. By the
end of the film, her students are begging her to stay for another year because she has changed their
lives for the better (Smith et al., 1999). This sounds like ... Show more content on Helpwriting.net ...
When Ms. Johnson tries to ask her students where they left off with the last teacher, she is ignored
and one student assertively told her not to ask about her and called her "white bread". Additionally,
one student, Emilio, uses a harsh and aggressive tone towards her and also makes a sexual comment
in order to try and get Ms. Johnson to leave (Smith et al., 1999). These help to prove that the
message is that Ms. Johnson is a white savior archetype of the film that has students whose help the
students are resistant to. Hughey (2014) explains that the last part of an archetype for a white savior
teacher is that the students prove themselves to be the exception to the norm compared to the other
nonwhites. This is seen through Callie, a pregnant teenager who returns to school because Ms.
Johnson convinces her to. Similarly, Ms. Johnson convinces Raul that he can graduate and does not
have to turn to the streets for the rest of his life (Smith et al., 1999). This shows that Ms. Johnson
helped her students to beat the odds of dropping out of school or relaying on the streets, furthering
showing her as a white savior. By depicting Ms. Johnson as a white savior, the film is saying that
races are different and some races are better, which is an essential racial ideology. Additionally, the
students call her their "light" and that they need her because she is the only one that believes in them
(Smith et al., 1999).

Walt Disney 's Influence On
Examining Walt Disney 's Influence 1
Examining Walt Disney Production 's Influence 1
Examining Walt Disney Production 's Influence on Brad Bird
Sean Skokan
Cleveland State University
Outline
1) Introduction– Introduces reader to Brad Bird, his films, and Disney 's influence on both his work
and his life.
2) Body Disney Protagonists– Demonstrates how Disney protagonists, specifically females, are
depicted in films through several studies. Brad Bird 's Protagonists– Examines how protagonists are
displayed in Brad Bird 's films and compares them to previously established masculine and feminine
qualities that have resulted from these previous studies.
3) Conclusion– Summarizes the influence of Disney on Brad Bird 's life and films.
Abstract
This paper explores the influence and impact of classic Walt Disney productions on Brad Bird and
his films, and how these aforementioned productions compare and contrast to Bird 's films. Disney
protagonists are examined through their gender, feminine and masculine characteristics, through
several studies. These studies and their results are then used as a basis to compare and contrast to the
depiction of protagonists in Brad Bird 's films, as the depiction and traits of these protagonists are
examined.
Examining Walt Disney 's Influence on Brad Bird
Introduction to Brad Bird The products of the goliath commonly known as Disney and formally
known as The Walt Disney Company have had an undeniably large impact on animated

The Hybrid Animated Film: The Iron Giant
Animation has dramatically changed since the conception of Walt Disney's creations. Traditional
methods, while still used, have mostly given way to computer–based graphic software. These types
of computer–based programs allow for ambitious ideas to take shape earlier on during the concept
phase of production, allowing for the creative team to make dramatic changes during the inception
stages of production, saving time and money. The trend created by this software workflow, created
what is known as a "hybrid" animated film. The hybrid method utilized both traditional two
dimensional animation methods and computer generated imagery that seamlessly merge. The Iron
Giant, (Bird, 1998), was one of the first "hybrid" animated films. This directly influenced a trend
within the industry towards computer animation as a form of creative expression as opposed to a
tool to solve complex problems.
Prior to Warner Brothers creating The Iron Giant, feature animated films were made in a ... Show
more content on Helpwriting.net ...
(Robertson, 1999) This process made the CG characters and objects virtually indistinguishable from
hand drawn animation. By utilizing this process The Iron Giant became one of the first hybrid
animated films, "The Iron Giant himself, the first title character in a 2D animated film to be created
with 3D computer graphics." (Robertson,

Analysis of Bladerunner Essay
Introduction
In the science of studying media and communication, there are many different ways of approaching
the subject in which you are going to analyse. That is to analyse advertisements, texts, TV–series,
films etc. and other media. My task for this assignment is to give an analysis of a film of my choice.
A film is a quite complex medium to analyse; thus it is important to have analysis
"tools" or some criteria to follow. In my analysis I am asked to consider the use and
resolution of binary opposition and through analysis of narrative structure. In my assignment I am
going to consider how the couple is represented, and how the narrative structure and binary
oppositions have influence on the plot of the story. ... Show more content on Helpwriting.net ...
According to Todorov (in O'Shaugnessy, 1999, p. 107) there is a basic standard to narratives. In the
start of the narrative, there is a stable situation (equilibrium) that is disrupted (disequilibrium) by a
"villainous force" (Todorov in Taylor, L., & Willis, A., 1999, p. 76). This stable
situation is restored in the end of the narrative. Or as O'Sullivan et al. says "A meets B;
something happens; order returns" (O'Sullivan et al., 1994, p. 195).
According to Turner "most films start by establishing the lines of conflict which will
determine or motivate the events and actions of the story "(1988, p.85). The opening sequence
of Blade Runner displays the main conflict. Holden, who is a human interrogator, is killed by the
replicant Leon. These are opposing forces that set the main conflict or the plot of the story.
However, this theory is not too easy to apply to Blade Runner. The movie does not start with what
Todorov calls 'equilibrium' (O'Shaughnessey, 1999, p 107). In BR the equilibrium is quite diffuse.
Even though the situation is going to get more unstable throughout the movie, there is a lack of
stability, or plenitude, here. Deckard is in the middle of the chaos existing in Los Angeles in 2019, in
a hostile atmosphere.
The disequilibrium starts when Roy and Leon (two replicants) enter the eye laboratory of the Tyrell
Corporation. It is the first time in the film we encounter the replicants cold and

Vertigo Essay
Vertigo (1958), directed by Alfred Hitchcock, is an American psychological thriller film that
communicates ideas, themes and issues through the use of its visual style. The visual stylistic
choices enable the exploration of madness, scopophilia and feminist film theory within the film.
This paper will critically analyse how this is realised mainly through the use of "the Vertigo effect",
spirals as a motif, the male gaze and colour.
The theme of madness is a centerpiece to the film. Vertigo was the first film to utilize the dolly
zoom or "the Vertigo effect", an effect that is intended to create the perception of disorientation
(Wollen 1997, p.14). The effect is meant to be a representation of Scottie's acrophobia. It conveys
that he is "falling–away–from–himself" or to suggest that he is realizing that everything he once
believed in is not true (Wollen 1997, pp.14–15). Hitchcock also used the effect in the climax of the
film when Scottie looks ... Show more content on Helpwriting.net ...
58). This has contributed to audience viewing the female body as an object. By the end of the film it
could be argued that Judy turns into a doll and Midge turns into a painting. When Midge and
Madeline get the rare opportunity in cinema to view through the male gaze, they appear to be
depressed when looking at portraits of another women as the realize what men see them as.
Hitchcock however challenges the male gaze in this film. In a key scene in the film about two–thirds
into it, Judy has a flashback which reveals to the audience what actually did occur on top of the bell
tower. This use of a female character being afforded a flashback is uncharacteristic and not
stereotypical in Hollywood films at the time and can been seen as attempting to change the
stereotype of the male gaze (Wollen 1997, pp. 16–18). This challenges the male gaze due to the lead
female character not being seen as a passive object for the first time in the

American Horror Films Have Often Played On Our Societal Fears
American horror films have often played on our societal fears, and in Candyman (Bernard Rose,
1992), the film directly deals with race, reminding us that it is still very much a problem in society
today, and that 'our traumatic racial past still haunts us' (Vern, 2015). The film 'marks the
introduction of an African–American monster to the horror mainstream' (Donaldson, 2011) and it
'succeeds in asking some very pointed questions about race and class' (Elizabeth, 1992). Ultimately
this is done by investigating 'the obscure fears we harbour about the unknown' – or the racial 'other'
(Blackwell, 2015). Andrew Tudor says that 'typically, a horror movie will exploit the tensions
implicit in a particular contrast, confronting known with the ... Show more content on
Helpwriting.net ...
They visit the Cabrini–Green housing project which is rumoured to be the home of Candyman – as
this is where he was supposedly lynched by the white community. Candyman is the racial 'other' of
the film, as he is alienated from society. As the son of a slave, he grew up quite affluently for a black
man, as a result of his father earning money from a shoe manufacturing machine he invented after
the Civil War. Candyman went to good schools, became very well–educated and developed a talent
for painting. A white land–owner commissioned him to paint a picture of his daughter, whom he fell
in love with and conceived a child with. The dominantly white community lynched him, cut off his
arm, drenched him in honey and set him ablaze. Candyman is effectively punished for being
financially well–off and well–educated like his white counterparts and this plays on the white man's
fear of the black man breaking class boundaries. It can be said that 'the inclusion of Candyman's
back–story shows that Candyman is not even really a villain, but a victim' (Unknown, 2009) and this
therefore blurs the boundaries between the role of the monster and the role of the victim in

Marxist Theories And The Marxist Theory
Before examining the article and its link to the Marxist Theory, it is important to give a brief
description of the main tenets and principles of Marxism. Specifically, the Marxist paradigm
assumes that economic competition is the principle cause of conflict. Unlike other paradigms,
Marxism's method of societal analysis focuses on economic and material aspects. Focusing on class
relations and societal conflicts, the theory was first proposed by Karl Marx. Upon witnessing the
industrial revolution and the creation of an urban working class, Marx observed and experienced a
growing gap between the rich and the poor. In his Das Kapital and Communist Manifesto, Marx
predicted the growing impoverishment of the emergent working class and a ultimate major class
struggle in the systemic economic change. This emerging socioeconomic class will clash heavily
with the upper–class, or bourgeoisie – a class of factory owners exploiting the workers by
maintaining the gap between the price paid to workers (a subsistent wage) and the price obtained in
the marketplace for the produced good. In such state of Capitalism, centralized means of production
and wealth is gathered in the hands of a few (mostly factories owners) who merely seek to protect
and expand their wealth. Ultimately, the inequality in the distribution of wealth, according to Marx,
will lead to a revolution whereby overthrowing the bourgeoisie, as well as the capitalist system in its
entirety.
Undoubtedly, James Cameron's

The Matrix Warning
"The Matrix" (1999) is a Sci–Fi action film created by the "Wachowski Brothers" to present life in
an absent–minded dream world based on our solar system and a so–called real world which is set on
a planet known as 'Zion'. Artificial Intelligence is the use of Computer System(s) to imitate tasks
which human beings undertake. "The Matrix" (1999) depicts Artificial Intelligence in a unique sort
of way; representing it in a flexible manner, showing what it can do to society. Generally speaking;
this essay will show how the use of warnings to intimidate someone to get what you want, the
conflicts between human and machine and the way to act upon to get the results you want is all
presented by Artificial Intelligence in "the Matrix".
Threats is the use or act to frighten or terrorise; this is shown by Artificial Intelligence throughout
"The Matrix". The audience of the film believes that Agent Smith is the main antagonist in the story
and is Artificial Intelligence since he is created to make human like decisions. In addition; "The
Matrix" presents Agent Smith making 'threatening' remarks to Morpheus; trying to force him into
giving the Agent the ... Show more content on Helpwriting.net ...
In addition; the film also presents The Dreamworld as a computer generated world where the human
beings who are plugged live their lives and interact with one another; this also feeds the machines
located in "Planet Zion". "The Matrix" is referring to the dream world but when someone who is
unplugged interacts with those who are plugged. Morpheus the adviser in the story states; "It exists
now only as a part of a neutral–interactive simulation that we call The Matrix. The people who are
unplugged interact with the dream world; hence "the Matrix" makes important decisions which
incorporates the unplugged into the dreamworld which is Artificial

The West Side Story, Missrepresents Puerto Ricans
HOW "WEST SIDE STORY" MISSREPRESENTS PUERTO RICANS
YourFirstName YourLastName
Course Title
February 18, 2015
How "West Side Story" Misrepresents Puerto Ricans
The west side story is a story about two gangs, the Sharks, who represent the Puerto Ricans and Jets,
representing 'the real Americans'. The two gangs are ever at loggerheads, with hatred and constant
confrontations best describing their relationship. Many critics have shot down the praise of this film,
by openly stating that, it falsely represented Puerto Ricans, by how it depicted them. The story itself
is based in the 1950s, in one of the neighborhoods in New York City. (Hernández Vazquez 2002,
371). The neighborhood is a hard place to live in and from the start we are introduced to two
warring groups fighting for the control of the neighborhood. This neighborhood is a place where
ethnic and racial profiling are strife (Sandoval Sanchez 1999, 72). This paper discusses how the west
side story, silences some of the historical injustices associated with the united states colonialism of
Puerto Rico and then try to bring out how the Puerto Ricans characters are stereotypically portrayed
in the film.
The west side story tries to silence the historical injustices associated with United States colonialism
of Puerto Rico in a number of ways. In the beginning, we are introduced to Puerto Ricans who are
referred to as the sharks, to portray them as the bad guys and then we have the Jets who represent
the

The Talkies: Hollywood's Transition From Silent Film
The transition from silent film to the "talkies" in the mid 1920s transformed the face of the
American film industry and of mass entertainment. "Going to the picture show" was a wondrous
experience that for 25 cents, gave Americans in large cities an escape from their tedious lives and
offered an evening of "crystal chandeliers, marble fountains, gilt inlay and richly upholstered seats"
(Miller n.d.). They went to enjoy the "silent" film, which is not an entirely accurate statement
considering that all silent films were accompanied by live music, and were therefore not silent at all.
Full symphonic orchestras accompanied some silent films, while others had sound effects added by
organ, and smaller movie houses used the piano to add sound. Without ... Show more content on
Helpwriting.net ...
This came to be known as "Talkie Terror" amongst long–time silent film stars whose careers ended
along with the silent film era as a result of this phenomenon (Doyle 2010). In the December 1929
issue of Photoplay, an influential magazine in the film industry, the cover read "The Microphone –
The Terror of the Studios" with another tagline, "You Can't Get Away With It In Hollywood" (Doyle
2010). The issue dealt with the introduction of the new sound technology as it created a division
between Old and New Hollywood. An actor had to be more than just beautiful to thrive in New
Hollywood; so the new talkies starred stage actors who had more experience with dialogue (Doyle
2010). Many actors left their film careers due to voice issues due to the new technology, including
Colleen Moore, Gloria Swanson, Douglas Fairbanks and Mary Pickford, and others were pushed out
by studios using their voice as an excuse to demote or fire them (Doyle 2010). The silent–to–sound
transition did not only affect the stars; it ushered in a new breed of directors who had experience
working in theatre and thus had a better understanding of the power of voice; it gave great
importance to newly–hired, all–powerful sound technicians who shushed the Old Hollywood
directors as they shouted orders to actors

John Woo: from Hong Kong to Hollywood, the Killer and...
John Woo: from Hong Kong to Hollywood, The Killer and Face/Off John Woo and his "heroic
bloodshed" have revolutionized and rejuvenated the action genre, combining melodrama with action
to create the male melodrama, in which he explores the codes of masculinity while redefining them.
Robert Hanke says that "explosive pyrotechnics seem to be privileged over plot, narrative or
character" (Hanke 41) and yet notes that Jillian Sandell maintains the opinion that Woo does not
"celebrate this violence, but rather uses it to represent a nostalgia for a lost code of honor and
chivalry" (Hanke 1999: 45). While characterized by violence, Woo's films define masculinity within
a changing world. He does not set out to make violent films, defending ... Show more content on
Helpwriting.net ...
Woo gives us a new kind of male protagonist, one that "combines physical violence and emotional
intensity" (Hanke 1999: 39), visible from the start of The Killer. Jeff is introduced to us as cool and
calm, casually shooting a room full of people. This expressionless killing is contrasted with the
following scene which shows his wounds being tended to in a close up of his face that displays that
pain and emotion that he is feeling. This opposition between violence and sensitivity is clearly
demonstrated by the characters of Caster Troy and Sean Archer in Face/Off when they swap faces,
and they must appropriate the characteristics of the other in order to survive, "the binary logic of
either violent or emotionally sensitive is dissolved into both violent and sensitive" (Hanke 1999:
53). Similarly in The Killer, Li is a mirror image for Jeff, the only difference being a badge. Woo's
films are based on these oppositions, particlularly good/evil, which is visible in the images he uses
at the end of both films, the shootouts taking place in a church with slow motion action. On a wider
scale he tries to reconcile the gap between past and present, trying to get back what is lost. Woo's
Hong Kong films introduced a new hero, a new masculinity rather than homoeroticism, emphasizing
male bonding and brotherhood, showing us that masculinity is "fluid and open to redefinition"
(Hanke 1999: 56). This hero further evolves in the Hollywood produced Face/Off,

Stanford Prison Experiment Essay
The Stanford Prison Experiment was conducted in 1971 by psychologist Dr. Philip Zimbardo, as an
expansion to Dr. Stanley Milgram's research on obedience (Cherry, para. 1). Zimbardo wanted to
further investigate the impact of situational variables on human behaviour (Cherry, para. 1). He did
this by looking at the impact of becoming a prisoner or prison guard (Cherry, para. 1). Zimbardo and
his colleagues were interested in how the participants would react when placed in a simulated prison
environment (Cherry, para. 1). They were interested in the power of social situations (Feature Film –
The Stanford Prison Experiment Documentary). In an interview, Zimbardo asked, "Suppose you had
only kids who were normally healthy, psychologically and physically, ... Show more content on
Helpwriting.net ...
The study's sample was said to be composed of mostly white and middle–class males, particularly
college aged. This makes it difficult to apply the results to a wider population. It is also important to
note that prisons in western countries have both males and females as guards (Shuttleworth, 2008).
Also, some researchers have argued that there was a disconnect between illusion and reality and that
the experiment had not actually reconstructed the conditions of an actual prison. For example,
prisoners wore smocks with no underclothes, were called by their prison number, not by their name,
and prisoners' right ankle were chained to remind them of the oppressiveness of their environment
(Zimbardo, 1999). In a real prison, prisoners do not wear smocks, and they are allowed to wear
underclothes. They are also called by their names, and their right ankle is not normally chained
unless for transportation purposes.
Despite the criticism and the lack of ethics in the study, the Stanford Prison Experiment remains an
important study in our understanding of how situations and roles can influence human behaviour.
The Stanford Prison Experiment will, without a doubt, continue to be a model experiment explained,
researched, and discussed throughout psychology textbooks for generations to

Early Life And Education : Zarah Leander Essay
Early Life and Education Zarah Leander was born as Zarah Stina Hedberg in Karlstad, Sweden on
March 15, 1907 (Koepnick, 2002). Leander was a famous actress and singer of Nazi Germany
during the Third Reich (Ascheid, 1999). Early on, Leander began her career in Sweden as an actress
in both films and staged acts (Lunde, 2011). According to Ascheid (2003), Leander also was a
recording artist that had songs in many different languages such as in French and in her native
language, Swedish. Although Leander was in the film and music industry, she was not very well
known beyond the proxemics of her homeland in Sweden (Ascheid, 1999). In 1936, Leander was
first discovered by the German film industry for her staged musical role in Axel an der Himmerlstür,
which took place in Vienna (Ascheid, 1999). This was Leander's first German language role
(Acheid, 1999). The German film industry was in search for a female icon that could replace
Marlene Dietrich for her lack of role as a diva (Ascheid, 1999). Leander was viewed as a remarkable
woman, who had the capacity to appear dangerously seductive while still remaining pure and
innocent (Ascheid, 1999). Although Leander was not German, her double–image persona aligned
with Nazi ideologies. In 1936, Leander was then signed off for a contract of three films by the
German film industry, Ufa (Ascheid, 1999). She was also offered a reward of 200,000 Reichsmark
(Ascheid, 1999). Leander's first project with Ufa was for a film called Zu Neuen

Analysis of the Film American Beauty
'American Beauty' is a 1999 drama film that focuses on contemporary lives of individuals having
diverse personalities and identities. The movie and the main character Lester Burnham are aiming to
make us realise that life can be short therefore we should lead more meaningful lives. Through this,
he takes us one year back which summarises his life and those around him. Outward appearances
can be very deceiving as anyone can acquire superficial impressions. In this discussion, I will be
examining closely on a number of identities that is found in 'American Beauty'.
In the film, the characters are in the search for what they believed was their happiness. Too focused
on finding what they deemed was happiness, they failed to consistently maintain coherent identities.
Lester Burnham, a husband and a father, who is the protagonist of the film, feels ambushed at home
and at work. He has little to no control of his life as his wife Carolyn strives to be the perfect
American family. Lester unleashes from being controlled when he meets his daughter's best friend,
Angela and sees her as a femme fatale and their neighbour's son, Ricky. Ricky introduces himself to
Lester on one of Carolyn's business social function and gets along immediately while sharing a
joint. Lester witnesses Ricky quit his job casually and was amazed: "I think you just became my
personal hero." Meeting Ricky inspired Lester to re–live his teenage years and he was happy of the
outcome in the beginning. Through

Starship Troopers Racist Ideology
This essay will focus on the relationship between the film Starship Troopers (Verhoeven; 1997;
USA) and the parodic fascist ideology that is presented in the film. The film tells the story of an
interplanetary war between Earth and colonies of large insect–like aliens in the 23rd century. In
brief, this essay will delve into some of the utilized stylistic and thematic traits included in the film
such as the obvious Nazi imagery, the powerful media presence that is dictated by the State and the
deliberate satire that is used to comment on current American concerns.
Before we delve into how Starship Troopers portrays a parodic fascist/nationalistic ideology, we
must first define what ideology is, in particular, what is means in terms of cinema. ... Show more
Heinlein (Crim, 2009 p. 18). The novel followed a similar pattern of all his juvenile novels aimed at
male adolescents, "focusing on the 'science' of science–fiction whilst following youthful education
stories and supporting an optimistic vision of space conquest" (Melin, 2010). Critics took issue with
the attitude that his young protagonists portrayed, calling Heinlein's political views strongly
authoritarian and fascist. On the other hand, Verhoeven's ideology is exactly the opposite. Rather
than downplaying these fascist elements of Heinlein's novel, Verhoeven decides to play them up,
"giving the film's incipient Nazism an admiring positive spin" (Cass, 1999, p. 56), hence mocking
the very nature of Heinlein's novel. In his adaptation, Verhoeven gets away with cheeky, sometimes
savage, parody of patriotism with campy enthusiasm, blatant and black humour and a cast of bugs,
which steal the picture under the noses of the scrubbed and brainwashed teenage troopers. Some
critics who understood the satirical point still "worried that a younger audience would not–that naïve
viewers would embrace this fascist world, much as those of similar age did in the 1930s" (Grimsley,
2014, p. 76). According to Grimsley, the film's success in depicting the allure of fascism is what
assists us to understand WWII, for we have "long been so appalled by

Differences Between Metropolis And The Hunger Games
It is said that genre is linked to both social and cultural factors therefore changes in these factors will
result in changes in genre. Louise Gianettii (2005:359) states that the most enduring genres tend to
adapt to changing conditions. This statement is true based on a similar statement made by Bordwell
& Thompson (2008:116) stating that "Genres are tightly bound to cultural factors" This essay will
discuss the link that is between the science fiction genre, its characteristics and conventions and
changes in society which are visible in the two films set almost nine decades apart: Metropolis
(1927) and The Hunger Games and the way in which both film represent dystopian futuristic
societies which focuses on the disturbed state of the world ... Show more content on Helpwriting.net
...
Such fiction deals "less with people than with mental attitude with abstract ideas and theories.
Dystopian fiction is conventionally realist to the extent that such texts create worlds recognizably
like our own, to the extent at least that they are inhabited by human beings similar in essential ways
to us. Yet these imagined settings are also marked by an often startling alterity, a "difference "that is
the textual figuration of fear or desire or a complex mixture of the two. Dystopian fiction presents us
with futures that conform to our deepest terrors and wishes (Palmer 2008). Metropolis: The city of
Metropolisis modelled on New York as the filmmaker imagined it would appear a century into the
future–which today looks like something straight out of Blade Runner: skyscrapers everywhere, jets
flying at all levels, monorails linking every other floor, and helicopters hovering in the midst of all
of it. "Genres help assure that members of society share some general notions about the types of
films that compete for attention" (Bordwell & Thompson, 2008:319). Genres can have social
functions either as vehicles for conveying ideological messages or as a ritual practice for audiences
for affirmation or reconciliation of issues in their lives as well as cultural values The familiar
characterizations and plots of genres may also serve to distract the audience from real social
problems Genre conventions arouse emotion by touching on deep social uncertainties but then
channel those emotions into approved

The Techniques Used in American Beauty Essay
The film American Beauty, directed by Sam Mendes is a film about imprisonment and escape from
imprisonment (Mendes, 1999). American Beauty explores the breakdown of a suburban family man
whose life journeys from self loathing and emptiness to freedom and liberation but at the ultimate
cost of his life. Mendes effectively employs a range of techniques to help convey the meaning of
this film such as set design, camera angles, colour and soundtrack.
Cinema often uses structured set design and camera angles to convey meaning to an audience.
Throughout American Beauty, Mendesʼ use of set design and camera angles have been carefully
structured to emphathise the filmʼs theme of imprisonment. In the opening scene the audienceʼs
introduction to the ... Show more content on Helpwriting.net ...
Interestingly, as the film progresses and Lesterʼs relationships evolve, the camera angles also evolve
in reverse and the audience begins to see Lester shot in a low angle and characters like Carolyn are
shot in a high angle, indicating that Carolyn is now vulnerable. These altered camera angles give
Lester a triumphant image.
Another technique Mendes uses is colour. The use of colour is often an important technique utilised
by film directors to communicate themes and ideas to an audience. In American Beauty, Mendes
powerfully uses colour to communicate that the characters are attempting to escape from their
imprisonment. Initially the characters are seen in environments that are very dull and nondescript, as
Mendes (1999) states when referring to Lesterʼs work setting. As Lesterʼs quest for escapement
gains momentum, the vivid colour of red is gradually introduced more into this film through subtle
furnishings in the Burnham house and particularly integrated with Lesterʼs sexual fantasies. The use
of the vibrant, red rose petal is first introduced when Lester and Carolyn attend Janeʼs cheer
performance, where Lester loses himself as he enters his first "tunnel of fantasy" (Mendes, 1999).
Deschler (1999) states the rose is symbolic of American beauty, and the colour red symbolises
passion and love. The significance of the rose petal and the colour red is repeatedly seen throughout
the film in house furnishings such as a bouquet of

Ridley Scott's Blade Runner
Introduction In the science of studying media and communication, there are many different ways of
approaching the subject in which you are going to analyse. That is to analyse advertisements, texts,
TV–series, films etc. and other media. My task for this assignment is to give an analysis of a film of
my choice. A film is a quite complex medium to analyse; thus it is important to have analysis "tools"
or some criteria to follow. In my analysis I am asked to consider the use and resolution of binary
opposition and through analysis of narrative structure. In my assignment I am going to consider how
the couple is represented, and how the narrative structure and binary oppositions have influence on
the plot of the story. Bladerunner is a ... Show more content on Helpwriting.net ...
We have got "the villain" in the strongest and most elegant replicant, Roy Batty. He is the arch–
replicant, or head of the evil force. On the opposite side we have got Deckard, which is "the hero" of
the story. He fights the villain and his associates. The "helper" in the story is the other blade runner
is Gaff, even though he doesn't appear too often. He is still on Deckards side, and he keeps leaving
small origami objects wherever he goes. The "princess" though is undoubtedly Rachel. The ending
of BR, is like a classical one, where the "hero" gets the "princess". The hero fights and defeats the
villain. The way the audience view the events in the film, is very much decided by whose point of
view that is being used (O'Shaugnessey, 1999, p. 113). The way Deckard's voice–over is used in BR
makes it easier for us to know which characters to sympathise with, and also to follow the plot.
Deckard's voice–over lets us in on his emotions and how he views things. It is also easier to follow
the changes he is going through. In the "Director's Cut" –version of Blade Runner, the voice–over is
let out. This detail makes this story a lot more intricate, because the protagonist is much more
difficult to understand. Even though the voice–over is a very small part of the movie, it makes it a
lot easier for the audience to know how

John Woo: from Hong Kong to Hollywood, The Killer and...
John Woo: from Hong Kong to Hollywood, The Killer and Face/Off
John Woo and his "heroic bloodshed" have revolutionized and rejuvenated the action genre,
combining melodrama with action to create the male melodrama, in which he explores the codes of
masculinity while redefining them. Robert Hanke says that "explosive pyrotechnics seem to be
privileged over plot, narrative or character" (Hanke 41) and yet notes that Jillian Sandell maintains
the opinion that Woo does not "celebrate this violence, but rather uses it to represent a nostalgia for a
lost code of honor and chivalry" (Hanke 1999: 45). While characterized by violence, Woo's films
define masculinity within a changing world. He does not set out to make violent films, defending A
... Show more content on Helpwriting.net ...
In The Killer, Jeff is a noble, loyal and chivalric, a "twentieth–century version of [a] Chinese knight
with traditional codes of loyalty and friendship yet still relevant to the contemporary world"
(Williams 2000: 148). In this modern interpretation he is a gangster, yet still encompasses all of
these characteristics, a break from the xia figures who were either lawful or operating outside of the
law's influence. Woo gives us a new kind of male protagonist, one that "combines physical violence
and emotional intensity" (Hanke 1999: 39), visible from the start of The Killer. Jeff is introduced to
us as cool and calm, casually shooting a room full of people. This expressionless killing is
contrasted with the following scene which shows his wounds being tended to in a close up of his
face that displays that pain and emotion that he is feeling. This opposition between violence and
sensitivity is clearly demonstrated by the characters of Caster Troy and Sean Archer in Face/Off
when they swap faces, and they must appropriate the characteristics of the other in order to survive,
"the binary logic of either violent or emotionally sensitive is dissolved into both violent and
sensitive" (Hanke 1999: 53). Similarly in The Killer, Li is a mirror image for Jeff, the only
difference being a badge. Woo's films are based on these oppositions, particlularly good/evil, which
is visible in the images he

Media Stereotypes
(2002), they expanded on this concept by showing that 0.8% (out of 600 articles) of these mentally
ill individuals were quoted directly, with the use of their own words. This further shows that
mentally ill individuals are not given enough say, and this could be a problem. Perhaps if they were
given a voice, stigma could be reduced if people saw that they weren't as dangerous as the media
makes them out to be. Another study conducted by Roberts, Bourne, and Basden (2013) shows that
these results are seen in different countries. Their study, conducted in Bermuda, analyzed
newspapers for a twenty year period from 1991–2011. They examined a sample of 277 newspaper
articles, coded for mentions of mental illness. They found that 40% overall carried ... Show more
This stigma, present in different forms of media, creates an extremely negative picture of both
mentally ill individuals and those who help treat mentally ill individuals. Previous research has
discovered that representations of mental illness in fictional media can negatively influence public
images of mental illness, which can perpetuate stigma (Pirkis et al. 2005). Previous research by
Granello et al. (1999) examined what type of media had the most significant impact on attitudes
surrounding mental illness. Granello et al. (1999) found that those who received the majority of their
information from electronic media were less tolerant of mentally ill individuals, and had higher
levels of stigma. The results showed that those who favored electronic media were more likely to
favor authoritarian and socially restrictive views towards mental illness, as well as less likely to
positively view mental illness treatment in the community in a positive way. These results were
similar to those found by Lopez (1991), who found that adolescents were less accepting of mentally
ill individuals, and desired more social distance, when mass media was a source of their information
about mentally ill individuals. The concept of "social distance" has been used in other studies, such
as those done by Link et al. (1999), who found that the strong desire for social distance represents
undesirable

Cinema of Attractions vs Narrative Cinema
This essay will discuss both the Cinema of Attractions and Narrative Cinema and their origins in
order to better understand the differences found between them in regards to the criteria to follow.
This essay will highlight the role that the spectator plays, and the temporality that both the Cinema
of Attractions and Narrative Cinema exhibit.
Tom Gunning proposed the Continuity Model in order to better understand the beginning of film
and the making of film. Gunning proposes the following assumptions: Firstly, the evolutionary
assumption, in which film is considered to have developed linearly across time as more
development occurs. Secondly, the cinematic assumption theorises that film only truly came to
being through the ... Show more content on Helpwriting.net ...
Méliès was one of the first directors to progress cinematic technology, which paved the way for
narratives as style of film (Leveridge, 2012: 98).
Cinema after 1906, according to Gunning, pushed towards the structure of linear narrative, and
away from the immediacy of the "spectacular image" (Strauven, 1999: 387).
Paradigms and their relation to the Spectator
The Cinema of Attractions is based on an exhibitionist paradigm (Gunning, 2004: 44), where it
seeks to knowingly addressing the spectator and provide its spectator with a series of views or
selective information (Strauven, 1999: 49). The cinema of attractions existed primarily between the
years 1895 and 1906 (Strauven, 1999: 38).
Cinema of Attractions is concerned with the ability to display. Attractions wanted to show the 'here
and now', interacting with its spectator with the aim of satisfying the audience's curiosity quickly
(Gunning, 2004: 44). It displays current events, scenes form everyday life, composed scenes,
vaudeville performances and also camera tricks (as pioneered by George Méliès). Cinema of
Attractions aims to astonish its audience (Strauven, 1999: 50). through displaying, rather than
amusing its audience through narrative content. This is seen in films such as G. Méliès' ' L'homme–
orchestre (One Man Band)' (1900), or his 'L'homme à la tête de caoutchouc (The Man With The
Rubber Head)' (1901) where the actor(s) constantly address the camera/spectator and the audience is

Marxism In The Film Matewan
Marxism is often a philosophy only understood by advanced scholars and criticized by those that
wrongfully dub it as being solely "communist. Marxism is a lot more than communism and
socialism. The film Matewan takes place in the 1920s and Matrix which takes place in 2199 are two
very different films that share similar ideas. The ideas range from class alienation, commodity
fetishism, class consciousness as well as tactics used by the state to support capitalist exploitation
and bourgeois hegemony. A background into the first film Matewan, tells the story of an incident in
the struggle to unionize the Mingo County in the West Virginia coalfield. The film begins
underground with a coalface being blown and the news is passed round that the Stone Mountain
Company has imposed a wage cut. Joe Kenehan, the protagonist is a union organizer on his way to
Matewan by train (Sayles, Renzi, & Rajski, 1987). The Matrix on the other hand depicts a dystopian
future in which reality as perceived by most humans is actually a simulated reality called "the
Matrix", created by conscious machines to moderate the human population. Neo, the protagonist in
Matrix, takes the 'red pill' and is reborn into the reality of Earth 2199, where he learns about the
exploitation of humans (Wachowski et al., 1999). The concepts of class consciousness as mentioned
by Karl Marx first needs to be between people was determined primarily through who controlled the
mode of economic production i.e. land or

New German Materialism
The efforts of the Western Allies to eradicate Nazism in the West German film industry in the years
following the Second World War largely attributed to the emergence of New German Cinema. By
the mid–1950s, the persistent pursuit of their political and economic self–interests left the West
German cinema in an economically and artistically detrimental state, thus calling for government
intervention. This, in turn, resulted in the inauguration of the 1962 Oberhausen Manifesto. Written
and signed by twenty–six young German filmmakers who rejected the traditional German cinema, it
emphasized their belief in the necessity for films to reflect the state of contemporary Germany rather
than to entertain. As a result, they set out to create artistically challenging films that effectively
reflected the materialism of postwar Germany, the state of various social classes, as well as the
moral disaster that the Nazi legacy left. In prioritising the production and distribution of these films,
the group were successful in gaining financial and augural control in ... Show more content on
Helpwriting.net ...
He employs music in a way that allows him to articulate ideas that cannot be expressed by the
characters through dialogue. For example, the recurring use of the song, 'California Dreamin' by The
Mamas and the Papas becomes associated with Faye and represents her as a character who prefers to
substitute words with music as a way of communication. The song serves as a trademark of her
presence in scenes and captures her dreams of the potential future and her desire to flee Hong Kong.
When the song is played by Officer 663 at the end of the film rather than Faye, it represents the fact
that she has left a lasting impression on him. Thus, Wong's employment of musical repetition has a
significant role in the film as it acts as a tool that enables him to convey prominent themes of the

A Midsummer Night's Dream Compare And Contrast Essay
All Shakespearean plays are interpreted very differently and all versions we watched were very
different. Shakespeare created these plays to allow people to put their own spin on the stories, and
that is what each of the producers, and film directors chose to do. The two plays I watched were the
1999 interpretation, and A Midsummer Night's Dream" presented by Rice University Department of
Visual and Dramatic Arts. After watching both of them and seeing the difference between the two,
the 1999 version caught my attention the most for many reasons. The 1999 version of a
Midsummer's Night Dream was showcased as a movie rather than a play on a set. Props were used
in this version to create a very dramatic effect to show the difference of Athens and the "Woods ...
Show more content on Helpwriting.net ...
Clothing was also very different, in the 1999 interpretation, the costumes were very athenian and
went along with the story. The actors in the play version, were very poor, it was extremely hard to
understand what was happening and understand the main point. Along with the actors, their stage
presence in the play version put on by Rice University was very tiresome, emotion and enthusiasm
were lacking throughout some parts of the play. The 1999 version also had much more singing and
was seemed to be more action packed. The actors weren't just walking across stage trying to act the
scenes out. The directors also chose to put in different scenes which was very obvious when
watching both versions. Camera angles were very prominent in the movie version, it created a
dramatic effect and caught the eye of the viewer. Where in the other version we only see three
different angles, up close, far away and on the side. Rice University chose not to make the fairies a
main part in the play, where in the 1999 version, fairies were used with each of the characters, this
was easier to follow and interpret why

Kate Spencer And The 1999 Film Rosetta
Whether we realize it or not, work is a part of our everyday lives. From running errands to children
going to school, it is all work–things that we do to keep busy. But for most people, work is
synonymous with money. It is the money, after all, that goes on to pay the bills, feed our families,
and of course, buy us whatever it is we want. This, for the most part, is how society works. As a
result, it is only natural for one to equate work with normality–that to work meant one was normal,
and more importantly, that one was successful. Such a case can be seen in Roddy Doyle's novel
Paula Spencer and the 1999 film Rosetta, where both women–who come from impoverished
backgrounds–view work as a way to integrate into society and gain a sense of normality within their
unconventional lives. Work is a way for these women to feel as if they belong, and that they aren't
any different or worth less than other people. Work, to them, is a status symbol that represents
conformity. That is, to work is to conform. And to conform, of course, meant that they were normal,
and that they were just like everybody else. Living in poverty and coming from a troubled
background, both Paula and Rosetta are no strangers to being invisible to society. They are the
forgotten. The nameless. And they are far from the working, model citizen that society projects onto
people: Paula is a former alcoholic deadbeat, and Rosetta is an uneducated teenager with an
alcoholic for a mother. Needless to say, they are

What Does The Mummy Mean
The Film I chose to analyze is the 1999 film, The Mummy, by Stephen Summers. The Mummy is an
amazing film that is a spin–off from the 1932 movie The Mummy by Karl Freund. Both movies are
filled with thrills, chills, imagination, creativity, adventure, and horror. Stephen Summers captures
the unknown desires of lost treasures in the Sahara deserts from Ancient Egyptian ruins of
Hamunaptra, by using an outstanding cast that keeps you in suspense wondering what is next to
come. The cast consists played by Brendan Fraser, Rachel Weisz, John Hannah and Arnold Vosloo.
Three explorers in search of the treasure in the Sahara Desert in 1925 looking the ancient ruins of
Hamunaptra, that stumbled upon a 3000–year–old tomb of the ancient priest named ... Show more
In the 1999 version of The Mummy director Stephen Summers used computerized technology, to
bring a more realistic view to the movie, were as Freund used a three–camera system and a lot of
makeup. In an interview, Summers said he wanted to get away from the old movies with the
mummies being wrapped in cloth, but more of a realist feel of what a mummy would look like aged
with a lot of wrinkles. (IMBD) Summers enlisted visual effects supervisor John Andrew Berton Jr.
to help him create the visual effect that is needed in the movie to make the movie more realistic to
what he envisioned the movie to be Were as Freund enlisted Carl Laemmle, Jr to help create the
dark, silent misty scene and soft lighting to bring out the dark eerie feel in the movie. Laemmle used
dolly shots and several special effects technique's that lead to the creation of the first handheld
camera. (Miller) Another example, is the creation of the Egyptian city of Hamunaptra, while both
directors used wooden structures to create a small city, Berton used a computerized digital
background of the city and photograph of real images of places in Egypt, Freund used real life actors
in costumes, and used outdoors sense to give it a more realist effect. In creating the mummy both
directors use real life actors. The actors had to dress and mimic what a real mummy walking and
using vocal sounds. In both movies, the mummy was the main character. The creation of the
mummy was very important so the special and visual effect had to be very realistic. In the 1932
version, the mummy was wrapped in bandages and was wearing a lot of makeup and body paint
were as in the 1999 version the mummy was digitally created and using LED tracking monitors
capture moving the motion to show a realist the movements that are closely related to humans.
(Coleman). In both movies, the cameras the was used were motion capture control cameras and
stunt men to capture the movement of

Masculinity As An Essential Merit Of Identity
Almost every person has heard the quote "the first rule of fight club is you do not talk about fight
club", a line from a film that's widely known for its mind–bending plot that's a blend of dark
comedy, psychological thriller, and drama (Linson & Fincher, 1999). Despite its entertainment
value, many fail to see the films in–depth social commentary on life in post–modern America. I saw
that the film subtly skewers many aspects of life today such as consumerism, morality, organized
religion, pop culture; and the focus of this essay; the portrayal of masculinity. In Fight Club,
masculinity is portrayed as an essential merit of identity, absent in the average postmodern
American male due to the consumerist nature of society. Consequently, the ... Show more content on
Helpwriting.net ...
Masculinity is portrayed in the film as an essential trait for men to have because it gives them a
sense of identity and purpose. Although definitions of masculinity vary, I believe it is traditionally
characteristics that make someone 'manly' such as apathy, psychical strength, or aggression.
However, I feel these roles are less defined today as the increasing equality of the sexes has helped
break down these traditional barriers. In the movie, I noticed the Narrator is depicted as the average
American male; he's middle class, white, heterosexual, and works a white–collar job. Despite having
several things that would theoretically give someone a sense of purpose and identity such as a job,
the Narrator is depressed, timid, feels powerless, and lacks identity. I think the biggest evidence of
the Narrator's lack of identity is the fact that he isn't given a name until the twist of the film is
revealed (Linson & Fincher, 1999). I believe that the film portrays this lack of identity and
unhappiness as being caused by the Narrator's lack of traditional masculine qualities. I remember
that there was a quote that explicitly stated this where the Narrator described himself as "a 30–year–
old boy" when asked by Durden if he'd ever marry (Linson & Fincher, 1999).

Defining Transnational Cinema
This analysis will scrutinize three articles that parallel in the intrest of defining transnational cinema.
First, the analysis will attempt to define transnational cinema. The second article will describe how
artists use film to convey a deeper message. Finally, the last article will examine borders and border
crossings in the movie Veer Zarra. Is there a difference between national cinemas vs. transnational
cinemas? In the article from Higbee, W. and Lim, S. H., defines transnational cinema. In one
perspective national cinema is "descriptions from a perspective point of view", instead of an actual
description (Higbee, 2010). Examining transnational cinema from a local perspective, rather than
globalized. The article explains how borders are blurred by "telecommunications technologies", and
debates between nations are transferred into films (Higbee, 2010). The article states," there are three
essential elements applied in film studies in order to define transnational cinema. The article
deliberates the limitation of a national cinema, in correlation with transnational cinema, which
construes relationships between cinema, and cultural economic factors. Also, transnational is
interpreted as creating the film from a regional phenomenon. Finally, transnational cinema
represents culture and identity, "to challenge the western construct of a nation and national culture
and by extension, national cinema as stable...." (Higbee, 2010). In transnational cinema, there is a

Propaganda During Nazi Germany Essay
Examine why and how film was used for propaganda purposes in Nazi Germany. "The function of
propaganda is,for example,not to weigh and ponder the rights of different people,but exclusively to
emphasize the one right which it has set out to argue for.it's task is not to make an objective study of
the truth,...its task is to serve our own right,always and unflinchingly"
(Hitler,1971,p182).Propaganda as defined by Welch(1983,p2),is the art of brainwashing,so as to
alter attitudes and ideas.Though the art of persuasion is nothing new,it became more innovative in
the first half of the twentieth century,such as through the "popular press,then the film and the radio"
(Tegel,2007,p.12).This was headed by the Ministry of Propaganda under Joseph ... Show more
Another motive why film was used by the Nazis as a propaganda tool was it's ability to rally and
influence the masses.Propaganda was needed to persuade the masses to accept Nazi policies
.Besides tolerating the government,Goebbels believed that the mobilization of the people was also
vital for a wholehearted commitment to the Nazi state(Welch,2002,p25).As Grunberger(1995,p377)
noted,cinema attendances quadrupled from 250 million in 1933,to 1000 million in 1942.Thus,film
was an effective weapon used to propagate the people. Film was hence used by the Nazis to rally
support for the " euthanasia action" as depicted in the film,I Accuse(1941)(Moeller,2000,p99) The
Nazis saw the need for racial purity.(Welch,2002,p83))Thus racial propaganda was used to spread
both anti–Jewish and Slavic feelings as well as to showcase the superiority of the Aryan race(Ibid).
In Mein Kamf,Hilter stressed the need for establishing racial attitudes, "No boy or girl must leave
school without having attained a clear insight into the meaning of racial purity and the importance of
maintaining the racial blood unadulterated."(Ibid) The film I Accuse(1941) was a success as it
attracted a very large audience and was seen by over 15 million people.The melodramatic film
showcase a triangular love story with emphasis on the intensity of Hanna's suffering,and the
disagreement between her husband(Heyt) and his friend(Lang) over the use of euthanasia on his

In The Film 'Farewell My ConcubineAndThe King And The Clown'
Drawing on the two films "Farewell my Concubine" and "The King and the Clown" will further
explore how homosexuality is represented among China and South Korea. The film, "Farewell my
Concubine" was one of the first and most significant discussions towards homosexuality being
depicted on screen. It was released in the year 1993, covering the period of the Chinese social
upheavals between the 1920s through to the 1970s in the setting of the Beijing Opera. The film
raises the attitude of homosexuality in the most painful period of the traditional Chinese history, for
the Chinese and Western viewers (Lau 1995, 22). According to Lau, this film was an opportunity to
stimulate the inherent of the Beijing Opera in relation to the homosexual practices that were
tolerated during the era (Lau 1995, 22). Zheng further suggested that the film was also a chance to
understand the homophobic anxiety of the historical and political brutality in Chinese history
(Zhang 1999, 101). The film attempts to illustrate that the Chinese cultural connections and
homosexuality cannot coexist. The main protagonist, Cheng Dieyi, sense of identity is heavily
reinforced by the power structure within the environment through harsh symbolic rapes. Lau
suggested that the symbolic rapes, such as the loss of finger and getting a pipe forced into the mouth
are indications of homosexuality (Lau 1995, 23). According to Zheng, the scene when Dieyi gets
raped by the eunuch has exhibited Dieyi's disruption towards the

Film Review : The Death Of Cinema
CRITICALLY DISCUSS ANY OF THE FILMS SCREENED IN THE COURSE IN RELATION
TO DISCOURSES SURROUNDING THE "DEATH OF CINEMA". WHY ARE SUCH
IDEAS/DISCOURSES ATTRACTIVE TO PARTICULAR FILMMAKERS AND TYPES OF
CINEMA?
Notions surrounding the "death of cinema" have been infiltrating cinema discourses for many years
now. As we move away from cinema in its 'purist' form, we have almost completely transitioned into
the digital age, and with this transition, ideas and opinions on the ultimate fate of cinema have
become more popular and important. Many contribute technological advances in film as the driving
force behind the dissolution of cinema's distinctive art form. Yet this involuntary "transformation" of
cinema is but one "death" in a group of discourses. As Michael Witt (1999) summarizes in his article
The death(s) of cinema according to Godard, cinema has suffered not a single death, but "a series of
deaths". Jean–Luc Godard has for many decades been at the forefront of the discussion surrounding
the death of Cinema.
For the purpose of this essay, I will investigate the death of cinema as a series of deaths: three as
identified by Jean–Luc Godard, as well as the ideas surrounding the 'modern death' of cinema –
technological change and the corporatisation of film. Furthermore, I will aim to understand why
such discourses hold such importance to certain auteurs and types of cinema.
"Le cinema s 'est arrete dans les annees 20 avec le muet" translated into – Cinema stopped in the

Molokai: The Australian 1999 Film
The Australian 1999 film "Molokai" produced by vine international, displays the last 16 years of the
famous sacred heart priest; Father Damien. The catholic priest was born on January 3rd in 1840, had
an excellent education and during his college years decided to become a priest in 1860 (at 20). He
worked in the sacred heart parish in New York until he was called to attention of the lepers suffering
in Molokai when the offer came up, he took it immediately. His days at Molokai were spent helping
the lepers and treating them as though they were equals. He attended their physical needs, such as
food and water but he also attended to their spiritual and emotional needs as he converted many
lepers and taught them the way of God. Through these actions ... Show more content on
Helpwriting.net ...
Such as in the beginning of his journey Father Damien has an in counter with an elderly man in a
poorly made tent he eventually got to know his name (William Williamson) and a brief story of his
past before catching leprosy. At the discovery of Williams faith Fr Damien encouraged him to
change to the Christian life before he passes away. It processes with both characters being stubborn
and refusing each other's ideas but in the last minutes of his life, William finally agrees to changing
faith and then dies a Christian. Due to the successfulness of converting sinners he taught them that
God can make them happy and can comfort them. Such as the time when Father Damien goes to
"the Mad House". A den for desperate drunkenness and carousing. He has gone there because a
mother tells him the gangs have taken her young daughter there. Father Damien confronts the gangs,
but they jeer at him. Two men pick up a rotting, limbless, nearly faceless crone and laugh as she
plants a kiss on the priest. The laughter ceases when Father Damien takes the old woman into his
arms and kisses her in blessing and comfort. This scene shows that father Damien cares about them
even when they are mocking him as it says "Be patient with those that are badly off, do not keep
them waiting on your generosity. For the commandment's sake go to the poor man's help, do not turn
on him away empty handed in his need" (Ecclesiasticus 29:8–12). Another time that father Damien
represents this passage is the work of mercy that is, to bear wrongs patiently like the time the prime
minister claimed that there must be no nuns, priest or doctors allowed into Molokai. Father Damien
annoyed, waited patiently and helped the lepers by himself until the prime minister approved and
thankfully near the end of the movie he got more people to come and help the lepers, thankfully they
came at the perfect time

Girl Interrupted Analysis
Pain demands to be felt. Through analysing one written text and three visual texts the reoccurring
connection between them is mental illness. All four texts bring about the idea of pain in the world
being inevitable and mental detachment from the world being the only solution, making me question
the world that we live in. Fight Club (1999) written by Chuck Palahniuk, Girl, Interrupted (1999)
directed by James Mangold, Requeim for a Dream directed by Darren Anronofsky (2000), and
Clean Shaven (1993) directed by Lodge Kerrigan each show a realist perspective of coping with
mental illness and the struggle of reality. Each character with their own reality that they face we see
the lengths that they are willing to go to ease their constant pain they feel making the individual
question the borderline of sanity and insanity. I ... Show more content on Helpwriting.net ...
The key to the detachment is losing all hope it's when we lose hope that we essentially give up on
life due to reality being too hard to face, and in that moment, we find freedom. In the novel Fight
Club, the characterisation of Tyler Durden, is interesting in the sense that he creates a protective
alter–ego for himself, "Hey, you created me. I didn't create some loser alter ego to make myself feel
better. " (Fight Club, 1999), this quote shows that Tyler's unhappiness with reality is reason enough
for him to create a different reality through adventure and the elements of adrenaline and danger in
contrast to his average mediocre life. Tyler's adventurous spirit is seen through the creation of Fight
Club where he puts himself in in extreme situations, just to see if he will survive and even when
there is no possible way he can survive his adventurous ways he still challenges himself. For
instance, in the beginning and end of the novel he is on top of a Skyscraper where a bomb is set to
go off at a certain time, he has a pistol in his mouth and is ready to

The Sexual Aspect Of American Beauty
A minority of critics and movie analysts have attempted to pick at the sexual aspect of American
Beauty in hopes of uncovering a hidden meaning instead they are simply over reaching. American
Beauty is a satire that aims to shed some much needed light on the hidden world that lives in the
American suburban setting. Successfully accomplished by Mendes through the exposure of certain
topics and sexuality undoubtably being one of them. Ricky's father Colonel Frank Fitts a military
man who brings his military world of discipline and order to the management of his family is
ironically a homophobe. The irony is displayed at the last scene of the movie where its revealed that
the colonel himself is a homosexual man when he kisses Lester. Likewise Lester and Jane's friend
Angela's relationship is created upon aesthetic desire from both parties; the sexual half part of the
relationship never comes to life but the relationship stirs much controversy nonetheless. Both
examples provide room for the minority argument although these examples only play a part in the
mocking and exposure of the hidden scandals that occur within the suburban setting and neither
make it to the final message that Mendes want his viewers to walk away with. Critics believe these
sexual interactions and relationships should be mentioned and stamped with a negative connotation
especially that of Lester and Angela since "Only 2 of the 492 critics used the word "pedophilia" in
their assessments of American Beauty"

American Beauty Term Paper
Term Paper: American Beauty
What are the costs of living in a success–driven, consumer–oriented, image–obsessed society? This
challenge to contemporary America's suburban culture finds a voice in Sam Mendes' 1999 movie
American Beauty. The film's complex subtlety underscores its implication that subtlety itself is a
casualty in our society. American Beauty's tagline exhorts viewers to "look closer," but the film
expresses ambivalence concerning what is revealed by closer inspection. On one hand, protagonist
Lester Burnham (Kevin Spacey) and his young neighbor Ricky Fitts (Wes Bentley) speak of the
unappreciated beauty surrounding us; however, Lester also begins to question the values of a world
that seems perfect but is actually a ... Show more content on Helpwriting.net ...
Mendes and cinematographer Conrad Hall substitute film of a lower resolution to add realism to
shots supposedly filmed with Ricky's video camera. Black and white footage in the closing montage
sequence differentiates Lester's memories of his life and family from the story time of the flashback
that makes up the rest of the movie. However, the most important feature of American Beauty's
camerawork is the use of the technique to reinforce the message of the movie's tagline, which tells
viewers to "look closer." Though zoom–out shots occasionally appear – most notably in the closing
helicopter shot – they are far outnumbered by zooms that bring the audience closer to the subject.
This preponderance not only contributes to the film's theme but also emphasizes zoom–outs,
particularly in the final shot of the film. Ricky makes abundant use of the zoom feature on his
camera, and because his subject is often Jane, close ups on her are common. One particularly
interesting example appears in the scene of Angela spending the night with Jane in the movie's first
section. The girls notice that Ricky has spelled out "Jane" in the yard in burning letters. Surmising
that Ricky is filming them, Jane retreats flustered while Angela, ever the exhibitionist, dances at the
window. Rather than focusing on Angela, the crass, unsubtle beauty, Ricky zooms past her to settle
on Jane's face reflected in a mirror. From her faint smile – an

Shower From 1999: Film Analysis
In modern day Beijing the movie Shower from 1999 represents one man's conflict between his
modern way of life and that of his traditional father's lifestyle. Da Ming is the main character who
ran away from his home of Beijing south to Shenzhen to get rich and find a modern wife. The
beginning of the movie displays a man being given a shower by a machine. This shower scene
symbolizes the fast pace way of modern life where everything is automated and time is essentially
money. This is different from the ancient way of life where it was ritual like to take a bath. Shower
represents the divide between modern and traditional life, and how modernization will always win.
Er Ming is Da's brother and is mentally handicapped. Da received a call from Er Ming that his father
has died and he rushed to his father's bathhouse to find his father alive. Er Ming's purpose for this
call was to reunite the family. Da is constantly worried about work and is receiving calls from his
modern wife who is always yelling at him or upset. This represents how in modern life the only
focus is work and money. Da's wife was upset because Da was not home working for a living and
taking care of her needs. ... Show more content on Helpwriting.net ...
This tradition was a woman had to take a bath the day before her wedding day. This conflicted with
her family's situation where they had to give up grain for water which meant they would go hungry
for many days in order to keep with the Chinese tradition. Fasts forward to Da Ming's father's
bathhouse it is a traditional style bathhouse where leisure is a commodity and people are able to be
truly free. The bathhouse has medicinal like effects being able to help a man sing 'O Sole Mio' under
the waters of the bathhouse while not being able to sing in front of a group of

American Beauty, directed by Sam Mendes and The Virgin...
Reality. Merriam Webster's Online Dictionary defines reality as "something that is neither derivative
nor dependent but exists necessarily." But what is real by today's standards? Does what appears to
be normal equal reality? By looking at two different films it seems that the old cliche stands correct.
Things aren't as they appear. American Beauty and The Virgin Suicides give classic examples of
how "normal" and "happy" suburban life is anything but. American Beauty, directed by Sam
Mendes (1999) and The Virgin Suicides, directed by Sofia Coppola (2000), share many of the same
themes even though the plots are contrasted. Underneath the layers of white picket fences, beautiful
houses, and safe neighborhoods, lies a truth. A truth so dark ... Show more content on
Helpwriting.net ...
For they too were in their own cells. They both were confined to the hurt and desperation of having
one of their children take her own life. Was it because of failure on their parts? The answer to this
they will never know. And so they will continue to live in the prison of ignorance.
Other elements that are seen throughout both of these films are infatuation and obsession. Anyone
who has seen the movie American Beauty can not miss Lester's obsession with Angela, his
daughter's classmate and friend. He first sees her when he and Carolyn go to see their daughter
perform at the school basketball game. Instantly he became mesmerized by her beauty and couldn't
stop the feelings he had for her. Obviously they were strictly sexual feelings. Is this normal? Is it
normal for a father to have any kind of feelings for their daughter's friend? It may be normal but it is
not what is correct. And so in order to portray the perfect family Lester tried for a while to suppress
the feelings he was having for Angela.
Carolyn is also a victim of obsession. She is overly obsessed with appearances. She often makes
comments to Jane about the way she looks. She feels that she cannot be happy unless she is
presented in an ideal way. "Because of the necessity to keep up appearances, a serene facade often
conceals a breeding ground for dysfunction, anxiety, and hypocrisy" (Berardinelli). An example of
this is when she is trying to sell a

Titanic Research Paper
James Cameron's Titanic is one of the most successful movies of all time. Where Titanic may well
be unique in the history of cinema is that it is also, arguably, the most hated beloved movie ever
made. Any number of celebrated films, of course, have provoked backlashes. What's special about
Titanic is that the backlash happened so quickly, and became so widespread, and grew nearly as
mythological as the movie itself. The film was released in December 1997, and a few weeks later,
when it started to play around the country to surging, off–the–charts crowds, the voices of dissent
had already begun to coalesce ("dynamics of acting," n.d., p. 80).
Titanic was a record–breaking smash because it drew from every demographic there was. But its
most

Essay On Tracey Moffatt And Shirin Neshat

Recommended

Recommended

More Related Content

More from Melissa Dudas

More from Melissa Dudas (20)

Recently uploaded

Recently uploaded (20)

Essay On Tracey Moffatt And Shirin Neshat