Ethnographic Analysis Of Films

Ethnographic Analysis Of Films
Film is nothing more than the collection of moving pictures, and these images go to great lengths to transport its audience to a different historical
context, whether it is a different location or period or the combination of both. Very few films are successful without the presence of a backdrop.
Cinematic architecture can be broken into many sensory components. Everything that is shown in front of the camera is enveloped by the
mise–en–scГЁne. Architecture and its presence in the compositional scene is a make–up of several visual components. These include forms, lines,
masses and negative space. Each speaks their language and how they can be interpreted. For instances, masses carry a visual weight, whereas form
implies spatial relationships. A visually aesthetic experience is projected. The sense of emotion and interpretation of the featured space is then
projected into the scene using lighting, sound, and post–production editing. An individual's interpretation of the space is determined by multiple inputs
in a heightened sensory state. The atmosphere establishes a theme or character traits that are... Show more content on Helpwriting.net ...
One influence on choice can be impacted by culture and personal experience. America favors many iconic stylistic structures, ranging from The White
House, the Golden Gate Bridge, the Tribune Tower, or the Empire State Building. When setting the location for thefilm most often the initial choice is
to start with a wide panning view of the city or a collection of tourist attractions and destinations that the city would have to offer. In turn, it is cinema
that continues to internationally expose audiences to the American icons creating the desire to visit them. The Empire State Building, since 1931, has
been featured in over two hundred films including King Kong (1933) and Sky Captain and the World of Tomorrow
... Get more on HelpWriting.net ...

Analysis Of The Poem ' Fandom Of The Walking Dead '
For my ethnography project, I chose to study the fandom of The Walking Dead. For the purpose of this paper, I will refer to The Walking Dead as a
comic, a video game, and a TV series. The focus of this ethnography is to understand how the comic book culture influences many fans. Since the
series is based on a graphic novel series, and some of the fans are schooled in comic culture; they arrive with literacy in comic storytelling. Others who
are not fans may recognize the visually and narrative of zombie films, in the horror genre after 1968's Night of the Living Dead and Dawn of the Dead.
Yet, many Walking Dead fans appear to have migrated to the zombie tale without any particular connection to the comic book storytelling, or... Show
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The narrative became so popular that it has reached into video games and novelized interpretations. The series does depart from the comic's origin
narrative in some forms. Introducing new characters, such as the Dixon brothers, is one example. Yet, in many ways, the series transforms the tale
more through the appreciation of the apocalypse and compelling a visual story about how human face disaster. The series' popularity raises the
ethnographic question of, why people are drawn to this particular tale and fandom community.
The Walking Dead fandom perhaps on some levels harbors a deep–seated fascination with macabre that has often been projected onto the imagination
of supernatural creatures. The word zombie comes from numerous folklore traditions. It is best described as a lack of moral judgment and self–control.
In this picture, you can see Michonne exploiting these two zombies through a legion amount of zombies. Michonne was trapped and running out of
food when she noticed walkers do not attack one another. Eventually she came up with a plan to survive. She could camouflage her way through
without any worries. Michonne hacks off the arms and lower jaws of the zombies. Then she chains them up by their necks to use them as escorts for an
escape. The reasons behind this method are simple. Without their arms and mouth, the zombies essentially lose their purpose. That is what The
Walking Dead is all about. It makes the character make

Analysis Of Waiting For Harry
'Waiting for harry', filmed in 1980, is about the funeral of Harry's nephew. The film depicts a traditional aboriginal wedding Prepared by Frank,
complete with tension, stress, and togetherness. I will argue that this ethnographic film encompasses the feeling of unity and involvement, pulling the
audience into the film through various cinematic techniques. The film overall made me feel engaged and interested in the lives of the tribe members,
and the ceremony that they perform for the deceased. The use of narration and subtitles further the sense of inclusion, an idea which was made
important by Frank when he stated, "This film is for everyone". This quote sets the tone of the film and is continuously represented throughout, through
interactions between the Anbarra people, the anthropologist, the Northern Australian's, and the audience.
The use of narration and translation plays a large role in the inclusiveness of the production for both Aboriginal people and English speakers. The title
sequence and credits have been narrated by the anthropologist into the aboriginal language. This is critical because Frank often discusses the film
production with the Anbarra and Northern Australian aborigines, encouraging everyone to view it upon its release. There is occasionally English
narration throughout the film, explaining the events and progression of the funeral and Harry's whereabouts. English subtitles are also provided during
important aboriginal dialog, assisting the

Film Is The Tool And Ethnography
"In ethnographic film, film is the tool and ethnography is the goal."[2] The film is the bridge that engages the audience, connecting them to a foreign
realm, whether it be on the academic or entertainment level. Ethnography is a way for viewers to understand not only the customs of foreign
individuals and cultures, but to explore their own traditions as well. Through film, the director decides whether or not to appeal to a designated
audience. In the interest of aesthetic perception, films are prone to suffer from "reality–distorting techniques,"[2] altering what should be shown,
creating a conventional way of viewing other cultures. In a way, films guide their audiences through how to perceive different ways of life, which
causes social categorization. Ultimately, film might be one of the only ways for people to understand what lies beyond the interest of their own culture
without physically injecting themselves into a foreign environment. A problem films face is this checklist perception of how Westernized cultures view
other cultures. As Heider put it, by focusing on how the cinematographic aspects of film should be portrayed, film directors tend to stray away from
the accuracy of the cultures presented.[2] For example in Lost in translation, the film purposefully included scenes of the Japanese people as having a
short–stature, being soft spoken, reading manga, being professional arcade players and having trouble pronouncing their l's. These scenes illustrates how

Dr. Barbara Myerhoff Summary
This film documents Dr. Barbara Myerhoff's work in studying elderly Jewish people in Venice, California. This was a different kind of study for
her, because she was studying people that were of her ethnicity and religion. She is doing this work because she will one day be old and, she wants
to know the daily lives of these people. She gets to know the elders by being a part of their community and going to their senior center. She
interviews the elders and asks them to be specific about their daily tasks, living conditions, struggles, and their past. Her main focus is on the
senior club. Because it is the center of these citizen's lives. Here they feel like they have a purpose and can express themselves. She also studies
how they celebrate the Sabbath every week. A tradition at the club is celebrating New Years at 2:00 p.m. so the elders can enjoy a performance and
hear a speech about celebrating life and get motivated for the upcoming year. This study taught her to celebrate life and embrace the process of aging.
I thought this documentary was very interesting. I liked her studies on the senior center. I thought she made it very clear that this place was the center
of the elder's lives. From the video I can see that their spirits are uplifted here. They get to dance and find support by communicating with members of...
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I thought the ethnographic work done by Dr. Myerhoff was done very well. She went into great detail about the rituals and parties that these elders
had at their senior center. She did an amazing job of asking for descriptive feedback from the Jewish elders. This gave me a deeper understanding of
their culture and how it affects them as individuals. This documentary is more mindful of the culture than the last film on Sara Baartman. I also liked
how the film addressed the problem of valuing looks in our society. When we should be valuing what's on the inside and not what's on the

Case Study: вЂњthe Hollywood Film Industry and the Role of...
1.Characterise the advantages of independent film making.
New faces have been introduced. Actors can step outside typical typecast roles. Based on one's creativity. Low–budget film making. Allows the artist to
circumvent excessive studio control on their projects Directors can craft their own unique vision. Writers can often see their scripted vision through the
entire development process. Did not have permanent staff and would bring people together to make a film on short term contract basis.
2.Compare the industry network of Hollywood with that of the motor sport valley in the United Kingdom
a)Industry network of Hollywood. A project–based enterprise. Has develops a wide range of skills and ... Show more content on Helpwriting.net ...
To make a film, resources is required and a financial backer is involved (i.e. the producer) who is responsible for getting the film made. The artistic
and creative input lies with the director and is separate from the financial responsibilities that lie with the producer. If it is the big budgeting films,
many temporary crews may be needed. A film company employs all its workers just like other companies did. The producer and director use both
their social networks and work networks to locate the necessary skills as well as appoint leading players responsible for appointing all the necessary
crews required.
Although these crews meant for temporary work only, their skills are most needed during the production stage of film shooting. The crews'
employment rise as the production begins. On the pre–production and post production stage, only several crews' needed depending on their skills. At
the end of making the film the organisation formed for this purposes ceases to exist, leaving no fixed assets and no structure for continued learning.
4.If the organisation is dissolved after completing the making of the film what happens to the skills and competencies learn and developed?
Learning and sharing of knowledge is undertaken during these periods. Actors and actresses in demand, after completing a film shoot, they will moved
to another film project a long time before the film is

Night At The Museum
Night at the Museum 2006 is a twentieth Century adventure comedy film which Fox presents in association with Ingenious Film Partners, a 1492
Pictures/21 Laps production. produced by Shawn Levy, Chris Columbus, Michael Barnathan; screen story and screenplay by Robert Ben Garant &
Thomas Lennon; directed by Shawn Levy. Some big–name actors appear in this film: Ben Stiller, Carla Gugino, Dick Van Dyke, Robin Williams and
Steve Coogan. Robin William plays the role of Teddy Roosevelt and the Japanese American actress Mizuo Peck plays Sacajawea. According to
Richard Armstrong, in The Rough Guide to Film (2007), the producer of Night at the Museum, is Chris Columbus who scripted Gremlins and directed
Home Alone and the first two Harry Potter ... Show more content on Helpwriting.net ...
Cinematic representation supports visual images of colonial narratives. C. Gerster in "Native Resistance to Hollywood's Persistence of Vision"
argues that "roles for Native People in films can be thought of in terms of either helpful or hostile to European protagonist and their manifest
destiny plots"(141). Sacagawea: the Indian Princess helps the main characters achieve their goals rather than achieving her ambitions and desires.
Angelia M, Ross in the published thesis "The Princess Production" suggests that in films that have Indian Princess "in lead or major character
roles, the princess character is muted, her motivation unclear"(39). In Night at the Museum (2006), Sacajawea is unable to speak or listen to what
is going on outside of what Lewis and Clark arguing concerning the direction they should go. They are all imprisoned in the diorama. There is no
way out for them. Larry comes closer to the glass and asks her "what is going on". She cannot hear him consequently she is mute which masks her
motivations. Sacagawea in the film is powerlessly locked behind the glass. When Larry interferes to ask if Sacagawea is deaf, Rebecca replies that
she is not but she is a statue"(00:47:06–00:47:18). She is looking to the West but she is not a leading character because, unlike other characters in the
film, these three characters do not get to run around the museum at night. To explore the issue of representation of Native woman in the ethnographic
dioramas, there are myriad in the museums of United States. Slaughter, suggests

Alfred Hitchcock's Rear Window: Sound Essay
Sound is everywhere. It is part of our everyday lives and our interactions and definitely a part of film. Sound, especially dialogue, makes it easier to
understand what is happening. But it also provides texture and emotion to each scene. Though most moviegoers might think of film as an essentially
visual experience, we cannot underestimate the importance of sound and music in film. Most movies would not be interesting at all if you were to take
away the sound and music. Sound enables the director to create certain moods and emotions, express continuity throughout the film, tell a story, and
even enhance meanings. Not only can sound be an aural sense but a visual sense as well and director Alfred Hitchcock knew this and applied it in ...
Thorwald or even another character's ill–fate. We also find sound used in this manner when Mr. Thorwald finds out that Jeff is the one that has been
spying on him. Mr. Thorwald can only be heard exiting the elevator and making his way towards Jeff's apartment. Lars Thorwald has only been seen
from a safe distance through Jeff's window. Now the murderer can only be heard approaching with each footstep, louder than the next. Hearing only
footsteps as they draw closer creates the feeling of suspense and fear, where one feels like they are in Jeff's apartment with him. Hitchcock not only
creates suspense or terror with sounds, he also creates balance and ambiance using carefully selected sounds. In John Fawell's book, Hitchcock's Rear
Window: The Well–made Film, he notes that "Hitchcock gave careful consideration to the smallest sounds in his films" (Fawell 28).
Hitchcock made sure to limit the sounds to ones that could only be heard from Jeff's point of view, since the majority of the film was through his
eyes. Conversations being held throughout the apartments can vaguely be heard as if the audience is inside Jeff's apartment with him. For example
when Mr and Mrs. Thorwald engage in a verbal battle, the audience is only able to hear muffled words, but the tone of those words can clearly be
identified. Hitchcock did not add irrelevant noises that were outside of the apartment complex to create the sense that the characters were stuck in

Case of Movie Industry
CHAPTER–03
1. What competitive forces have challenged the movie industry? What problems have these forces created? What changes have these problems caused
the movie &televisions studios to make?
Some competitive forces have challenged the movie industry such as – Treats of new entrants Substitute Products or services Increasing bargaining
power of customers Increasing bargaining power of suppliers Rivalry among existing competitors
Those are the major forces that have challenged these industry and these forces have made it more difficult to stand in the market efficiently.
These forces have created crucial problems that affect the movie industry in a large extent which are discussed ... Show more content on Helpwriting.net
...
The movie and televisions studios have to make some changes because of these problems caused–
вћў Major movie studios reached agreements with sites such as cinema Now and Movielink which has since been acquired by Blockbuster, to sell
movies online via download. вћў These distributed promotional video clips of all new films to web sites such as YouTube. вћў At the first time, the
price of movies via download was minimum or small to get the support of customers to maintain low cost leadership.
2. Describe the impact of disruptive technology on the companies discussed in this case.
The impact of disruptive technology has changed the way of doing business of the companies that are discussed in this case.
NBC Universal, Time Warner's Warner Brothers entertainment and News Corporation's Twentieth Century Fox have faced a serious problem because
of YouTube. Most of their content is submitted to YouTube without the studios' permission that ranges from 30 to 70 percent. It is claimed that over
15000 unauthorized clips of its copyrighted Television programs had appeared on YouTube that the media faces damages around $1 billion from
YouTube.
To avoid these facts, more companies sought some constructive solutions. They entered into negotiations with YouTube to established licensing
agreements that would make

Types of Actors
3.4 Types of Actors
Figure 3.2 Types of Actors and Some Current Actors Who Fit Each Category
Impersonators
Dustin Hoffman brings Lenny Bruce to life. The performance is so convincing and Lenny so gritty that today's audiences may think they are seeing
Lenny Bruce himself.Photo by Mary Evans/Ronald Grant/courtesy Everett Collection
The term impersonator is considered somewhat demeaning in the acting world, suggesting that the actor has simply copied the manner, dialect, and
behavior of a character, instead of creating the character. There are times when such a skill is useful–when a filmmaker needs a portrayal of a
recognizable historical figure, for instance, but doesn't want to distract the audience by casting a recognizable actor in ... Show more content on
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Even though he can be considered a personality actor, no one would argue that Nicholson, who has been nominated for 12 Academy Awards and won
three, is a brilliant actor. And actors like Humphrey Bogart and Cary Grant remain popular personalities more than half a century after their heyday.
But a lesser talent who relies too much on personality risks staying power. Will audiences 50 years from now recognize the strength of personality? Or
will it simply seemed mannered and curious, a distraction instead of a beloved trait?
Stars
To define a star, think about a personality actor, only more so. A star is a distinctive screen persona, who is well
–known and popular with the
moviegoing public, often to the point that some avid movie fans become deeply curious about the actor's private life Hollywood has a long love
affair with stars, since the days of Charlie Chaplin and Mary Pickford. Stars are actors who are simply famous on–screen and off, personalities so
magnetic that we are interested not just in their movies but in their personal lives as well. Brad Pitt and Angelina Jolie are both talented actors. But
they're also famous stars, so much so that tabloids and gossip sites endlessly speculate on their relationship, their children, and every other aspect of
their lives. Obviously this has been taken to almost absurd extremes today, where Web sites breathlessly report the content of text messages between
actors and their mistresses

Intertextualism In Paris Is Burning
In this essay I am discussing Jenny Livingston's 1991 film, Paris is Burning, in terms of genre, representation, gender, ideology, hegemony and
intertextuality. Paris is Burning is a documentary film following the lives of those involved in Drag–Ball culture, a subculture among some black and
Latino occupants of Harlem. The documentary provides its audience with an invitation to these balls, allowing us to attend and indeed judge ourselves,
the regimented competitions which involve the transformation of these men into different social roles of the everyday. The queens featured voluntarily
open up their lives to the camera, public, performative and private, Livingston represents their culture, thus representing herself through her handling of
... Show more content on Helpwriting.net ...
(Pryluck, 1976, p.22) Marcus Ophuls, Oscar–winning documentary filmmaker, spoke of his own ethical position in regards to filming documentaries,
"As a film maker you're always...exploiting. It's part of modern life." He finds personal discomfort in knowing people's "great urge to communicate,
because of loneliness, because of insecurity, because of bottled up complexes," and they're exploited through documentary film, discussed by Pryluck,
(Pryluck, 1976, p.23) it could be said that the men featured in Paris is Burning are examples of those who wish to communicate their hopes and
dreams, Livingston facilitates their expression, although it is her who became a filmmaker after the success of Paris is Burning, "and that's
something I wasn't before," she characterises herself in Jesse Green's New York Times article. Livingston uses the footage of these individuals, it is
their faces, their thoughts expressed and consumed by the public, but according to Jesse Green, they "remain[ed], at best, exactly where they were
when filmed." Although, it can be argued that Livingston exploits her own status and self as a wealthy white woman in order to give these men a
voice, which seems to be what she's claiming, "so I have the ability to write those grants and push my little body through whatever door I need to get
it through... If [the queens] wanted to make a film about themselves, they would not be able," in Green's article, discussed by Harper. ([Green, 11]
Harper, 1994, p.98–102) She is responsible for the representation of the partaking queens and they have entrusted her with this

Analysis Of Robert Flaherty 's Famous Work Nanook Of The...
The challenge of accurately representing ethnography, the critical analysis and systematic inspection of everyday life across cultures, has been
repeatedly attempted with myriad intentions and has subsequently evolved over time. This paper will examine four iconic anthropological filmmakers
in the mid–twentieth century in their individual distinctive endeavors to contribute to and accomplish this goal of developing ethnographic film. From
Robert Flaherty 's objective to showcase culture as art, to Margaret Mead and Gregory Bateson's intent to produce a purely unbiased and scientific
cinematic record, to John Marshall's desire to present works which would engage audiences politically, one can trace the evolving narrative of
ethnographic film itself, climaxing in the ultimate quest for reflexivity. Robert Flaherty's famous work Nanook of the North (1922) artistically depicts
the life of Nanook, a fictional Inuk man in the Arctic. Throughout what became known as the pioneering "documentary" of its field, the film follows
Nanook's family in their day–to–day tasks. With no dialogue, a dramatic score ever–presently serves as narration throughout the staged scenes of
trading, hunting, and building igloos. While the film was well–received for invigorating audiences, many critiqued Flaherty's anti–attempt to accurately
represent the native culture of his film's characters (Fisher, 8 September). This begs the question of how a film can "remain critical without trivializing,
to be

John Marshall's An Argument About A Marriage
1) To what does the term 'event sequence film' refer, and where and why was this developed? In your response provide at least two examples of this
filmmaking practice. The term event sequence film refers to a work of cinema which is centered around a single discrete event from beginning to
end, as opposed to focusing on abstract concepts or impressions (MacDougall 126). This style of film was developed initially at the Harvard Film
School by Timothy Asch and John Marshall to represent the daily lives of its subjects, which in turn, attempts to exhibit the ethnography of a place or
culture. A pioneering event sequence film is Marshall's an Argument About a Marriage (1969). Although the film presents a single verbal fight about
infidelity between a... Show more content on Helpwriting.net ...
Although it is a common practice, it is not the only way to construct an ethnographic film. In Night Cries:a Rural Tragedy, creator Tracey Moffatt
departs from traditional ethnographic realism by adding elements of fantasy and exaggerated representation to her production. The film itself is not a
live–shot documentary, but attempts to represent a different form of truth through piece of fiction with a script and set. Despite its lack of placement in
legitimate history, Night Cries still represents an ethnography. Similarly, Leviathan (2012) does not attempt to showcase a cultural story. Using
unconventional camera shots and sci–fi like effects, it exhibits an ethnography in a nonlinear way which exaggerates its violent and haunting qualities.
The producers of these films may have diverged from ethnographic realism because traditional tendencies tend to depict ethnography as though it were
stagnant and exotic. By using contemporary and non–objective forms of filmmaking, they aimed to represent a genuine ethnographic experience, even
if the "genuine experience" never actually occurred within the culture's

Sexism in Film Essay
In society, women are often perceived as the weaker sex, both physically and mentally. In modern times women have leveled the playing field
between men and women, and feminism is a highly discussed topic, but for years, women faced discrimination and prejudice both in life and in the
workplace, due to their sex. This way of thinking flooded into the world of film. In their works, the authors of each of the various sources address the
limitations and liberations of women both on and off the screen in nineteenth century Film and Cinema. Not every source is completely filled with
information related to the research topic, but they do cover and analyze many of the same points from different perspectives. Prominent points
addressed in each ... Show more content on Helpwriting.net ...
It was not until the mid–1910's did the film industry shift "towards a model that prized business legitimacy. This shift ultimately marginalized the
woman filmmaker" (Mahar 133).
The presentation of women on screen is another highlighted issue in many of the gathered sources. Because men were ultimately in control of what
went on the screen much of what the audience perceived were women from the male imagination or fantasy. Bernard Beck elaborates in his article
Where the Boys Are: The Contender and other Movies about Women in a Man's World that, "...women have been used to dress up a male story or
motivate a male character" (Beck 15). Women were often insignificant and trivial characters. Although, Kathe Davis disagrees to a point. In her article,
Davis offers a dissonant opinion to the fore–mentioned insignificance of the female character. She instead describes many female characters as
"predators," and analyzes the roles of lead women in three prominent films of the nineteenth century. In each film, she finds parallels and similarities of
cases of "female emasculation" and instances where "women are turned into objects of male desire" (Davis 47–48). Davis does not perceive female
characters as being insignificant, just stripped of their power and misrepresented. She discusses how females of power are often portrayed as crazy

Impact of Movies
IMPACT OF MOVIES
THE THREE BIG LIES
The three lies that often movies and movie makers say .....
1. "It's only entertainment. It does not influence anybody."
2. "We just reflect reality. Don't blame us; blame the society."
3. "We give the public what it wants. If people don't like it they can always turn it off."
IMPACT OF
Among all media, movies play a major role in impacting the thinking pattern of the society. The question is whether the influence is positive or
negative?
As we all know if a super duper movie is released today then, tomorrow there will be a great demand of dress of the actor which he wore in the movie.
Day after tomorrow people will start coping the styles in which he talks, walks and behaves. This all means that ... Show more content on
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Studies are finding that boys, like girls, may turn to smoking to lose weight. Even the Bollywood/Hollywood fashion has a huge impact on the
youth. When youngsters see their favorite actors/actresses wearing fashionable clothes and accessories they imitate them. So, to copy their style
icons, they spend thousands to lakhs of rupees to have the same pair of shoes or dress. They don't mind spending money, but they want to look just
as perfect as their favorite movie star. In this way the fashion statements set by celebrities lay a negative impact on youngsters. ALCOHOL,
DRUGS, SMOKING: Movies are spoiling the youth and children most because there is the competition between youths to copy the style of the
hero either it was good or bad. Children who watch a lot of movies featuring alcohol are twice as likely to start drinking compared to other kids
who watch relatively few of such films, according to new research. The more smoking and drinking that young teens see in movies, the more likely
they are to start smoking or binge drink, according to a pair of new studies. To find out more about movies' influence on alcohol use in young teens,

researchers surveyed more than 16,000 adolescents ages 10 to 19. They randomly picked 50 box–office hits from a list of 655 films. They then asked
the teens how often they had seen each movie, which was color–coded for scenes of alcohol use. Overall, 86 percent

Paris is Burning Essay
Paris is Burning
We recently watched the film Paris is Burning, a documentary about black drag queens in Harlem and their culture surrounding balls. Directly related
we also read two feminist critiques, Gender is Burning: Questions of Appropriation and Subversion by Judith Butler and Is Paris Burning by bell
hooks. Two areas of critique I focus on and question are the critiques regarding the filmmaker, audience and drag queens and how they participate to
reinforce a heterosexual racist patriarchy. Furthermore I ask if this line of investigation is the most beneficial way to view and understand the film and
its various participants.
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived ... Show more content on Helpwriting.net ...
They are happy to speak to us, perform for us and even wow us. hooks acknowledges this point saying, "it is easy to place Livingston in the role of
benefactor, offering these 'poor black souls' a way to realize their dreams." (3.) Even while criticizing those who condescend, hooks herself
condescends by simultaneously dismissing any agency or valid desire of the stars themselves. Not only does Livingston provide them this particular
opportunity to reach a larger audience, but they very conscientiously want and take it. The audience may exploit the stars by viewing the film with a
'dominant' or 'condescending' curiosity but the black drag queens featured choose to be documented.
Is every interaction involving pleasure, creation, observation or any other form of existence between two people or groups not of the same exact
categories, spaces and backgrounds a form of simple exploitation? By a certain definition of getting pleasure from another, this may be the case.
However, this is also an uninteresting approach to take and does not allow for appreciation of the insight, brilliance, creativity or individuality of those
who create and, particularly in this case, comprise the creation itself.
While Livingston's work does not focus on breaking down existing imperialist

Film Piracy and It's Effects in the Industry
Film Piracy and its effect on the Industry
Five Advantages of Film Piracy:
These are the "advantages" one might see for why to commit film piracy, but I by know way endorse such a thing.
You can save money
Sometimes one may have the advantage of seeing a film before it is released on DVD
It's been made a lot easier to get ahold of pirated films and can usually be downloaded in minutes
one can peer–to–peer share with friends
One might see it as free publicity for the film
Five Disadvantages of Film Piracy:
Film Piracy is the unauthorized use or reproduction of movies in print, videos, DVD, or electronic files by uploading or downloading; an upload is
when a person sends or makes available a file; a download is when a person ... Show more content on Helpwriting.net ...
I wonder if this is really Hollywood's way of two–tiered marketing. Supply movie theatres with blockbuster releases and make huge profits at
concession stands as well as the box office then market bootlegs (Yes, I am asking aloud if they might be in on it) to the people who cannot afford to
enjoy the deluxe movie experience.
They look at us as losers, a negligible group on the margins of society and would rather we be kept out of their shiny cineplexes, lest our BO offend
the other patrons or we try to pester them for spare change.
Piracy is a thorny issue in the Philippines. I think very few here can be holier–than–thou and say they haven't bought a pirated game, bootleg DVD or
other counterfeit good at some point. Yet most of us agree that piracy is acrime.
Read my Infotech article "Game piracy may be financing other crimes: ESA exec," based on my e–mail interview with Ric Hirsch, senior vice
president for intellectual property enforcement of the Entertainment Software Association. ESA is the US industry association representing the world's
biggest game publishers, and is the owner and operator of Electronic Entertainment Expo (E3).
I've already gotten feedback from those who feel it's absurd to link game piracy to organized crime. I think this really shows how we as consumers
see piracy in terms mainly of getting a bargain, and that most of us think it's a victimless crime. But

Essay about Postmodernism, Deconstructionism, and the...
Postmodernism, Deconstructionism, and the
Ethnographic Text
Anthropology 575
Postmodernism
In the late 1960's the social sciences (mainly anthropology and sociology) entered a crisis period in which traditional ways of conducting the study of
the Other were re–examined in the context of their association with dominance–submission hierarchies and the objectification of the subjects of study.
There was seen to be an association between Western imperialism's objectification of the Third World and the Western 'data imperialism' that objectified
the subjects of study. Increasingly social science research was called to task in the creation of new ways of conducting social science research ... Show
The Postmodernist view in ethnography, then, questions the basic assumptions underlying the reportage of ethnographic information, noting that
reporting ethnography is a distinct action from doing ethnography, though equally important (Clifford and Marcus 1986); that there is not only one
single language or style able to convey the elusive 'truth' of the universe, in fact there are a multiplicity of reporting modes or voices capable of
conveying ethnographic information (Rorty 1982); and thus ethnography should not be based on the conveyed 'understanding' of the researcher (which
places him or her in a position of privileged interpreter), on a dialogic relationship between the ethnographer and subject in which both participants
within the dialogue are an integral part of the study (Marcus and Fisher 1986).
The current debate concerning the validation and reporting of ethnographic material generally takes the form rejection of all theoretical paradigms
(Lyotard 1984), the deconstruction of texts (Derrida 1976), the removal of the authorial voice and sobriety in style (Marcus and Fisher 1986).
Counterpoised to the postmodernists are the traditionalists, such as Geertz, who assert that ethnographic legitimacy is concomitant with the authors
narrative ability and rejects

Destry Rides Again, Mr Smith Goes to Washington, and the...
Destry Rides Again, Mr Smith Goes to Washington, and the Fall of the Hollywood Studio System
Thomas Schatz cites the 1950's as the inevitable end of the Hollywood film studio system, with the signs appearing as early as the height of the
second World War (472). However, the seeds of discontent and disintegration within the system were apparent as soon as the late 1930's, exemplified
in such films as Destry Rides Again (1939, George Marshall) and Mr. Smith Goes ToWashington (1939, Frank Capra). The production of these two
films and the paths down which they led their star (James Stewart), directors (at least Frank Capra), and studios (Universal and Columbia, respectively)
are evidence of the decline of the studio system. The ... Show more content on Helpwriting.net ...
The balance of power was thus tipped in favor of the individual filmmakers. These films also served to launch James Stewart's career as a successful
leading man (usually next to a star leading lady), particularly in the western genre (The Man From Laramie, The Naked Spur, Winchester 73), as a
patriotic all–American (It's a Wonderful Life, again with Capra), and working with and as an independent (his infamous contract with Universal and
his work with Alfred Hitchcock, both in the 1950's). Destry Rides Again and Mr.Smith Goes To Washington also raise issues regarding the value
placed on dramatic and outright patriotic films in comparison to the value placed on films which serve as mere entertainment. While Mr. Smith Goes
to Washington is an overtly political film, Destry Rides Again, in its own way, is highly political and both films reveal that the United States of 1939
was a politically charged nation preparing itself subconsciously to take part in a worldwide war.
During the second half of the 1930s, Universal came under a completely new ownership. The traditional owners, the Laemmle family, lost Universal at
this time after leading it up and down the mountains and valleys of success and failure. The new owner, J. Cheever Cowdin, set up Robert H.
Cochrane and Charles R. Rogers in charge of Universal. They kept the company going, sometimes by thin margins, until the very end of the 1930s

Essay on Stereotypes of Hispanic Women in Cinema
The Latina women, even throughout the era resistance cinema, have not been able to make much progress in overcoming the degrading stereotypes
that Hollywood has created for them. Despite the many advances that minorities have made in the cinema in recent years, Latina actresses still take on
the roles of the "dark skinned lady" and other such stereotypes with strong sexual connotations. It is often debatable whether or not the role of the
Latina has undergone dramatic changes since the days of Dolores Del Rio and Carmen Miranda dancing with the fruit baskets on top of their heads.
However, in recent years there has been an emphasis by various Latinas in the film industry to combat such stereotypical roles and redefine themselves
... Show more content on Helpwriting.net ...
This character began to appear in the 1930's, at the same time that an audio component was introduced into cinema. The audience was not however
interested in the voice of the vamp but rather for her appearance and sex appeal. She was often depicted as exotic and sensual. As Tara Osorio writes,
"In early cinema, Hollywood represented Latinas as ignorant, and valued their striking appearance and figure rather than their intelligence, character,
and personalities." (Tara Osorio) With the introduction of musicals into cinema, there were many opportunities for vamp roles. There were three
particular women in early cinema who were infamous for portraying the vamp character. Carmen Miranda, Dolores Del Rio, and Lupe Velez were
typecast in such roles and were seen in the majority of films produced in these decades.
This character represented an image that was offensive and insulting to many. The character did not have many diverse elements and was a rather
one–dimensional figure. It was even more damaging when you take into account that the same role was repeated, often by the same actress in a
myriad of films. As one actress Rita Moreno describes after she had played a similar spitfire character fourteen times in eleven years.
"It's really demeaning after you've won the Oscar to be offered the same role over and over again. They only wanted me to drag out my
accent–and–dance show over and over again." (pg.174, Hadley–Garcia)
The filmmakers

B.A.T.A.M: An Ethnographic Film Produced by Johan Lindquist
"B.A.T.A.M" is an ethnographic film produced by Johan Lindquist. It presents stories of two women who live on the Indonesian island of Batam.
Wati, one of the major participants of the interview is a young female factory worker. Another major participant, Dewi, who came from Java and used
to work in an electronic factory, is currently working as a prostitute. The film primarily shows how the "multinational capitalism and migration interact
in the shadowlands of globalization". In my analysis, I will mainly dress on the critique of the film in terms of both the quality and the ethical aspects
of the film as an ethnographical film. An ethnographic study aims to explore and analyze a particular group of people's social practices, and... Show
Also, different ethnographers have various perspectives and personal understandings about the "reality" they choose to capture, therefore, their
preexisting schemas or intentional attitudes will directly affect their way of framing the film as well as the particular aspect they may choose to
emphasize and explore. In this respect, this form of interpretation of the culture is very much based on the ethnographer's chosen way of description
and explanation of the reality. In this regard, audiences are standing on their perspective ways of looking at the social practices, which is obviously
biased. Therefore, film itself is simply a visual illustration, a medium of presenting, of the particular aspect the ethnographer chooses to analyze and
explore. In this ethnographic film, for example, the film indicates that women prostitution is a pervasive phenomenon in Batam. According to Dewi's
description, it seems like being a prostitute is their fate, their sole way of improving their lives is to "trade" bodies. Dewi is experiencing physical
and emotional fatigue because she is forced to make choices like this and is passively fulfilling her family responsibility due to the burden of
supporting her children and the pressure from poverty. Although many women, in Batam, may have the same experience as

The Popularity of Gangster Films in the Early...
The Popularity of Gangster Films in the Early Nineteen–Thirties The late 1920s in America was a particularly tumultuous period of time for the
country. The Wall Street Crash in 1929 had led to high levels of unemployment and dissatisfaction within the country. The Depression (1929
–1934),
which was a direct result of The Wall Street Crash, led to a breakdown of industry and commerce within the country and weakened its global position
as a superpower. People began to realise that the ideal which had been frequently promoted by governmental propaganda of The American Dream
which suggested that "success, in the democratic and classless society guaranteed by the... Show more content on Helpwriting.net ...
During this period the rise of urban gang rule and mobsters was unprecedented, mainly emerging from minority immigrant groups (Jewish/Italian
/Irish). Initially the gangsters of the period were seen as high achievers as they were associated with the proletariat and seemed to be capable of rising
above there roots, even during hard times in America, and achieve wealth. When considering the socio–economic factors it is easy to understand why
such men were considered as "gangster–heroes"[3] who represented the people, however the only way that gangsters could achieve this wealth,
subsequently fulfilling the American Dream, was by stealing it. "Accruing capital meant accruing power over others"[4]. Therefore it could be argued
that the success gangsters exemplified was a perverse form of the American dream as it disregarded some of the key elements of the ideal. The fact that
at this stage in America gangsters were the only group within society who could make upward mobility believable, "tells much about how legitimate
institutions had failed – but that mobility was still at the core of what Americans held to be the American dream"[5].
In the early 1930's productions began within Hollywood of what were commonly described as "social problem pictures"[6], these films dealt
specifically with the social difficulties of the period such as unemployment/labour struggles ("Black

How Do Documentaries Produce вЂ Truth EffectsвЂ™? Essay
How Do Documentaries Produce 'Truth Effects'?
The role of media has often been a subject of much debate, particularly in terms of its role in portraying and conveying truth to the target audience.
Some argue upon its utility as a means to disseminate information and to rectify perceptions and facts in the minds of the viewers; while others
squabble on the amount of misrepresentation which is often adopted by media as a means to project baseless arguments which lead to severe impact
on the minds, especially those who are unlearned and uneducated. In today's burgeoning era, the role of media still remains a largely disputed topic but
fragmentation of media has become a broadly accepted and also, widely noticed phenomenon. Not only have new ... Show more content on
Helpwriting.net ...
The documentary films encompass a wide category of diverse film under its umbrella. Some of the examples of documentary films are listed below;
Biographical films about an individual. He can be living or dead. For example Madonna, Mohammad Ali and John Lennon in When We Were Kings
(1996)
Movie about a well–known event, for example the Holocaust or the Shackelton expedition to the Antarctic
Movie regarding a festival or a concert, for example Madonna: Truth or Dare (1991) or Stop Making Sense (1984)
Movie on a live performance, for example the stage show Cirque de Soleil – Journey of a Man (2000)
An ethnographic or sociological examination of individuals or a society living over a period of time or on a particular region, for example Steve James'
Hoop Dreams (1994)
A movie detailing a comedy show, for example Eddie Murphy shows
A sports documentary film, for example To The Limit (1989) or The Endless Summer (1966)
A documentary about 'making' of a movie, for example Fitzcarraldo (1982) or Apocalypse Now (1979)
A documentary can also be a compilation film of footages collected from various means or through government sources
Documentaries also include films which are intended to 'expose' and often carry interviews, for example Michael Moore's films on social concerns
Films that examine specific subject areas, they can include either historical surveys, for instance about Civil War or the Second

The History Of Filmmaking Is Vast And Spans Several...
The history of filmmaking is vast and spans several centuries, beginning in the mid to late 1800s following the invention of the camera, by
experimenting with photography to create animation and moving images. Since then, cinema has evolved from looping one to two minute scenes on
film, to one to two hour movies shot in a multitude of possible mediums, with several different types of picture, sound, and digital effects. The
advancements of digital cinema have disrupted the construction of reality within narrative filmmaking, and have blurred the lines between animation
and live action film by reaffirming film's place as a classical art. The contrasting ideas between Lev Manovich's "Digital Cinema and the History of a
Moving Image" and ... Show more content on Helpwriting.net ...
Camera placement and framing also warps reality by inaccurately trying to imitate the human eye. This practice of verisimilitude continues through to
post production when editing manipulates the viewer further by implying temporal and spatial relations that likely didn't exist during production.
Hollywood creates their own version of reality without the use of tangible special effects, but nevertheless it's all fabricated: "Mise–en–scГЁne is,
perhaps, the most indispensable ingredient in grounding a text in realism. The representation of a materially recognisable world is the one that the
photographic media are most obviously qualified to achieve. Any departure from this recognisability is perceived as a significant departure from
verisimilitude, inviting an immediate questioning of its cause or effect. [...] [T]o represent a simulacrum of the material world is to assert the fictional
reality of narrative events." This goes to show that even with an absence of special and visual effects, cinematic verisimilitude will never truly be one
hundred percent real. Alternatively, when digital cinema does incorporate special effects such as 3–D computer generated images, or CGI animation
there is no reason why it should be grounded in reality. The purpose of these technologies is to create

Symbols And Ethnographic Maps In The Film Avatar
Have you ever watched movies like 'Avatar' that used to show some high definition 3d realistic maps to highlight the vast landmass of the fictional
Navi people in the film? Yes, you are right, our topographical maps in today's world order is known as realistic maps that are useful for observing
realistic landscape representation. Symbols and outlines represent variable terrain & other key landing features. The very first time you have the
glimpse of the topographic maps, you will notice numerous curved lines all over the map that are known as contour lines and they will show
changes in the elevation or the elevated area. As you observe or look at the map much closely, you will get the knowledge that lines that are closer
that means that they are steeper in nature. These lines that are open and indicate a flat terrain. With increasing modifications with the advancement of
technology, you can even able to feed it with new data that will so you even the tiny details of the land that were previously impossible to include in
a map to study the land. In the similar manner, while planning a town or city population distribution model is used to segregate the population per
their religion, caste, creed, and color as well as their social status in society. Sometimes, such a population is also divided on the lines of financial
status such as rich, poor, and middle man. In simple sense, it is... Show more content on Helpwriting.net ...
Thus, many might be thinking that how such a vast data is collected or mined. It is only possible with the help of numerous land based surveys.
Some of you may not know that profession of land survey is regarded as the world's second oldest profession. Thus, land survey is basically known as
the art and science of measuring and mapping land that helps in collecting the data for the land that has been used. Thus, in this way modern maps
changes and shapes our modern world in this

Cinematic Techniques in Strictly Ballroom Essay
Extended Film Response
How the film techniques used by Baz Luhrman to influence the portrayal and development of characters in the film Strictly Ballroom?
In the film Strictly Ballroom, the director Baz Luhrman uses many different film techniques to influence the portrayal and development of characters.
Costume and makeup is used as a vital technique to show the audience the characters' personalities and also the development of some characters.
Camera angles and lighting is another technique that is used to exaggerate the characters' personalities and the scenes they are in. Luhrman also uses
character behaviors as an effective technique in portraying each characters' personality.
In the film Luhrman uses costume and makeup to ... Show more content on Helpwriting.net ...
Even though Fran became more confident, her costume and makeup still suited her personality. For example at the Pan–Pacific Grand Prix, all of the
other female dancers wore bright coloured, revealing outfits, Fran wore a traditional red Spanish dress. At the end of the film Fran's physical
appearance changed dramatically and so did her confidence. These characters are good examples of how Luhrman uses costume and makeup to
effectively influence the portrayal and development of characters in the film.
In Strictly Ballroom, Luhrman uses many different camera angles and lighting techniques to exaggerate scenes, settings and even characters'
personalities. An example of this is at the start of the film, when Scott Hastings is dancing by himself in a room, there is a bright, white spotlight on
him as he dances, drawing the audience to watch him. This happens whenever Scott dances and it shows the audience that Scott has a sense of purity
and that he is the protagonist of the film. Luhrman uses low angle shots when Scott and Fran are dancing at the end of the film, this is a good
technique used so the audience can see them dancing and also gives the audience the impression that they are dominate and confident. Another
character who is a good example of camera angles and film techniques being used on them to portray their personality is Barry Fife. Barry is a mean
character and Luhrman uses dark, reddish lighting to make him seem evil.

Origins Of The Walking Dead
Photo Essay –
Origins of The Walking Dead
For my ethnography project, I chose to study the fandom of The Walking Dead. For the purpose of this paper, I will refer to The Walking Dead as a
comic, a video game, and a TV show series. The focus of this ethnography is to understand how the comic book culture influences many fans. Since the
series is based on a graphic novel series, and some of the fans are schooled in comic culture; they arrive with literacy in comic storytelling. Others who
are not fans may recognize the visually and narrative of zombie films, in the horror genre after 1968's Night of the Living Dead and Dawn of the Dead.
Yet many Walking Dead fans appear to have migrated to the zombie tale without any particular connection to the comic book storytelling, or significant
fascination, and the series' fandom illuminates how an apocalyptic imagination has expanded into popular culture.
The Walking Dead fandom has changed by geek standard. The Walking Dead has nearly all the classic of the 21st– century geek fandom: in this
picture, it shows you the evolution of graphic imaginary has changed to attracted plenty of fans. The rating success has produce games, cars, and toys
of the Walking Dead. The narrative extends over a vast range of official principles and the fan forms alike: its marketing team reaches out into nearly
every popular culture. The fandom appears to extend well beyond the stereotype of comic book nerds. Most fans' attention of The

Instruction for Case: NetflixвЂ™s Business Model and...
Instructions for Analysis of Case 6
1.How strong are the competitive forces in the movie rental marketplace? Do a five forces analysis to support your answer.
Below is an analysis of five forces model of competition in the movie rental industry:
Rivalry among companies competing in movie rentals
Rivalry is centered on such factors as
Price of movie rentals (rented either individually or via a subscription plan); variety of subscription plans to choose from.
Convenience in renting movies (including returning rented DVDs).
Breadth of selection (size and diversity of movie rental library).
Availability of the DVD
Of course, DVD availability is not a factor when the rented movie is being streamed over the Internet by ... Show more content on Helpwriting.net ...
But while collective competitive pressures are fairly strong and likely to intensify, they are now not so strong as to prevent many movie rental
companies–especially Netflix–from being profitable. Up to this point, the movie rental companies (with the exception of Blockbuster and Movie
Gallery) have able to cope with rivalry, the bargaining power of the movie studios, and the competitive pressures from substitutes. It would not,
however, come as a shock if the bargaining power of the movie studios begins to squeeze the profitability of VOD/Internet streaming providers as they
demand bigger fees in return for granting streaming access to the libraries of movie titles.
The dismal financial performance of Blockbuster and Movie Gallery confirm that competitive conditions for earning attractive profits are pretty tough.
Netflix, on the other hand, is doing very, very well from the standpoints of revenue growth and financial performance. (This is true of Redbox, as well,
which is the subject of the next case)
2.What forces are driving change in the movie rental industry? Are these driving forces likely to have a favorable or unfavorable impact on competitive
intensity and future industry profitability?
пЃ®Technological changes related to the Internet.
пЃ®Changes in how the product is used.
пЃ®Changes in costs
Prices for wide–screen, high definition TVs have been

born on the 4th of july Essay
"Born on the Fourth of July"
This book was incredible! In all truth this was the first book I have ever read cover to cover. The book, by Ron Kovic, as compared to the film, by
Oliver Stone, had some impressive similarities. Both the book and the film did a great job of portraying Ron's childhood in Massapequa, Long Island.
From the little league games to playing war in the woods, leading charges and setting ambushes. This was especially well done in the movie, and
exactly as I pictured them while reading the book. The time that he spent in Mexico was well defined in the book as well as in the film. While there
were many similarities, what I feel is more important is to focus on the differences.
There were countless small differences in ... Show more content on Helpwriting.net ...
His parents were also a lot more concerned with him going in the film than they were in the book, especially his mother. While in the book Kovic
makes it extremely clear that the most influential reason for him joining the Marines was because of the movies he saw as a boy, specifically the
"Sands of Iwo Jima" and "To Hell and Back". He loved the way that Hollywood had glamorized the battles and the wars. When he thought of war that
was what he thought about, John Wayne making a stand, taking out Japs and Nazi's with quick shots from the hip, all these things. No innocent people
were hurt, the hero always came home and that hero was loved and applauded when he got there. What Kovic found out was that these ideas were
indeed influenced by Hollywood. The hero seldom comes home, and during these times he was not greeted by screaming fans but by "hippies" that
protested his involvement.
It also seemed that the film did not do a great job of portraying the deplorable conditions of the veteran's hospitals. Sure they showed some of the
crude parts, but for the amount of the book that was dedicated to exposing what was going on in the VA hospitals the film did not seem to express it.
From what I can tell Oliver Stone did an incredible job making this movie. There were a few discrepancies between the book and the film, but on the
whole I believe

The Wolfpack Is A 2015 Documentary That Tells The Story Of...
The Wolfpack is a 2015 documentary that tells the story of the Angulo family, specifically the six movie obsessed brothers, and their life in a tiny New
York City apartment. The Angulo brothers, all named by their Hare Krishna father for different iterations of the god Krishna, shared a six room
apartment with their parents and older sister, Visnu. Their tight knit relationship developed in part from the isolation the family experienced during the
boys childhood. During the film, they tell the camera how their father had the only key to the apartment and controlled their excursions into the outside
world. "Sometimes we got out once a year," says Mukunda Angulo, "and one particular year we never got out at all" (The Wolfpack 2015). To
compensate for this lack of interaction with the outside world, the brothers turned to movies, watching thousands of films during the years they stayed
inside the apartment. Their story is unique and compelling. These brothers, despite– or perhaps because of– the conditions they were raised in,
developed a strength and resiliency that allows them to be surprisingly well adjusted to modern American life. They now have Facebook pages and
Instagram accounts, friends, love interests, and some have picked up Americanized names (Krisna is now Glenn, and Jagadisa goes by Eddie). The
Wolfpack offers viewers a glimpse into their world, as filmmaker Crystal Moselle was given unprecedented access to their apartment and their lives.
Moselle has

Film Analysis: The Stories We Tell
The Stories We Tell is a documentary film directed by Sarah Polley. The film follows the story of her family up to the discovery of Sarah's true
parentage from an affair that her mother had in Montreal. The film uses contrastive organizing to present various viewpoints on the life of Sarah's
mother, Diane, through interviews. One interesting aspect of this film is that it tells the story outside of the directors perspective but it is ultimately
centered on the directors life. Sarah is interviewing the friends and family members of her mother but she never actually answers any questions herself
or describes her accounts of her childhood or the discovery of her biological father. She remains investigative and unsentimental. The Stories We Tell...
It describes how documentary films can be used to explore new or ignored realities not seen in narrative films. This way of viewing documentary film
draws on new cinematic perspectives and techniques which focus on real world events. Documentary films can also be viewed as confronting
assumptions or altering opinions in which some films work to pursued the viewer to challenge conventions through offering a new perspective. Another
way that these kinds of film's can be viewed is as social, cultural or personal lenses such as one could view the two traditions of documentary cinema;
the social documentary and the ethnographic film. The main goal of social documentaries is to authentically represent how people live and interact in
certain societies, cultures, and situations. One could view The Stories We Tell as a social documentary. Ethnographic cinema, however, traces it's roots
back to early cinema and it focuses on cultural revelations by showing specific peoples, cultures, and rituals marginalized by mainstream culture. This
form of filmmaking relies on cinГ©ma vГ©ritГ©, or truthful cinema, meaning that documentary films must approach and report on these cultures with
integrity. Mocumentary's are humorous and comedic films presented in a documentary style which show a fictional

The Importance Of Ethnographic Film
We can define ethnographic film as the type of film that encompasses ethnographic understanding, with the main considerations in the analysis being
how the standards and the goals of ethnography are approached and the way information is presented in comparison with written ethnography (Heider,
2007). In this essay, we will attempt to illustrate the potentials and the limitations of two selected films for understanding different cultures. The first
film that we will examine is 'The Day I Will Never Forget' (2002) by Kim Longinotto, an excellent example of a film that deals with female genital
mutilation (FGM), presenting all the aspects of the practice and managing to maintain a balance between the different perspectives, leading to a
nuanced understanding of the controversial topic (Shell–Duncan, 2006). It refrains from a superficial approach to the matter and relies on personal
accounts, through interviews and fly–on–the–wall observation of rituals and social interactions, aiming to reveal the dynamics that cause FGM to
remain prevalent within the Somali communities. The issue of female circumcision transcends a single scientific discipline and intersects with cultural
relativism, the universality of human rights, racism, Western imperialism, medicalization, sexuality and patriarchal oppression of women
(Shell–Duncan, Hernlund, 2001). In continuation, we will refer to certain scenes from the movie with high anthropological significance, that will give
us an insight in

Essay about Land Without Bread
Land Without Bread by Luis Bunuel There are numerous ethnographic surrealist films that have an intriguing relationship to aesthetics and politics. A
film that exemplifies this relationship is "Las Hurdes: Tierra Sin Pan" (Land Without Bread). This film is only 27–minutes and is directed by the
infamous Luis Bunuel in 1933. Bunuel was a Spanish filmmaker of the 1920's to the 1970's. He is often attributed to being one of the major
contributors to the surrealist movement of the 1920's. "Ethnographic surrealism is a utopian construct, a statement at once about past and future
possibilities for cultural analysis."(Clifford, 119) 'Land Without Bread' has a clear connection between politics and aesthetics. It uses many techniques,
specifically... Show more content on Helpwriting.net ...
The opening sequence of the film introduces and defines the genre ("a filmed essay in human geography") and the setting ("a sterile and
inhospitable area" in Spain). The expedition begins in Alberca with the watching of a "strange and barbaric ceremony." Once the people of the town
are "drunk with wine," the expedition continues to an uninhibited monastery. Afterwards, we move on to the first village of Las Hurdes, where
numerous young girls eat bread dipped in the water of a small stream. At the local school, "starving" children study geometry and educational moral
lessons. Arriving in another village, the expedition meets a "choir of idiots" and then finds a young girl ill in the street. Land Without Bread then
surveys the Hurdanos' diet of potatoes, beans, pork, and honey. The scene where a goat falls off a mountain and a donkey is covered and killed by
bees is staged unbeknownst to the viewer. A short–lived essay on mosquitoes and malaria leads into a portion on illness and dwarfism, caused "by
hunger, by lack of hygiene, and by incest.". As the camera pans across some graves marked with crosses, we hear that, "despite the great misery of
the Hurdanos, their moral and religious ideas are the same as in other parts of the world." We tour a "luxurious" church before visiting the inside of a
Hurdano home. As the family prepares for bed, an elderly woman walks the darkened streets, chanting of death. The expedition abruptly ends. It is

What Is The Significance Of The 1943 Famine
A well–crafted film, when read as a text, is as insightful and rich as literature. When viewed for deeper thematic elements, films allow the audience to
gain insight into the past; particularly historical events that one may have never experienced. Ashani Sanket (Distant Thunder), expertly directed by
Satyajit Ray (1973), focuses on the life of Gangacharan, a Brahmin man and his wife Ananga, during the 1943 famine in a rural village in West Bengal.
Throughout the film, Ray effectively depicts the desperate reality of hunger and food insecurity, whilst delivering an emotive and thematic message that
the 1943 famine was the human–made, long–term consequence of colonisation. With emphasis on the scene in which the rice granary is ransacked, this
essay will discuss how the depiction of famine and hunger reveals the distant actions of colonialism as British powers dictated India's food security.
The most fundamental symptom of famine is hunger. Hunger is all consuming; it destroys through organ shutdown, it eats the flesh of the living
leaving a walking skeleton, it allows disease to ravage the body and when prolonged, it alters the human psyche to an unrecognisable point (Mukerjee
J. S., 2011, p. 195; Mukerjee M. , 2010). When ... Show more content on Helpwriting.net ...
Mass death caused by being denied access to food is not something that naturally occurs. Humans have a role in a creation of famine because it
"involves a crucial change in people's access or 'entitlement' to food" (Keller, 1997, p. 164). Ray depicts the human role in famine through the actions
of the granary owner who hoards and raises the price of rice. Prior to colonisation, Bengal when paralleled against other Indian provinces had "a
comparatively low occurrence of famine" (Keller, 1997, p. 162). This suggests that the extent and severity of the famine was not the product of the
Bengali people, who were able to sustain themselves before colonisation, but rather the actions and influences of colonial

The Boy Of The Wolfpack Movie Analysis
From a legal standpoint, one wonders whether there might be an issue with Moselle's introduction to the boys of The Wolfpack. As the moment when
she chased them down on the street, most of them were technically minors, and the youngest was only eleven years old (Shone 2015). They were out
on the street without their parents, and Moselle, as a thirty year old adult accosts them because she finds them strange and unusual. She then begins to
develop this relationship with them, bonding over their shared love of movies, teaching them to refine their filming techniques, filming and
photographing them as subjects. One has to wonder whether the boys told their parents about this budding relationship, or whether she ever asked
permission from them... Show more content on Helpwriting.net ...
As they tell their story, we, the viewers, traverse the boundary between Self and Other as we watch the Angulo brothers share their more than
unconventional experiences growing up in New York City and their love for film with the camera. Like us, the Angulo brothers have watched movies
all their lives. Unlike us, the Angulo brothers have seen around ten thousand movies and meticulously recreated some of their favorites, all from the
confines of their sixteenth story apartment. Michael Atkinson, a reviewer for Sight and Sound, a London journal, recognizes these themes and writes,
"the Angulos' developmental Otherness, terribly odd to us and yet immersed in the pop culture we all know just as well, is the film's primary allure"
(Atkinson 2015). Their interaction with cultures of the world (not just America) through film allows different cultural norms to permeate their

Metz Film Language a Semiotics of the Cinema PDF
FILM LANGUAGE
FILM
LANGUAGE
A Semiotics of the Cinema
Christian Metz
Translated by Michael Taylor
The University of Chicago Press
Published by arrangement with Oxford University Press, Inc.
The University of Chicago Press, Chicago 60637
© 1974 by Oxford University Press, Inc.
All rights reserved. English translation. Originally published 1974
Note on Translation © 1991 by the University of Chicago
University of Chicago Press edition 1991
Printed in the United States of America
09 08 07
6 7 8 9 10
Library of Congress Cataloging–in–Publication Data
Metz, Christian.
[Essais sur la signification au cinГ©ma. English]

Film language: a semiotics of the cinema / Christian Metz: translated by Michael Taylor.
p. cm.
Translation of: Essais ... Show more content on Helpwriting.net ...
The term constantif, which Metz borrowed from Austin, should be rendered by "constantive" and not by "ascertaining"
(p. 25). Finally, "actor" to translate Greimas 's concept of actant is misleading and actant is usually kept (see DucrГґt and Todorov, Encyclopedic
Dictionary of the Sciences of Language, Johns Hopkins University Press,
1979, p. 224), and discours image when translated as "image discourse" is not very clear, since it is referring to film, which is made up of images.
The following rough spots occur only once each: "Unusual" (p. 5) translates weakly insolite, which has also the connotation of strange, disquieting,
surprising, unexpected, and uncanny. A "slice of cinema" (p.14) would be preferable to a "piece of cinema." "Narrative agency" rather than "instance";
"de–realization"or "de–realizing" rather than "unrealizing."
"A seminal concept" (p. 58) doesn 't really render une notion gigogne
(again the idea of embedded concepts). The title of Lang 's film which is translated by The Damned is actually M. "Signifying statements" should be
"semenes" (p. 26). I have not found an English equivalent for mise en grilles, which refers to a gridlike breakdown of linguistic units and which Taylor
translates by "pigeon–holing"

Reel Injun, The Shackles Of Tradition By Neil Diamond
Hollywood and the film industry represent Native Americans in classic movies as savages. In the documentary, "Reel Injun", Neil Diamond goes into
how Native Americans are only portrayed as barbarians. This is vastly different from how Native Americans are portrayed in the documentary, "The
Shackles of Tradition". This essay will compare and contrast Reel Injun, The Shackles of Tradition, and other movies that portray Native Americans.
The basic characteristics that are portrayed, strengths and weaknesses of ethnographic portraits, and the positive & negative impacts this has on Native
American culture. Has ethnography improved and what we can do to change the negative impact.
The basic stereotypes of the movies mentioned in "Reel Injun"

To Live With Herds Summary
Steven Dawson
Dr. Dowell
ANT4930
16 October 2017
Participatory Cinema and Filmmaker Relationship in "To Live With Herds"
In filming and editing "To Live With Herds," David MacDougall used a blend of observational and participatory approaches to the ethnographic film
making process. Through this, MacDougall indexed his encounter with the Jie people, having them work with him by participating in the film making
and editing process. He also incorporated an unprivileged camera style, acting as a fly on the wall and catching overheard conversations, all the while
moving at a relatively unhurried pace. This approach that MacDougall took with his cinematic ethnography was based on humility and respect for his
subjects, which was expressive of his ... Show more content on Helpwriting.net ...
This to me served as a form of participatory observation, and helped me draw some conclusions between the relationships between the filmmaker
and the people in the film. An example of this can be seen in Part IV of the film, where MacDougall captures some members of the tribe selling
cattle, which they do solely out of necessity. Here, we not only learn how central cattle are to the identity of the Jie, but we are also informed of the
political and economic hardships occurring amongst their people. "As the film reveals, the Jie exist precariously at the margins, their integrity and
autonomy undercut by conflicting currents of history and contemporary society (Grimshaw 2001: 125)." The film subjects were able to push the
interactions in MacDougall's film in the direction that they wanted, therefore answering the social and political questions that they wished to have
addressed and discussed so that we as viewers could better understand their society. I found this to be contrary to Rouch's cinematic style of
provocation. Whereas Rouch used an active camera style, guiding the conversations with certain questions, MacDougall allowed the recorded
conversations to flow naturally, often placing us as viewers in the position in which we were simply overhearing

Movie Review: Sense And Sensibility Essay
Movie Review: Sense and Sensibility
Ang Lee, who directed, and Emma Thompson, who adapted the screenplay, have done an excellent job of bringing Jane Austen's Victorian novel, Sense
and
Sensibility, to the movie screen. The movie's collection of actors are a joy to watch as they bring out the emotions of an otherwise polite and reserved
era in time. The production work is top notch with bright, cascading photography that sets a romantic "I wish I was there" setting. The
purpose of the Sense and
Sensibility is to bring out the romance in all of us and show us that Austen's philosophy of love exists today as much as it did two centuries ago.
Sense and Sensibility could rightly be classified as a ... Show more content on Helpwriting.net ...
Kate Winslet plays the wild, fatally romantic Marianne who cannot control her feelings. Opposite her is the experienced Emma Thompson who plays
the reserved, intelligent Eleanor who is far more sensitive than she ever lets on.
These two sisters embark on a romantic adventure that finds them searching for the right man. The two actors compliment each other with their
opposite nature which balances the story perfectly.
Yet, as wonderful as these two characters are, Alan Rickman's Brandon is the core of Sense and Sensibility. His performance is eloquent and
beautifully controlled but you can tell the torment he fights inside. His voice may be confident and steady, but his eyes alert you to his true emotions.
Brandon's heartache touches you at the core but this heartache makes him more regal because of his perseverance.
Hugh Grant compliments this array of actors by giving the film some classical slapstick comedy. He fits perfectly against the reserved Emma
Thompson who will occasionally bring out that wide smile after one of Grant's humorous anecdotes. Grant brings just enough charisma to his character
of
Edward to bring a little excitement to the movie.
Although the film did not need use the blockbuster special effects of more recent movies, they satisfy the needs of the movie and there are no errors

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