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connections between cinema and culture in the 1920s + 30
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The adventure fantasy genre in film has its beginnings in the early 20th century, according to Tim Dirks, a writer for the filmsite.org web site
“Adventure films can live vicariously through the travels, conquests, and explorations, creation of empires, struggles and situations that confront the main characters, actual historical figures or protagonists.”
Therefore, the genre has many components, such as a science fiction adventure, a western adventure, a jungle, fantasy and even a romantic adventure. Nineteenth century ideologies were present in these films; patriarchy, heterosexual romance, colonialism, racism were common components in the story plots. Nevertheless, throughout the 20Th century, factors changed enormously, and the adventure fantasy genre mutated to fit the changing times. Although the genre kept some of the main characteristics, it differed from its beginning. These types of films were mostly opened information system, since they were based upon the mood and the frame of knowledge of that époque.
The film King Kong (1933) by Merian C Cooper & Ernest B Shoedsack illustrate how the different social, political, economical and regulatory factors had changed throughout the time and impacted the style and content of these adventure films.
In 1933 when the original King Kong was released, the world was in a period of change. Its creators were two well-known adventure and documentary film makers. In the story, “a film crew goes to a tropical island for an exotic location shoot and discovers a colossal giant gorilla who takes a shine to their female blonde star (IMDb.com).” The story line presents the successful filmmaker Carl Denham, played by Robert Armstrong, who puts an expedition togeth...
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...on & Mass Media Complete. EBSCO. Web. 22 Aug. 2011.
Lorenz, Dagmar C. G. "Transatlantic Perspectives on Men, Women, and Other Primates: The Ape Motif in Kafka, Canetti, and Cooper's and Jackson's King Kong Films." Women in German Yearbook 23 (2007): 156-178. Academic Search Premier. EBSCO. Web. 22 Aug. 2011.
“King Kong 1933” IMDb.com. IMDb, Web. 20 Aug. 2011.
“King Kong 2005” IMDb.com. IMDb, Web. 20 Aug. 2011.
“King Kong (1933)” Wikipedia. Wikipedia Foundation, 18 Aug. 2011. Web. 20 Aug. 2011.
“King Kong (2005)” Wikipedia. Wikipedia Foundation, 21 Aug. 2011. Web. 21 Aug. 2011
Morton, Ray. King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson. New York: Applause Theatre & Cinema Books, 2005. BooksGoogle.com. Web. 20 Aug. 2011.
“Recreating the Eighth Wonder: The Making of King Kong.” King Kong. Dir. Peter Jackson. Universal. 2006. DVD.
1959 was an exciting year in the history of filmmaking. An extraordinary conjunction of talent throughout the globe existed. In France, Truffaut, Godard, Chabrol, Rohmer, Rivette, and Resnais all directed their first films, thus establishing the French New Wave. In Italy, Fellini created the elegant La Dolce Vita, and Antonioni gave us L’avventura. Most importantly, though, in America, famed British director Alfred Hitchcock gave us the classic thriller North by Northwest, the father of the modern action film.
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton University Press: Princeton and Oxford, 2004.
Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the films Pulp Fiction, Taxi Driver, Watership Down, and Trainspotting are all versions of The Hero’s Journey, consequently demonstrating just how prevalent these archetypes have become in modern cinema. And that mythology and storytelling are important parts of each culture because they prevent the darkness in our hearts from spreading.
Classic stories remain a classic because they convey a message which appeals to people of multiple generations despite changes in society. King Kong was released in print in 1932, a year prior to its release in Hollywood, as a part of the film’s advance marketing. The public of this generation easily accepted the story’s racist, colonialist, and sexist themes. Today, literary critics such as Cynthia Erb view the novel and film as representation of the early 30s and thus a resource to understand the cultural context of the times. In particular, King Kong provides a window through which a modern audience can understand and interpret racism of the 1930s.
Films are also treasures of culture, filled with clues and insights into the attitudes and perceptions of the people of the day. While documentary films obviously present a historical record of people and events, dramatic fictional movies can also reveal the same. Comparing the main characters in Hitchcock's 1934
A noticeable difference in the way movies have changed over the years is evident when comparing and contrasting two films of different eras which belong to the same genre and contain the same subject matter. Two vampire movies, Dracula and Bram Stoker's Dracula, present an interesting example of this type of study.
The pristine 1933 King Kong was constructed as a movie: to convey a story to entertain an audience. Peter Jackson’s 2005 remake took the substructure for King Kong and expanded upon it in virtually every way in order to “make again” the astoundment of the original for a modern-day audience. Audiences received the first King Kong very well. The stop-motion sequences of Kong were astounding for their time and the movie grossed over $90,000 in its beginning weekend. In order to bank upon its prosperity again, sequels were made and thus in 1976 a remake was made to amend upon the original. Paramount updated the movie to color, altered the story, and cast Jeff Bridges, a widely popular actor of the time, as the lead actor. Although the movie received stirred reviews, it did exceptionally well in the box office and tripled Paramount’s initial budget for the motion picture. Even though the movie wasn’t “as good” as the original, audiences still paid money to view it because of that hope that they would feel like they once did when they visually perceived the first King Kong. The remake add...
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
In the film the King of Kong, it is seen that there are many possibilities to creating a thesis statement related to a known film since 2007, but the movie encounters a few similarities regarding both of the main protagonist of the film. In the King of Kong, Seth Gorden used his abilities as a director to show the audience that even though Steve Wiebe and Billy Mitchell were or are still rivals, they still had a similarity of deep comprehensive intelligence, and the documentation of their supporters.
Kracauer, Siegfried. “Basic Concepts,” from Theory of Film. In Film Theory and Criticism: Introductory Readings, Seventh Edition, edited by Leo Braudy and Marshall Cohen, 147–58. New York and Oxford: Oxford University Press, 2009.
Williams juxtaposes the three genres together, to reveal similarities and differences, and, in turn, their similar and different desire effects on the audiences. Specifically, she points out the physical reaction of characters in the films, and how the audience members mimic them. Firstly, in regards to the physical body, Williams discusses the similar uncontrollable “convulsion or spasm,” that comes with the different genres; a body on the screen is “’beside itself’ with sexual pleasure, fear and terror, or overpowering sadness.” (729) Next, she dissects the sound of these bodily reactions – the overpowering moan, scream, or sob that the chara...
Modernization in the 1980s paved the way for the Hong Kong New Wave, as the studio system set up in the 1950s was dismantled, the film industry experienced more freedom. Since decolonization was heavily present 75% of Hong Kong’s box office revenue were home grown movies, while the meager 15% was left for the foreign market. As one can see the political context of Ho...
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54