Delicatessen- film report Delicatessen is a 1991 French post apocalyptic film set in the 1950’s in a small French town. The film’s genre is a cross of comedy with psycho-horror and romance Interwoven. The film was written and directed by Jean-Pierre Jeunet and Marc Caro, Gilles Adrien assisted in the writing process. (Delicatessen, 1991) Jean-Pierre Jeunet and Marc Caro first worked together on a short film called The Bunker of the Last Gunshots (1981), which like Delicatessen, was also a post apocalyptic film. Delicatessen marked the first time the duo collaborated on a full length film. They then worked together on what critics considered their masterpiece, The City of Lost Children (1995) Claudie Ossard produced the film. The Cinematography was done by Darius Khondji. Delicatessen’s distinct visual aesthetic can be attributed to the use of a ENR process which allowed Darius to adjust the balance between colour and black and white. He also used a new process called the skipped bleach bypass processor without accelerator with gives an opacity to the black. He washed out all blue colour from the screen and used maroon, red, brown and yellow tones along with these techniques helped bring to …show more content…
Food gives the film its context and meaning. This film has strong links between food in relation to love, war and religion. Firstly food addresses the struggles of the French as it’s used as a way to speak about war, famine and how difficult it is for people to survive when their government makes it so difficult for them to live. In the film, the characters live in a world where grain is used as currency and where they are forced to ration food. When they are running out of food they must resort to cannibalism, essentially turning the world into a ‘dog eat dog world’. The butcher and his tenants replace their morals and proper social conduct with behaviour that wouldn’t exist if the world was in
The meal, and more specifically the concept of the family meal, has traditional connotations of comfort and togetherness. As shown in three of Faulkner’s short stories in “The Country”, disruptions in the life of the family are often reinforced in the plot of the story by disruptions in the meal.
Pollan states that food is not just a necessity to survive, it has a greater meaning to life. Pollan explains how food can cause us happiness and health by connecting us to our family and culture. Warren Belasco, in “Why Study Food”, supports Pollan’s idea that food is something social and cultural. In Belasco’s description of a positive social encounter food is included, whether it involves a coffee date with a colleague or a dinner date with a loved one. Belasco states that food forms our identity and brings our society together.
One issue the documentary highlights is the abuse of animals and workers by the food companies, in order to reveal how the companies hide the dark side of the food world from the public. In several instances, we see animals being treated cruelly. The workers have little regard for the lives of the animals since they are going to die anyways. Chickens are grabbed and thrown into truck beds like objects, regulation chicken coups allow for no light the entire lives of the chickens, and cows are pushed around with fork lifts to take to slaughter. Many chickens are even bred to have such large breasts that their bones and organs cannot support their bodies. These chickens cannot walk and they even wheeze in pain for the cameras. The film is clearly using the unacceptable premise fallacy of appeal to emotion in this instance, because the viewer is meant to feel pity at the sight of the abused animals. This supports their conclusion, because many American’s imagine their food coming from a happy, country farm and would be horrified to know the truth.
Pathos is the most effective appeal used in Food, Inc. because many strong visual images evoke the viewer’s emotions. The food industry’s maltreatment of farm animals provides several examples of pathos. A particularly disturbing scene of a close up of a dying chicken lying on his back, bleeding and gasping for air appears early in the film when a farmer allows cameras into her chicken houses. A farmer, Carole Morrison, explains quite candidly that the chickens are grown too quickly and that their bodies cannot support the rapidly growing internal organs and oversized breasts. The crowded filthy conditions in which the chickens live are deplorable. Later sick cows, unable to walk and mistreated by workers, further illustrates the deplorable treatment of farm animals. The filmmaker reinforces his point that the industry is inhumane to the animals prior to slaughtering them for food, while visually appealing to the viewer’s emotions.
“A Modest Proposal” and “Let Them Eat Dog” have a common argument that we are dealing with over population of humans and animals. Swift uses satire to make us think that he really wants us to eat babies. Foer tells us of people eating animals were not accustomed to. This can put an economical strain on everyone if we don’t use our resources wisely. Both of these articles may be elusive for some to read. Both papers touch on the topics of eating animals, economic issues, and culture.
by Jon krauker about a boy who leaves everything behind to live the aesthetic life. The film
Michael Pollan’s purpose of writing Omnivore’s Dilemma came about when he realizes that society is unbelievably unhealthy due to the abundance of food. The two conflicting logics that Pollan introduces are the logic of nature and the logic of industry; these two logics are reflected through various ways of raising livestock animals. The logic of nature consists of raising livestock animals in a pastoral environment where animals interact with one another and avoid the use of artificial chemicals; whereas, the logic of industry settles on raising livestock animals unnaturally. Growing cattle through the use of corn has allowed meat to be produced in large quantities and in a short time as described in the chapter “Feedlot: Making Meat”
In McCarthy’s novel The Road, one of the main issues deals with cannibalism and the moral/ethic issues of survival. Though McCarthy depicts cannibalism negatively in this post-apocalyptic world, it is apparent that cannibalism is necessary for humans to survive when there is no real food to eat. Whether they know what’s actually good vs what is actually bad, they still have a reason to try and stay alive even though things are absolutely terrible around them. Staying alive, to carry the fire for the good of humanity. In a world where everything is just coming to an end, people resort to eating each other in order to stay alive. Where there are bad and good people, but what does it actually mean to be bad? Eating human beings or not helping those people in need of help?
Babette’s Feast Like probably most of the people in our class, I grew up watching and enjoying Hollywood movies and have never really tried to appreciate European cinema. I initially thought of it as something boring or something that required too much analysis and interpretation. took the “fun” part out of watching a movie. However, watching the film, Babette’s Feast, certainly changed my viewpoint. Though it didn’t fully transform my view into instant admiration and outright appreciation, my viewpoint on European cinema definitely changed.
“Naked Lunch” is a play that was written by Michael Hollinger that tells the story of Vernon and Lucy, whom had broken up but are now eating dinner at Vernon’s home in an attempt to rekindle what their relationship use to be. The play depicts Lucy telling Vernon that she has now became a vegetarian after they broke up and how Vernon reacts to this news just after preparing a steak dinner for the two of them. Vernon’s reaction to hearing Lucy’s lifestyle change is one of aggression and hostility. The final line said by Vernon, “See, nothing to be afraid of”, is significant to the play because it mirrors the tone and general attitude of Vernon towards Lucy’s new lifestyle choice.
The viewer sees a private eye and beautiful client. First thought, "It’s definitely another Hollywood crime drama." On the surface, Chinatown has all the elements of a film noir: the presence of a beautiful but dangerous woman, otherwise known as the femme fatale, a gritty urban setting, compositional tension (highly contrasting light and dark colors or oblique camera angles), and themes of moral ambiguity and alienation. Chinatown, however, is different. Polanski shot Chinatown with color film, and though his colors do appear especially vivid, color film precludes the contrast intensity that black and white film offers. In addition, Evelyn is not the classic femme fatale. Though Jake mistakes her for her husband’s killer at first, Mrs. Mulwray eventually emerges as the story’s most tragic victim. Yes, Chinatown for the most part conforms to the structure of film noir, but this film departs from the general genre, creating an entirely different element in which Roman Polanksi examines not only big-money corruption and its malignant obsession with money, but also larger, more human themes such as ignorance, authority, and the pervasiveness of evil.
Food means different things to people in different countries of the world; pasta is common in Italy, hamburgers are a favorite in the US and tacos are a typical dish in Mexico. Human existence solely depends on this source of energy. A person’s fundamental need for food makes it a very important item, placing the people who control the food in a very high esteem. Consistency is also important in the delicate balance of life. Erich Maria Remarque, author of All Quiet in the Western Front, and Elie Wiesel, author of Night, both use food in their novels to convey this idea. Many of their thoughts and “meanings” concerning food paralleled one another. Food, one of the quintessential elements of life, plays a significant role in wartime experiences around the world and even in different time periods.
ChinaTown, directed by Roman Polanski, is a non-traditional hard-nosed detective film made in the 70's. The typical elements of character type are there; J.J. Gittes (a private detective in LA) played by Jack Nicholson is the central character, sharing the spotlight is Fay Dunaway playing the femme fatale Evelyn Mulwray. This film breaks all types of norms when compared to the hard-nosed detective films it is modeled after. The film is filled with allusions to the Big Sleep, especially taken from scenes of Marlowe and Vivian. Chinatown has formal elements indicative that it is going to be in the style of traditional Film Noir hardboiled detective, until you examine the characters' personalities next to the story content.
Jean-Jacques Rousseau’s natural man is a creature characterized by self-pity and self-preservation. Rousseau speaks towards his natural man’s kind and virtuous being, but also makes mention of his need for survival. While Rousseau expresses a clear and firm sensitivity toward animals in his text, in his Second Discourse he does not make a solid case for vegetarianism.
Food teaches, or illustrates, something meaningful about life, health, family, and culture. Although food keeps us alive there are many ways we misuse food. We can use the mistreatment of food to learn about our family, our health, and our culture. Abuse and mistreatment of food looks different for each person based on our culture and experiences in life. Ever since I was little, my family looked towards food for comfort. The most prominent time that sticks out to me was when my mom passed away. We were filling the void of our loss with the food we were deciding to eat. We weren’t eating healthy and we didn’t really care what was going into our bodies or how much we were putting in. Along with not eating healthy, we weren’t exercising or watching