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Three theories of environmental ethics
Theories on Environmental Ethics
Theories on Environmental Ethics
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Apocalyptic and Post-Apocalyptic movies are a sub-genre of science fiction, horror fiction, or fantasy that focus on the end of the world, or the world just after "the end." But, where do the influences of these movies come from? Every good apocalyptic film that we know and love stems off of the fear and concerns that revolved around the time it was made. Steven Glawson provides a strong quote that parallels to my research in the article, “Post-Apocalyptic Cinema: What The Future Tells Us About Today” saying that, “[s]ince the 1950s, post- apocalyptic films can be seen as gateways into the crises of the decade they were made in. Some incorporate them into the plot, some use them as allegories, and some satirize them.” Without an influence or connection to relate with the audience, the film would have no dimension. When seeing a movie, viewers are always going to search for an underlying meaning or message that could connect to their lives today. Although most …show more content…
In the article “Consumer Apocalypse: WALL-E,” Chris Barsanti explains that the planet “is a planet destroyed by overconsumption, aided and abetted by a sickening web of consumer-industrial-complex propaganda.” Amanda Yesilbas, Katharine Trendacosta, and Annalee Newitz echo this argument in the article, "13 Post-Apocalyptic Stories That Actually Teach Valuable Lessons," when considering the film Logan’s Run: they state, “garbage in, garbage out” which solidifies the idea that if we treat the earth like garbage, we will get garbage in return. Although there are many more examples, these films help connect the idea that nature and the environment are fragile things that must be cared for and not abused. They want to push the ideal of conservation in a subtle and fantastical way; making you stop and think of what could become of the planet if we do not take care of
to the film early on but makes the viewer want to make sense of what
in order for the ideological infrastructure of a film to be successful, it must abide by
to show the genre of the film and how it is meant to be perceived. All
If it’s anything from a romantic comedy to an action-packed hero’s journey, movies have a psychological approach to influence the way you view certain actions. For example, when you watch a film that focuses primly on the aspect of an alleged murderer, it forces the average viewer to immediately conclude that the accused is guilty based on the acclimation of previous films. It is a slow conditioning that brings forth conflicting, yet corresponding evidence that the more you observe said influences, the greater your interpretati...
Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...
Filmmakers are one of the social interpreters reflecting and commenting about society and the times. Motion pictures can highlight social issues from economic and environmental justice, racial lines and discrimination, violence against women, worker rights, homelessness, and poverty to all forms of human rights abuses. Good films can raise awareness and be a start to addressing local and global issues. They can educate about cultures, and give a broader political, religious, or social context. For example the movie “Blood Diamond”, starring Leonardo Dicaprio, depicts a country torn apart by the struggle between government loyalists and rebel forces on the control of the diamond mining market. After the movie was released
It is a common mis-conception that films are merely entertainment, and serve no other purpose than to provide for the viewer a two-hour escape from reality. This is a serious under-estimation of the power, purpose, and potential of film, because film, upon reflection, revea...
The only real way to truly understand a story is to understand all aspects of a story and their meanings. The same goes for movies, as they are all just stories being acted out. In Thomas Foster's book, “How to Read Literature Like a Professor”, Foster explains in detail the numerous ingredients of a story. He discusses almost everything that can be found in any given piece of literature. The devices discussed in Foster's book can be found in most movies as well, including in Quentin Tarantino’s cult classic, “Pulp Fiction”. This movie is a complicated tale that follows numerous characters involved in intertwining stories. Tarantino utilizes many devices to make “Pulp Fiction” into an excellent film. In this essay, I will demonstrate how several literary devices described in Foster's book are put to use in Tarantino’s film, “Pulp Fiction”, including quests, archetypes, food, and violence.
People can feel better about themselves after watching these types of movies. Using these elements together, it makes the movie better, but not only that, but each element helps each other out in the scene to make it a very good movie
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
Mise-en-scène is a vital function in film which allows us to glean a deeper significance than mere action and dialogue can convey. We react to the signs, symbols, and icons within a film because they are imbedded deeply into our collective subconscious. Our history of visual storytelling predates language and it is a tradition that is innately human and universally recognized, even if the viewer is unaware of the elements of mise-en-scène and the way in which they are constructing the emotional and psychological context of a film’s story.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
...verything around us is made by our actions. Positive or negative they cause an effect that will ultimately lead to a different story base on how we interpret life. Narrative elements are used as a bridge by the directors in their film to create any master plot that is currently known. Any modification at any narrative element used by the director at important moments inside the story can help you portray a different master plot. This used of narrative elements can be best described as an ever changing process that takes place inside an individual’s head. Depending on the individual that may be exposed to those narrative elements can create different meanings. This new interpretation can be different for everyone. We have to be aware that one change in the surface scenery can lead to many ideal outcomes in our minds and that is the main power the audience has.
Trash invades our world, and we can stop it by recycling. The movie Waste Land, tells the story of an artist named Vik. Vik goes to Rio to visit the people that work at the landfill. He believes that only bad and nasty people work at the landfill, however; Vik meets the pickers, the people that gather recyclables at the landfill. Vik bonds with the pickers, and he wants to sell his art to make better lives for the pickers. During the course of the movie, Vik’s perspective of the pickers changes, and a sense of ethos forms between himself and the pickers.