Films allow artists, writers, and actors to combine their talents into a visual narrative that instills essential lessons in the audience. Two such films, Nuestras Madres and La Llorona, tackle the complex subject of the genocide in Guatemala. Nuestras Madres follows a forensic anthropologist named Ernesto on his journey to uncover the truth surrounding his deceased father. In contrast, La Llorona follows the family of General Enrique Monteverde, a fictional representation of real-life dictator Efran Ros Montt, as they become cursed by a ghost from the general’s past. Together, they cover the aftermath of the conflict, exploring the situations of both the survivors and perpetrators. In the movies La Llorona and Nuestras Madres, the filmmakers argue …show more content…
In addition, when answering the question, she never looks at Ernesto, keeping her eyes on the ground, reinforcing that she has something to hide. Ernesto’s mom represents the older generation, who would prefer to forget the past due to the emotional ties they have with it, which only instills Ernesto, who represents the younger generation, with the desire to remember. Likewise, in La Llorona, immediately after Enrique Monteverde's trial, his daughter, Natalia, and his wife, Carmen, argue over whether the allegations brought against Enrique Monteverde are rooted in truth (Llorona 25:12). The filmmakers use a wide shot and a white color scheme to emphasize the emotionless quality of the scene, which also renders Carmen’s explanations empty. The generational tension caused by Natalia’s questions sows the seeds of doubt in Carmen’s mind, eventually leading to her realization later in the film. In this scene, instead of generational tension pushing the younger generation to remember, it forces the older generation to see the truth, turning them away from the notion of
Furthermore, ethos is being established through visual elements. In 0:27:26 Madgalena Cerda is introduced with a title in bright orange text on the screen. The visual elements of the text give her credibility since they state the environmental organization she works with. In 0:29:04 the film shows a San Diego newspaper article of the owner of Metales y Derivados not wanting to clean up the toxic mess created by his company. The newspaper article proves that the film’s credibility and facts being stated in the film are valid and
Camila and Ladisalo fall in love with the film. following their troubles. Following the events that happen with Camila. and Ladisalo, the director, shows how restrictive and devout followers of Rosas. were of the resentment against him.
Up until recently filmmakers have tried to branch out from this style of film making to create a real to life story with passion. Enter Mosquita y Mari, a film that focuses on the building relationship between two teenage girls. Written and directed by Aurora Guerrero this film is an honest representation of life for a teenaged girl struggling with identity. This essay will give a brief summary of the film and characters while depicting an example of form and context as well as personal thought of the film and director.
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
Ear piercing screams, blood splatters, loneliness, violence and isolated surroundings are only a handful of the themes mentioned in the analysis by Di Muzio in the movie Texas Chainsaw Massacre. These themes haunt the viewers significantly and especially children. The movie starts on a glorious note of friends united for a trip, only to see one their friend “struck on the head with a sledgehammer.” (Di Muzio, 2006, p. 279) This sets a tone of the unexpected and the directors emphasize greatly on scenes with numerous screams with utilizing blood to frighten their viewers. Fear is the product of our thoughts, it is temporary, but numerous individuals fail to realize the reality. The movie has the ability to attract audiences of different backgrounds to come together and partake in a visual entertainment of killing spree, keeping one in terror and on the edge of their seats at all times. Moreover, the antago...
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
Through the Characterization of Esperanza and her father, Cisneros portrays the theme of that throughout multiple generation’s culture, ideals, and family are lost. Culture, family, and ideals are very evident in the house on mango street, mainly in Esperanza’s father and in his family. Esperanza’s father is very sensitive when it comes to his family and culture. For example, his reaction to hearing the news of his mother while he informed Esperanza about her death explains his sensitivity, “Crumbles like a coat and cries, my brave papa cries. I have never seen my papa cry and I don't know what to do” (Cisneros 56). Esperanza’s father is very sensitive to the news of his mother's death.His sensitivity is portrayed when Esperanza says she has
The film of Cuerda manifests this idea through the personage of Rosa (Uxia Blanco), which plays the mother of Moncho. This imposing and articulate woman displays her conservative inclinations by being portrayed as a lady extremely devoted to Catholicism. The comparison between this convinced personality and the irreligious character of Ramon, Moncho's father (Gonzalo Uriarte), further underscores Rosa's conservative humor. Although she accepts and respects the leftist connection of her husband. With different images, gestures and actions, the director conveys his disagreement and disagreement, mainly with the atheistic character of the doctrine. There are two scenes in the film, which are used to highlight the traditionalist and anti-republican attributes of Rosa. The first presents Rosa prompting her family to shout insults to Republican prisoners who are taken to the wall. This act can be interpreted from a point of view of family protection, but if it were only something feigned, we would see this lady shouting all sorts of scorn, instead we witness how she is only mad at what really irritates her Republican ideology: his atheism. The second scene arise when they find out of the outbreak of the war. When this occurs, Moncho's mother grabs all the left-wing propaganda in her house and discards it, not without first clarifying to her son that his father never gave a costume to the teacher. To a certain extent, we may also think that these actions are the product of fear and a maternal intuition of family protection, but in an unconscious way we can perceive in Rosa a certain internal joy to know that possibly "the impious republic" has its days counted. We see how the intentional stage positioning is also used masterfully to demonstrate the differences that exist between Rosa and her husband in this scene. Both characters are divided by a pole, to the right a despondent, sad and disconsolate
La Movida Madrileña, meaning “The Action of Madrid”, was an unplanned countercultural movement from 1977 to 1985 in Spain. It began when Dictator Francisco Franco died and Spain erupted with pent-up energy. It was a movement that valued style over substance. The cultural revolution was evident in the music, subculture, fashion, alcohol, drugs, and sexual experimentation. La Movida took place primarily in Madrid, although some other cities such as Barcelona and Vigo had their own Movidas. Popular nightlife slang of the time reflected the spirit of the movement: “¿Dónde está la movida?”— “Where’s the action?”
When the younger Karamakate encounters a group of native orphans at a Spanish mission, he admonishes them to "Never forget who you are and where you came from." The fact that he has done so himself is not lost on the viewer, and the older Karamakate’s journey becomes one of self-preservation through remembrance. This conflicting content is intensified by Guerra’s decision to shoot the film entirely in black and white, with the exeption of one particular scene in the film's conclusion. The filiming in black-and-white offers a certain authenticity that allows an image to appear more timeless. With a film in this particular setting, one might dissagree with the filmmaker's choice of not taking advantage of the vivid colors of the jungle, however the director's primary concern does clearly not ride on the film's visuals so much so as the film's content which focuses on conflicting tenses, -namely past and present, regarding constant survival. Without color, the Amazon also appears more foreign to us,, providing audience's a sense of mystery. Historically, Guerra offers elegant shots of the setting's landscape while not
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universal understanding or interpretation. This is true for the French New Wave films Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society, using sound and editing.
Through most of the characters’ passion for filmmaking, this movie teaches the audience the great significance of film history. Many people in modern day tend to take film and its history for granted, but they do not realize the depth and effort that mankind has put into such a development. In Hugo, the theme of film history revolves around the entire production, and the audience sees flashbacks of Georges Méliès’ past that reveal his vital role in movie-making. By investing a deep meaning to the tale, viewers start to understand the great emotional and intellectual characteristics of movies. Additionally, Hugo himself delivers a message to his counterpart characters, which also serves as a lesson for the onlookers. He shows the audience that everyone has a part and purpose in this world. Protagonist Hugo Cabret says that “everything has a purpose, even machines. Clocks tell the time, trains take you places. They do what they’re meant to do.” Voicing through Hugo, the filmmakers illustrate how every individual has a reason to live and discover their calling. With a statement about the forgotten grandeur of film history and a valuable message to the crowd regarding one’s purpose, Hugo inspires and presents itself as a noteworthy and unforgettable
Pedro Almodovar’s 1997 film Live Flesh (Carne Tremula), is rich in both visual and story elements, making in the perfect candidate for a scene analysis. Upon writing this paper, however, this was almost to my disadvantage. I watched it through and whittled it down to about five scenes I considered analyzing. This self-challenge is a testament to not only this film, but Almodovar’s whole body of work; he has created so many thoughtful, intricate, and all together entertaining films in his career, I had to somehow forgive myself for just choosing one short scene out of only one of his movies for analysis. So, without further ado, here is an analysis of a scene from Live Flesh.
Andrew Lloyd Webber’s Cats is championed as the first true megamusical, a subgenre of musical theatre known for its extravagant staging, numerous ensembles, and all-encompassing themes such as love, revenge, and the human condition. This essay seeks to explore how songs from megamusicals explore the psychology of their characters and how said psychology influences and advances the narrative of their respective musicals. Les Misérables is a 1980 pop-opera musical based on Victor Hugo’s novel of the same name, with music by Claude-Michel Schönberg. In this essay, however, the lyrics analysed will be Herbert Kretzmer’s English translation of ‘What Have I Done?’
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...