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Essay about henry ford
An essay about henry ford
An essay about henry ford
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The movie The Quiet Man directed by John Ford is a far cry from the Westerns his most noted for directing however for John The Quiet Man “was the most personal film he ever made (it was also one of his favorites” (Berardinelli). In The Quiet Man John Ford brings together one of his most favorite Western actors, John Wayne, who is undeniably the central character, and the ever stunning Maureen O’Hara to brings to life a warmhearted, down-to-earth romantic comedy. He created a movie that is primarily focuses on characters and atmosphere, than on its plot, and is able to bring romance to life, not through the use of powerful dialogue, but through the use of glances and on screen tension. Having filmed most of this movie against the natural backdrop of Ireland in 1952, John was able to capture and bring to life the spectacular Ireland landscape by filming in Technicolor. Today The Quiet Man is truly considered a classic romantic because of the amazing chemistry between its actors, it’s cinematography that captures the truly magical landscape of Ireland, and by ending this movie with one of the longest nonviolent fight scenes in movie history.
The Quiet Man, set in the early 1920’s, is a film that follows Sean Thornton’s (played by John Wayne) journey back to his homeland of Innisfree, Ireland to reclaim his family farm and to escape his brutal past as a boxer who accidentally killed his opponent in the ring. In route from the Innisfree train station, to his birthplace, a small cottage located in the Innisfree countryside, Sean sees the beautiful, red-headed Mary Kate Danaher (played by Maureen O’Hara) off in the distance. Shortly after settling in, Sean meets and becomes instantly taken back by Mary Kate, but quickly finds out th...
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Nixon, Rob. "Why The Quiet Man is Essential ." TCM. Turner Classic Movies, n.d. Web. 8 Apr. 2012.
Renes, Cornelis Martin. "The Quiet Man and Angela's Ashes: Hollywood representations of Irish emigration as male quest narrative." Estudios Irlandeses - Journal of Irish Studies 2 (2007): 93+. Academic OneFile. Web. 7 Apr. 2012.
Spirit of the Thing. "Irish Film Spotlight: 'The Quiet Man' (1952)." Rev. of The Quiet Man. Weblog post. Cinemit. N.p., 13 Oct. 2012. Web. 10 Nov. 2013. .
Spratling, Eric. "Grading Fight Scenes." Web log post. Grading Fight Scenes. N.p., n.d. Web. 10 Nov. 2013. .
TB, Dorian. "THE QUIET MAN: “Impetuous! Homeric!”." Tales of the Easily Distracted. Ed. Dorian TB. N.p., 17 Mar. 2011. Web. 8 Apr. 2012.
Included within the anthology The Penguin Book of Irish Fiction,1[1] are the works of great Irish authors written from around three hundred years ago, until as recently as the last decade. Since one might expect to find in an anthology such as this only expressions and interpretations of Irish or European places, events or peoples, some included material could be quite surprising in its contrasting content. One such inclusion comes from the novel Black Robe,2[2] by Irish-born author Brian Moore. Leaving Ireland as a young man afforded Moore a chance to see a great deal of the world and in reflection afforded him a great diversity of setting and theme in his writings. And while his Black Robe may express little of Ireland itself, it expresses much of Moore in his exploration into evolving concepts of morality, faith, righteousness and the ever-changing human heart.
The myth of American(USA) superiority and exceptionalism has existed since the early foundation days. The rush towards the Pacific provided an easy way to sustain this theory, and for a long time it was assumed that westward growth was the best sign of success. In fact, some of the earliest films to hold captive the American citizens were spectacles of U.S. positivism, where good always triumphed over evil.
In traditional Hollywood cinema, narrative film structures its gaze as masculine; films use women in order to provide a pleasurable visual experience for men, as well as symbolizing women as the desire for male. (483-94). The Treasure of the Sierra Madre (1948) however, substitutes women with gold for male desire to fill in the narrative void.
BIBLIOGRAPHY An Introduction to Film Studies Jill Nelmes (ed.) Routledge 1996 Anatomy of Film Bernard H. Dick St. Martins Press 1998 Key Concepts in Cinema Studies Susan Hayward Routledge 1996 Teach Yourself Film Studies Warren Buckland Hodder & Stoughton 1998 Interpreting the Moving Image Noel Carroll Cambridge University Press 1998 The Cinema Book Pam Cook (ed.) BFI 1985 FILMOGRAPHY All That Heaven Allows Dir. Douglas Sirk Universal 1955 Being There Dir. Hal Ashby 1979
Schein, Seth L. The Mortal Hero: An Introduction to Homer's Iliad. Berkeley: University of California Press, 1984.
Philip Noyce's adaptation of Graham Greene's novel The Quiet American to film was a large success. It stayed true to the script, and kept the basic essence of the characters; pulling them from the pages of the book and creating them visually into marvels on screen. The earlier film made on the book was made in 1958 by Joseph Mankiewicz. Fowler was played by Michael Redgrave, with Audie Murphy as Pyle. This version was forced to reverse Greene's political stand taken in the book however, meaning it had no-where near as much impact as Noyce's production. Noyce chose to film in actual Vietnamese locations and without compromise, boldly sticking to the novel by not letting the Americans come out of the story too kindly. The Vietnamese conflict-its roots, effects, and lifestyle was captured brilliantly with Brendan Fraser depicting the deceivingly innocent yet devious Pyle, and Michael Caine as Fowler the ageing and unhappy journalist.
As Ethan rides towards his brother’s homestead, he is greeted by awestruck stares. He rides with the brutal desert behind him, sun glaring at his eyes while his brother’s family is framed in shadow of their own home. A hopeful tune plays in the background as he approaches. In this opening scene of The Searchers John Ford establishes Ethan—played by none other than John Wayne—as the rugged individualist, the one who tames the wilderness. This cowboy is integral to the “Myth of the United States,” he is the one who tames the savage wilderness its residents (Durham). However as the film unfolds, Ford explores Ethan’s tortured psyche, his motivations, his neuroticism, even the Indians and their motivations in order to deconstruct deconstructing the myth in order to show that the cowboy is a relic of the Old West.
Schein, Seth L. The Mortal Hero: An Introduction to Homer's Iliad. Berkeley: University of California Press, 1984.
early 1960's. It is about a young boy called Francie Brady who becomes isolated from reality and eventually commit’s the ultimate sin of murder from this isolation he is experiencing. He is the victim of a dysfunctional family and of the effects of modernization in Ireland at this time and we soon realize that he has been raised in an atmosphere of inhumanity. Both Novel and film cover themes such as identity, the effects of modernization and foreign influences, the dysfunctional family, childhood friendship, community gossip and prejudice.
“All the Pretty Horses”, a novel written by Cormac McCarthy tells the tale about a man and his friend travelling the plains of Mexico after leaving their homes in Texas. As the novel’s name alludes to, horses are a central theme in the story as they represent manhood and freedom when John Grady, the protagonist, and his friend Rawlins get thrown in jail. McCarthy’s novel became critically-acclaimed which gained him more recognition, as well as a movie adaptation directed by Billy Bob Thornton. Even though Thornton’s adaption has the basics of the novel’s story it does not appropriately grasps its depth. While Thornton’s version stays faithful to the dialogue from the book’s included scenes it does fall short by having an erratic pace, having
With the discovery of techniques such as continuous editing, multiple camera angles, montage editing, and more, silent filmmaking developed from simple minute-long films to some of the most beautiful, awe-inspiring films that have ever been created—in only a few decades. In Visions of Light, someone alluded that if the invention of sound had come along a mere ten years later, visual storytelling would be years ahead of what it is today. This statement rings true. When looking at the immense amount of progress that was made during the silent era of films, one must consider where the art of film has been, where it is, and where it is
The bombing of a pub is what we are first presented to in the beginning of this movie. At the same time, we are introduced to a woman in a car listening to a cassette recording of Gerry Conlon talking about his younger years. At this time, he is a political prisoner. While he is talking we are being taken back to his younger years. Gerry used to steal lead sheets from the rooftop of row houses and sell them. While he is holding a pipe, he is mistaken by British soldiers for holding a rifle. A lot happens and he ends up starting a riot.
The film that I watched was Michael Collins, Directed by Neil Jordan, I found this film to be a very interesting film regarding Irish history. I was interested in the movie from beginning to end. The actors and actresses in the movie did an outstanding job representing the roles that they were playing. Liam Neeson was an excellent Michael Collins and even bared quite a resemblance. Aiden Quinn played the role of Harry Boland and Julia Roberts played the role of Kitty Kierman. An important stand out role of Eamon de Valera was played by Alan Rickman. This film portrays Michael Collins as an Irish Patriot fighting to gain independence from the British Empire. The film breaks down the different significant events that took place between the Easter Uprising and the time of Michael Collins death.
Cultural nationalism is a force that permeates through films as a reflection of the country of origin and production. Naturally, it focuses on national identity shaped by cultural traditions and language – a concept that proves problematic when appertained to Irish film and how the ‘Irish Mind’ is translated on screen. Unlike many other countries, Ireland lacks the strong foundation of indigenous voice to solidify its films as Irish, despite the early efforts of Douglas Hyde and others to restore the Gaelic language. Since the linguistic footing of Ireland was crippled by the widespread use of English, the hope of a distinctive culture was put into the Irish Literary Revival; such hope was then catechised by the Roman Catholic tradition for
How does Irish drama show on stage the survival of Irish people in the face of conflict and disappointment?