Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Morality in pop culture
Don’t take our word for it - see why 10 million students trust us with their essay needs.
On Wednesday afternoon, a couple friends and I went to see the film Rules Don’t Apply at Living Room Theaters in downtown Portland. I am a sucker for any movie illustrating the exuberant characterizations of 1960’s cinema, and was very intrigued by the possibility of a behind the scenes look into that world.
Written, co-produced, directed, and starring Warren Beatty, Rules Don’t Apply was publicized as a thrilling tale of forbidden love and enlightenment from the constraints of religious ideology. However, I believe the true overarching theme of this movie followed more closely to the issue of contextual morality as presented in the Janro text (2016).
Loosely based on the real life of billionaire, entrepreneur Howard Hughes, the movie follows
…show more content…
Marla Maybrey, first introduced as a small-town, devotedly religious beauty queen on the rise to achieve stardom, is a girl who’s strict, unwavering standards contradicts those of the laissez-faire society of Hollywood in the 1960’s. The opportunity to enter a world with different rules of engagement then what she previously knows, exposes her to the prospect of questioning the ideals she once held as absolutes, presenting the idea that morality is relative and shaped by …show more content…
The character Howard Hughes is a superlative example of Machiavellian inspired dictator who spends the entirety of the movie pursuing his own hedonistic desires at the expense of others. However, this perspective begs to question whether he was truly acting out of self interest or merely acting in the way that was anticipated and necessary by those who surrounded him. The character himself was obsessed with the idea of DNA, and further claimed that this basic unit of all living things held the essence of who his father was and wanted him to be. This additionally argues that in some cases, perhaps those that seemingly live for themselves are under both the unconscious and conscious pressure of living solely for others and how they expect others to conclude they will act. In turn, those who desperately seek to take advantage of these kinds of people are paradoxically the ones, whatever their reasoning, who are perpetrating this contextually reprobated
Sunset Boulevard directed by Billy Wilder in 1950 is based on how Norma Desmond, a huge Hollywood star, deals with her fall from fame. The film explores the fantasy world in which Norma is living in and the complex relationship between her and small time writer Joe Gillis, which leads to his death. Sunset Boulevard is seen as lifting the ‘face’ of the Hollywood Studio System to reveal the truth behind the organisation. During the time the film was released in the 1950s and 60s, audiences started to see the demise of Hollywood as cinema going began to decline and the fierce competition of television almost proved too much for the well established system. Throughout this essay I will discuss how Sunset Boulevard represents the Hollywood Studio System, as well as exploring post war literature giving reasons as to why the system began to crumble.
My reception of this film was so positive because of my knowledge, experiences and values. I have always enjoyed learning about the 1960’s and admired the political activism and change that occurred in that time period. I grew up in a very liberal home, where we were freely able to discuss controversial topics and form our own opinions.
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
Nichols, John. ""Counbtering Censorship: Edgar Dale and the Film appreciation movement (critical essay)."." Cinema Jouranl. Fall 2006.
The 1989 film Do the Right Thing displays a story about racial tension in a predominantly African-American neighborhood. Spike Lee not only directed and produced this film but he was also the main character, Mookie. In spite of maintaining these three jobs, Lee incorporated cinematic techniques that allowed his film to unlock controversial ideals for both Caucasian and African-American viewers. Through the use of camera elements Lee was able to display emotions and tone of the scene without using stating it directly. Lee exhibited film methods such as low-angle shots, close ups, slow motion and panning.
Keathley, Christian. "Trapped in the Affection Image" The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Ed. Thomas Elsaesser, Alexander Horwath, Noel King. Amsterdam: Amsterdam University Press, 2004. 293-308. Print.
During the mid and late 1970’s, the mood of American films shifted sharply. People needed to get away from such negative memories as the Vietnam War, long gas lines, the resignation of President Nixon, and ...
The racial system is composed of three basic parts that divides people into different categories: the white on top, black on bottom, and brown in between. This system came to be as a result of three different population coming together with unequal terms resulting in one population having the most power. The film Do the Right Thing, directed by Spike Lee, does an excellent job at portraying how the racial system functions by showing the advantages of being at the top of the system and the disadvantages of being at the bottom of the system. Not only does Spike Lee show the way that the racial system works but it also shows the reality of it and how it puts the races at the bottom
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
In this essay I will be looking at the topic of the countercultural movement of the 1960’s through counterculture film. The 1960’s were an extremely interesting time in history not only in the United States but all over the western world, as we saw the rise of the counterculture generation. The counter was a group of movements focused on achieving personal and cultural liberation and was embraced in many different ways by the decade’s young people. I have chosen this topic as the 60’s stand out for me as a revolutionary and often misrepresented period in history. The films I have chosen to look at are The Baader Meinhof Complex from director Uli Edel, Woodstock from Michael Wadleigh, Pirate Radio from Richard Curtis, and Fear and Loathing in Las Vegas from director Terry Gilliam. I chose to analyse these films as I believe they clearly demonstrate the social and political issues of the 1960’s and societies response to them.
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Not all films which adhere to the classical Hollywood paradigm eschew issues. The film Singin’ in the Rain follows Don Lockwood, a popular silent film actor, as he attempts to maintain his star status during the advent of “talkies”. Lockwood’s journey manifests fame’s capricious temperament, the studio’s commercial interest, and the influence of outside variables on a film. Singin’ in the Rain uses Lockwood’s struggle with celebrity to expose the importance of public image and self esteem.
Breaking the rules might seem like a bad thing to do, but breaking the rules the right way is always a good idea. Many people see breaking the rules as getting in trouble and looking like a bully but there are different ways to break the rules and still look cool. The article "Cool People Only Break The Rules -- But Only The Right Rules" explains in many ways that breaking the rules aren’t always a horrible thing. The journalist Elizabeth Winkler has a saying which is being cool isn’t just about breaking rules. It’s about breaking the right rules in the right context (Winkler, 2014). Cool people break the rules just like bad people as long as you do it the right way it’s okay.
Journal of Popular Culture, 32(2), pp. 79-89. Retrieved from: http://web.b.ebscohost.com/ehost/detail?vid=6&sid=64cd7df8-8ea3-4d9a-ad60-1deef7e616e6%40sessionmgr114&hid=103&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=aph&AN=1585569 Starlet C. (2007). Women in action movie empowered role models or chicks with guns.