The purpose of this essay is to analyze the following animated films: “Girl’s Night Out” by Joanna Quinn (1987), “Persepolis” by Satrapi and Paronnaud (2007), and “Sita Sings the Blues” by Nina Paley (2008). The main goal is to analyze the aesthetic, and the technique of the aforementioned animated films and also, to relate them to the second and third waves of feminist movement.
In Quinn’s “Girl’s Night Out” we are introduced to the main character Beryl, a large lady working on an assembly line installing cherries on top of cupcakes. In a way this indirectly reflects to first-wave of the feminist movement, due to the fact that Beryl works on an assembly line, and if we think about it, this could be directly related to the 1940’s when women joined war effort, working on assembly lines usually performing work traditionally done by men. I believe that this, in a way led to second-wave of the feminist movement, as one of the main goals was equality. Further in this short animation, we see Beryl with her co-workers at bar/strip club. In my opinion this scene clearly represents gender r...
In society today, we are conditioned to believe certain sets of ideals. We use these ideals to interact and get along with the other people we surround ourselves with. These ideals are often the societal norms that form common ground amongst individuals. However, living life based off these basic and unchanging beliefs is not beneficial to humanity, nor does it make life any easier to live. In fact, holding on to the most accepted beliefs holds back society as a whole. Judith Halberstam, in her essay “Animating Revolt and Revolting Animation” challenges these societal norms through the analysis of animated movies and, in doing so, carves a path for a new way of thinking.
Feminism is evident throughout the typical gender stereotypes such as the ‘perfect’ girls are the blonde, skinny ones. When students are asked about their thoughts on ‘the plastics’ in the beginning of the movie, they tell that they are preppy and attractive. The stereotypes in this movie cause hurt feelings and discrimination towards all of the females. Girls were also viewed as sex symbols based on their looks and physical appearance, not their ability and intelligence. In the movie, most of the girls are known for copying ‘the plastics’ look which is usually short skirts and tank tops making the outfit look provocative. Another example is on Cady’s first day of highschool, she is asked if ‘her muffin is buttered’ which is a sexual question. Feminism is definitely shown throughout the female characters personalities and
Westford, Massachusetts: The Murray Printing Company. Company, 1978 Kulik, Sheila F. Home Page. 17 Feb. 2000 http://www.feminist.com/femfilm.html. Rosenberg, Jan. “Feminism in Film.”
As far as Bazin’s essay “The Evolution of the Language of Cinema” might be used as a formal test of categorisation—notwithstanding the problematics inherent in his oversimplification of the realist and expressionist methodology—initial viewing of Jules et Jim seems to present a dichotomous structure. Certainly, a number of Bazin’s criteria for realism are met: camera movement; long-takes; composition-in-depth. and deep focus; a certain ambiguity of meaning. Similarly, several of Bazin’s criteria for expressionism also can be found: there is spatial and temporal discontinuity; editing is used for artistic effect; reality is augmented to create a world only vaguely like our own, and so on. The dichotomy though is only apparent. The over-all effect created by Truffaut shows Jules et Jim belonging more comfortably in the expressionistic domain; and, as we shall discover, devices which would normally—at least according to Bazin—deliver the effect of realism are utilised by Truffaut as tools of expressionism.
In this essay, I will deal mainly with the work that Svankmajer created as an animator. To put it in context, however, I will first give a rough overview of his background and the work for which he is best known.
It is hard to speak of the history of Polish cinema without situating it in relation to World War II, especially when it is one of the very few channels that express Poland’s national conscience. Through Polish cinema, veteran directors like Andrzej Wajda have been able to convey messages of trauma, disillusionment and fatality. Wajda is arguably one of the most important filmmakers of Poland, who etched his country’s history on the silver screen. The emergence of a state owned film industry through communism was perhaps one of the most significant changes to Polish cinema. Despite the possibility of censorship stifling all kinds of creative expression, Wajda was able to produce groundbreaking films like Ashes and Diamonds (1958) that are rich with symbolic and allegorical messages that are oppositional and critical of the state. Even after the fall of the iron curtain, Wajda has continued to express the social and national dilemmas that affect Poland. As David Paul argues in Politics, Art and Commitment in the East European Cinema, “Wajda’s style is in tune with Polish culture’s unending search for great dilemma” (171), he also notes the psychological and existential current that both Man of Marble and Ashes and Diamonds have. Wajda’s tendency to produce movies that focus on Polish individuals who face social issues that require a moral decision represent his place in a movement scholars call the Cinema of Moral Concern. Both films mentioned above, critique institutions and the state by imbuing Polish society as a whole within a single character and his or her situation. In this essay I will argue Wajda’s portrayal of women in cinema especially in Man of Marble has drastically changed since Ashes and Diamonds. In fact, the juxtap...
...ual difference.” Also, by introducing the concept of fantasy, Penley asserts that, “film analysis, moreover, from the perspective of the structure of fantasy, presents a more accurate description of the spectator’s shifting and multiple identifications and a more comprehensive account of these same movements within the film: the perpetually changing configurations of the characters, for example, are a formal response to the unfolding of a fantasy that is the filmic fiction itself.” Thus, Penley’s final sentence states that, “the feminist use of the psychoanalytic notion of fantasy for the study of film and its institutions can now be seen as a way of constructively dismantling the bachelor machines of film theory (no need for Luddishm) or at least modifying them in accordance with the practical and theoretical demands of sexual modernity” (Stam and Miller, 470-471).
The Ramayana is the most famous and well-known of all Indian epics, originally based on an epic poem it has taken many variations and forms over the centuries. Traditionally the story centers on the hero Prince Rama, who is the embodiment of virtue and perseverance, as he is wrongfully denied his birthright of being crowned king and instead is unjustly exiled into the forest where he encounters his fair share of dilemma. In R. K. Narayan’s condensed, modern version of The Ramayana the classic conflict of duality is a predominant theme, as Rama faces many instances of uncertainty and trivial chaos which are eventually balanced by order and goodness under the laws of karmic causation and dharma alike which he virtuously strives to uphold. Nina
The film “Sita Sings the Blues” and “Ramayana the Epic” are two versions of the Ramayana but were portrayed in different ways. “Sita Sings the Blues” was presented by Nina Paley based on Valmiki 's version of the Ramayana and she showed the side that many people don 't know and fail to accept about the Ramayana, Sitas side of the story. She doesn 't portray Rama to be the ideal husband although he goes through the trouble of saving Sita. In the film “Sita Sings the Blues” Nina Paley did not show Lakshmana throughout the whole journey of Rama leaving Ayodhya and trying to finding Sita. Also, Rama himself ends up killing Ravana which was different in the film “Ramayana the Epic.” In the film “Ramayana the Epic,” Rama was portrayed as the ideal
The purpose of this essay is to apply the feminist framework to the film The Little Mermaid (1989) in order to deconstruct Disney. First, I will provide a textual description of The Little Mermaid (1989), explaining the film's plot line. Then, I will describe my analytical framework, the feminist framework, using Ott and Mack (2010) and additional media related studies. Next, I will give an in depth analysis of The Little Mermaid (1989), using the feminist framework and several additional sources. Finally, I will give a brief conclusion, providing an...
An artistic big bang bеtwееn thе old man аnd thе young girl. Thіѕ wаѕ demonstrated іn two consecutive, vеrу different films, a drama аnd a comedy. In Match Point Woody Allen directed hеr аѕ a femme fatale, thе breathtaking sex appeal іѕ hеr оwn undoing. Nola Johansson shows hеr аѕ a woman whо thinks ѕhе hаѕ thе threads (and men) іn thе hand аnd yet thеіr sacrifice іѕ high grade.
Throughout this essay I hope to illustrate how the development of Feminism was shown through art into Post Feminism and how feminism not only gave rights to women but to other 'Minorities ', I also plan on showing how strong Political influence is involved in art and feminism.
In the following text, I will talk about the effect and viewing experience of animated films and the difference to non-animated films. I will use the example of "The Secret Life of Pets" to demonstrate the use of Mickey Mousing in the modern world of animated movies and show how the viewing of animated and non-animated films differs from each other.
My paper focuses on Kon Satoshi’s four anime movies that he directed. They are, in order of release, Perfect Blue (1997), Millennium Actress (2001), Tokyo Godfathers (2003), and Paprika (2006.) While I plan to analyze these movies from multiple angles, one of the main overarching topics will of course be Kon’s trademark surrealism.
There is always something special or unique about any country in the world that becomes popular because of it. Japan is very famous of the cartoon movies that describe and show the Japanese culture and much more, which is called “Anime”. But why this kind of cartoon movies is so popular among people of different countries and culture? This essay will cover the definition of the word “Anime”, the themes of Anime, the production of Anime and finally Akihabara City that is also known as “the city of anime”. As well a primary and secondary research is also included about anime.