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Social concepts in movies essays
Films and the moral standards of society
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Since the development of film industry, there has been a vast variety of movies representing different values that got published. We measure the success of the movie often by the box office's result but we seems to think that we can predict the results with the popularity of the stars in production. However, it has been proven wrong often. In the articles I've read this week, I found a common theme that although many movie has different theme, but fundamentally, they are similar; also the power of star isn't as influential as we believed. The general theme I find that connected with them all is the production of movies and what makes some of them good. First readings "The Movies" suggested that publicity cannot make a picture successful or a star …show more content…
Conventions also makes collective action simpler. Author later concluded that art is social in the sense that it is created by collective actions from social organization. Third readings "Individual Creativity in a Collaborative Medium" contributes to this common theme by saying that TV recycles materials, a lot of times when we see something we think is new in TV shows or movies, it is most likely been used before, delivering something very familiar yet new enough that there are certain amount of novelty in it. Fourth readings "A Week on the Set of Murphy Brown" was a record of what happened in the set of a sitcom's production. Despite the fact that this show casted a star, there wasn't star entrances or star mentality, which is different from what we usually hear in the news these days. It showed that at that time, people understand that the title of 'star' isn't permanent and it doesn't affect the show's popularity that much. Fifth readings "Hollywood Dreams, Harsh Realities: Writing for Film and Television" was about the discrimination happening during the production process. Director assigning actors to the roles often are influenced by factors like gender, race, and age of those
In conclusion, all three texts "Sunset Boulevard", "Over the Hilton" and "Celebrities Uncensored Six", supports the highlighting of the vanity of stardom - how celebrities do not possess their fame - their fame belongs to the support from the media. Norma Desmond only possesses fame when the public chooses to watch her movie, Paris Hilton has no talent or intelligence - her fame only came from outrageous partying, and various other celebrities being mocked by the paparazzi. Audiences separate celebrities from the images they were initially alienated for with such representations.
With the loss of its centralized structure, the film industry produced filmmakers with radical new ideas. The unique nature of these films was a product of the loss of unified identity.
Recognize that the "Culture of Hollywood" is based on motion pictures as big business as well as entertainment.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
In this paper I will offer a structural analysis of the films of Simpson and Bruckheimer. In addition to their spectacle and typically well-crafted action sequences, Simpson/Bruckheimer pictures seem to possess an unconscious understanding of the zeitgeist and other cultural trends. It is this almost innate ability to select scripts that tap into some traditional American values (patriotism, individualism, and the obsession with the “new”) that helps to make their movies blockbusters.
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.
A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the central character more time on screen, the film helps the audience to not only understand the character’s motivation but also empathize with his/her emotional state. Additionally, some antagonistic force creates conflict with the main character, preventing immediate success(). Finally, after confronting the antagonist, the main character achieves his or her goal along with growing emotionally(). This proven structure creates a linear and relatively easily followed series of events encompassing the leading character and a goal.
In his article Stars as a Cinematic Phenomenon, he used the ‘photo effect’ conception of Roland Barthes to examine the present/ absent paradox of stars. He proposed influential qualitative distinctions in between stardom in films and television. He argued that ‘Stars are incomplete images outside the cinema: the performance of the film is the moment of completion of images in subsidiary circulation, in newspapers, fanzines, etc. Further, a paradox is present in these subsidiary forms. The star is at once ordinary and extraordinary, available for desire and unattainable. This paradox is repeated and intensified in cinema by the regime of presence-yet-absence that is the filmic image’(1992). Therefore, the impractical mode of ‘this is was’ on nature of stardom ‘awakens a series of psychic mechanisms which involve various impossible images’, such as ‘the narcissistic experience of the mirror phase’(1992). Ellis then continued to indicate televisual stardom, which is more current or ‘immediate’ than cinematic fame. He argued that ‘What television does present is the “personality”. The personality is someone who is famous for being famous and is famous only in so far as he or she makes frequent television appearances… In some ways, they are the opposite of stars, agreeable voids rather than sites of conflicting meanings’. Ellis’ thesis definitely points out the differences between cinema and television fame, due to the multimedia and transmedia of current era implies a much more diverse and unpredictable relationship in between stars’ images in any kind of
The cast members of each of the shows were put into situations that were constantly enforcing racial stereotypes, done on purpose by the producers. In the essay, the author argues that media makes the viewers have a struggle in what they choose to believe. She also states that society participates
Over the years, Bollywood has emerged as its own distinct identity in the global film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. (Pillania 1) However, Hollywood is still the leader in revenue generated. Due to the growth of the Indian market and globalization, Bollywood has made its way to the international markets.
Across the globe watching movies started as an asylum for the working class, but slowly the ideas being portrayed onscreen have evolved resulting in movie going to become almost religious. Movies have the ability to leave us in awe as a result of their ability to give us a glimpse of a dream, however unrealistic. I myself am a huge fan of the film industry. I started to feel a certain reverence for it because of the way it inspired me to dream and gave birth to my ambitions. This ultimately led to me to go into an in depth investigation of whether I was the only one who felt this way and what affects had been created because of this feeling.
Movie stars. They are celebrated. They are perfect. They are larger than life. The ideas that we have formed in our minds centered on the stars that we idolize make these people seem inhuman. We know everything about them and we know nothing about them; it is this conflicting concept that leaves audiences thirsty for a drink of insight into the lifestyles of the icons that dominate movie theater screens across the nation. This fascination and desire for connection with celebrities whom we have never met stems from a concept elaborated on by Richard Dyer. He speculates about stardom in terms of appearances; those that are representations of reality, and those that are manufactured constructs. Stardom is a result of these appearances—we actually know nothing about them beyond what we see and hear from the information presented to us. The media’s construction of stars encourages us to question these appearances in terms of “really”—what is that actor really like (Dyer, 2)? This enduring query is what keeps audiences coming back for more, in an attempt to decipher which construction of a star is “real”. Is it the character he played in his most recent film? Is it the version of him that graced the latest tabloid cover? Is it a hidden self that we do not know about? Each of these varied and fluctuating presentations of stars that we are forced to analyze create different meanings and effects that frame audience’s opinions about a star and ignite cultural conversations.
Spectator expectations and previous viewing experience can influence responses in a number of ways. Spectator expectations can be formed by genre and stars. An example of this is ‘The Greatest Showman’ (2017), a musical that features a number of stars in its cast such as Zac Efron, who is well known for his role as Troy Bolton in the ‘High School Musical’ franchise, and Hugh Jackman who has starred in action films, but also in the film adaptation of the musical ‘Les Miserables’. Through previous viewing experiences spectators will have formed expectations for ‘The Greatest Showman’ based on what they know to expect from musicals and from the stars involved. Though Zac Efron began his career through musicals, he had not starred in another musical
The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism.