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The effect of Hollywood on society
The importance of cinema for society
The effect of Hollywood on society
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Bad and The Beautiful and State and Main are films that present the audience with an inside look into the not-so luxurious, grotesque formations of Hollywood Cinema. The Bad and the Beautiful, directed by Vincent Minelli (1952), is a black and white film narrated in flashback form. The camera work in the opening scene is positioned at a higher level forcing the audience to look below at the director at Stage 5. Here, the audience begins to intrude on the not-so glamorous lifestyle of Hollywood. Though, the viewers remain an outsider at this point. Immediately, the camera pans to the centre of a cameraman on a camera boom. We watch as he excitedly zooms in on the woman lying down below, represented as a sexualized object for his pleasure, with strong emphasis on the male gaze. Though Bad and the Beautiful is a film within a film, it is character-driven rather than plot-driven in that it focuses more on the actor's personas. Therefore, there is less use of wide-screen shots as the audience is invited to intrude on the private lives of Jonathan, Fred, Georgia, and James. …show more content…
The camera zooms in on their faces, signifying their bromance, which inevitably deteriorates. Jonathan betrays Fred and disbars him from the film. "You're not ready to direct a million dollar picture," Jonathan says. "Stealing my idea," Fred replies. "Without me it would stay an idea," Jonathan refutes. After the confrontation, Jonathan leaves and the camera zooms out on Fred who stands motionless inside the office. Fred is captured from a distance at eye-level and he becomes ostracized by both the film industry and the audience. Henry Bebbel too walks out uttering, "Always thought that man was a genius," thus implying that Fred is not good enough, nor man enough. Evidently, it's a shot against his
Sister Flowers and A View From the Bridge are two short stories with strong correspondence and likeness. In the story, Sister Flowers by Maya Angelou our narrator Marguerite, a young African American female gives the reader introspect of her life and how a scholarly educated and aristocratic woman named Mrs.Bertha Flowers has made an impact on the narrator's life. While in the story A View From the Bridge by Cherokee Paul Mcdonald a man talks about his encounter with a boy he met on a bridge. Both short stories from the choice of character comparisons with both Marguerite and the boy on the bridge , The author's theme,syntax and symbols to overall effectiveness of both narratives proves that these two stories are more the same as a sense to their overall message they are trying to communicate to the reader.
The motion picture A Few Good Men challenges the question of why Marines obey their superiors’ orders without hesitation. The film illustrates a story about two Marines, Lance Corporal Harold W. Dawson and Private First Class Louden Downey charged for the murder of Private First Class William T. Santiago. Lieutenant Daniel Kaffee, who is known to be lackadaisical and originally considers offering a plea bargain in order to curtail Dawson’s and Downey’s sentence, finds himself fighting for the freedom of the Marines; their argument: they simply followed the orders given for a “Code Red”. The question of why people follow any order given has attracted much speculation from the world of psychology. Stanley Milgram, a Yale psychologist, conducted an experiment in which randomly selected students were asked to deliver “shocks” to an unknown subject when he or she answered a question wrong. In his article, “The Perils of Obedience”, Milgram concludes anyone will follow an order with the proviso that it is given by an authoritative figure. Two more psychologists that have been attracted to the question of obedience are Herbert C. Kelman, a professor at Harvard University, and V. Lee Hamilton, a professor at the University of Maryland. In their piece, Kelman and Hamilton discuss the possibilities of why the soldiers of Charlie Company slaughtered innocent old men, women, and children. The Marines from the film obeyed the ordered “Code Red” because of how they were trained, the circumstances that were presented in Guantanamo Bay, and they were simply performing their job.
When examining Beauty and the Beast by Andrew Lang, from a feminist perspective, it is evident that the portrayal and treatment of women is dreadful. The story was written in 1889 where women were seen as objects that were solely there for men’s pleasure and although, for once, the woman is portrayed as the heroine and not a damsel in distress, the story still includes misogynistic elements. For instance, when the beast threatens the father, the two characters treat Beauty as if she is an object that can be traded. On top of that, a father, who is supposed to love their children and protect them, decides it is okay give away his daughter, so he could stay alive. To add, later on in the story, Beauty seeks advice from her father about her dreams and he says, "You tell me yourself that the Beast, frightful as he is, loves you dearly, and deserves
The Beautiful Struggle and The Wire deeply expressed the Black experience. Both factors gave the perspective on how Black individuals view society based on what they go through. The book, The Beautiful Struggle, covers Ta-Nehisi Coates’s childhood and adolescence of growing up in Baltimore, Maryland. In the show, The Wire, it is based on a group of four boys who are also being raised in Baltimore, Maryland. The Beautiful Struggle and The Wire are comparable because the book and the show both consist of young Black boys who are trying to find a place in life where they belong, while being surrounded by street challenges such as, violence, gangs, and drugs. Also, the character Dukie in The Wire and the character Ta-Nehisi Coates in The Beautiful
Comparing A Streetcar Named Desire and Cat on a Hot Tin Roof In the game of life, a man is given the option to bluff, raise, or fold. He is dealt a hand created by the consequences of his choices or by outside forces beyond his control. It is a never ending cycle: choices made create more choices. Using diverse, complex characters simmering with passion and often a contradiction within themselves, Tennessee Williams examines the link between past and present created by man's choices in "A Streetcar Named Desire" and "Cat on a Hot Tin Roof. "
The road movie embodies the human desire for travel and progression. The vehicle of journey is a contemporary metaphor of personal transformation that oftentimes mirrors socio-cultural desires and fears. Thomas Schatz believes that one “cannot consider either the filmmaking process or films themselves in isolation from their economic, technological, and industrial context.” This statement is especially applicable to the independent American films of the late sixties, a time of great political and social debate. Easy Rider (1969) was considered a new voice in film that was pitched against the mainstream. In the 1960s, there was a shift to highlight the outsiders or the anti-heros in film. This counter-cultural radicalism seems to have also influenced the 1991 film, Thelma & Louise. The characters of both films act as figures of anti-heroism by rebelling against the conventional and unintentionally discovering themselves at the same time. Despite their different backgrounds, the protagonists of Eas...
The Bad and The Beautiful (1952) and State and Main (2000) are films within films that unmask Hollywood Cinema as a dream factory and expose the grotesque, veneer hidden by the luxury of stars. The Bad and the Beautiful, directed by Vincent Minnelli, is a black and white film narrated in flashback form. The films theatrical nature requires more close-ups than wide-screen shots to capture the character’s psychological turmoil. For example, Fred and Jonathan’s car ride is captured in a close-up to signify their friendship; however their relationship deteriorates after Jonathan’s deceit. While the camera zooms out, Fred stands alone motionless. Here, Fred is captured from a distance at eye-level and he becomes ostracized by the film industry and
Dracula, the most famous vampire of all time, which readers were first introduced to by Irish author Bram Stoker in 1897 with his novel Dracula, which tells the story of the mysterious person named Count Dracula (Stoker). The book is an outstanding masterpiece of work, which is why it has been a prototype for various movie releases over the decades. Whenever a film director decides to make a movie on behalf of a novel the hope is that the characters concur from the novel to the movie, which leads to the exploration of the resemblances and modifications between the characters in Dracula the novel by Bram Stoker and Bram Stoker’s Dracula 1992 movie directed by Francis Ford Coppola.
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
Most modern fairytales are expected to have happy endings and be appropriate for children, nonetheless, in past centuries most were gruesome. Consequently, fairytales have been modified throughout time. The stories “Beauty and the Beast” by Jeanne-Marie LePrince de Beaumont and “The Summer and Winter Garden” by Jacob and Wilherm Grimm share similarities and differences. The two stories are distinct because of the peculiar year they have been written in. LePrince de Beaumont’s story is written in London of 1783 and Grimm’s in Germany of 1812. At the time, wealthy people in London, were educated and had nannies who would read to their children; whereas, in Germany, the Grimm brothers created their own interpretation into a short story. Because many high class parents in 18th century London would not be able to spend time with their children, nannies would read “Beauty and the Beast” to them since they were intended for children and considered appropriate. In “The Summer and Winter Garden,” the Grimm’s’ story was mostly based to entertain misbehaved children and teach them the valuable lesson that everyone should be treated with kindness. The Grimm brothers’ goal in rewriting this short story is to better children’s behavior which worked quite well. Since these stories have been re-written for children, it would be safe to say the reason why parents expose the two stories to their children is because they both portray the same moral: good things happen to good people. The two interpretations of “Beauty and the Beast,” although written in separate countries, share important similarities and differences even though the authors have different interpretations and came from different cultures.
The movie Alan and Naomi tells the story of Alan Silverman, a young jewish boy who lives in New York City, and Naomi Kirshenbaum, a French Jewish refugee from Nazi oppression. As the story opens, Alan is playing stickball with Shaun Kelly who is Alans best friend. As the boys return to their apartment, they meet Naomi in the hallway. Naomi is sitting in the hallway ripping paper, she reacts by screaming for her mom and hugging the wall. After eating supper with his parents, Alan is presented with an unusual request.
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...
Once I was six years old and I had watched a movie about witches. I believed in them for a long time after that it just intrigued me a lot to watch how they could do the impossible. When I first watched the movie I was in awe with everything about it. I used to watch it non stop wishing that I could be a witch too. Of course the witches i watched on screen were good witches not evil.
He is able to connect more with the Woman in the portrait recognizing her otherness, than with the maid he kills, for whom she shows no empathy or remorse: “…his crime, he would have us believe, is the result of his preference for Art over Life, for a woman in a painting whose aesthetic fascination blinded him to the life of the woman he murdered. ”(McMinn, 103: 1999). However, it is when the maid starts to attack Freddie that he scarcely sees her, that he acknowledges her existence and his “...obsessively pictorial imagination” (McMinn, 103: 1999) seems to give place to the real and the truth; he succeeds for a moment to imagine her, yet it is not enough and he remains as remote as before to her
Reactions to Setbacks Every couple experiences difficult bumps down the road, but how they handle those adversities determines whether their relationships will last in the long run. In John Green’s The Fault in Our Stars and William Shakespeare’s Romeo and Juliet, both sets of characters go through different emotions when going through certain situations. The reactions to setbacks that Gus and Hazel have are more positive and hopeful while the reactions that Romeo and Juliet possess are more reckless and dangerous, conveying to the reader that resilient relationships with optimistic choices towards complications are unbreakable.