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Postmodernism in film essay
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Objective:
The review will emphasize on how the movie communicates cinematically by analyzing the specific formal techniques on the film’s use of camera movements, mise en scene, editing, colour, sound and music as well as the cinematography and performance of the actors. What is a contemporary film?
A movie created in the Contemporary Period (1980 to the present) is called a contemporary film. The predominant style of the period is described as postmodern because many contemporary films are ahistorical, apolitical, inter-textual, and not that attached to the standards of a single culture or genre (Sparknotes 2015).
There are different film genres including action, adventure, drama, horror, Westerns, comedy, and more. You, The Living’s genre
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The first one is Songs from the Second Floor and the third, A Pigeon Sat on a Branch Reflecting on Existence.
Analysis of the Film
You, The Living is set in the Swedish city of Lethe. The interiors were designed to reflect a 1950’s vibe which according to Roy Andersson, was how Sweden looked like when he was eleven years old. The houses was built and inspired by the German architecture of the 1930’s, and coming from the working-class stock, that’s what Andersson is comfortable with (Clarke 2008). He films in living rooms, bedrooms, kitchens, restaurants, offices, a bar, a barbershop, a courtyard, and a bus stop under the rain – all of these were created on a set.
Evaluating the mise-en-scène or the organization of everything that shows in the framing” (The Elements of Cinema 2014), Andersson is not just a director but a talented artist as well. You can see the similarity in the huge, extravagantly made sets and the bizarre, hazy locations. He uses high key lighting with little shadow. The backgrounds are lit uniformly, thus shadows are almost absent from his film. By doing so, the characters are always illumined and presented for
The film Jindabyne, is a story about death, marriage, and race in an Australian town in New South Wales called Jindabyne. In the film, four men go fishing, and one of them discovers the dead body of a young indigenous girl. Instead of reporting what they found to the police immediately, they decide to stay and continue fishing. They decide that there is nothing they could do for her, so they tie her legs to a tree and continue with their fishing, reporting the death only when they return home. After they are done with their weekend of fishing and report the incident, conflict starts, as the men are criticized for not respecting the dead. Through the story of the town’s reaction to the four fishermen’s response to the dead girl, the movie shows Australia to be fragmented and divided over white-indigenous relations.
Classical Hollywood Cinema is a chain of events that has a cause – effect relationship within a time and space. The environment looks realistic and believable to the viewers because the style is predictable, and the time is linear throughout the film. Each scene with the development of the plot and story is motivated by cause and effect. The filmmaking process involves four major steps that cut across the board. The process revolves around these levels that make it orderly to every individual involved in filming. The process has the following stages: Idea and Development, Pre-Production, Production and Post- Production. In Idea and Development it is normally
In the documentary “Fed Up,” sugar is responsible for Americas rising obesity rate, which is happening even with the great stress that is set on exercise and portion control for those who are overweight. Fed Up is a film directed by Stephanie Soechtig, with Executive Producers Katie Couric and Laurie David. The filmmaker’s intent is mainly to inform people of the dangers of too much sugar, but it also talks about the fat’s in our diets and the food corporation shadiness. The filmmaker wants to educate the country on the effects of a poor diet and to open eyes to the obesity catastrophe in the United States. The main debate used is that sugar is the direct matter of obesity. Overall, I don’t believe the filmmaker’s debate was successful.
The entire narrative takes place as George and Hazel sit in front of the TV. The living room and the television are the significant setting for this story because much of the story takes place in the Bergeron 's house, but the author does not describe the inside of the house details except the TV in the living room. No other details such as no décor, no color or no furniture, none of the personal touch that would make a house a
A League of Their Own (Marshall, 1992) explicitly characterizes an American era when a woman’s place was in the home. Even our modern perspective implicitly follows suit. Although women have gained rights and freedoms since the 1930’s, sexism remains prevalent in America. This film offers an illustration when men went to war and big business men utilized women as temporary replacements in factories, sports, and so on. Here, course concepts, such as gender socialization, gender expressions, role stereotypes, emotion expressions, and language, correspond to the film’s characters and themes.
Philosophy questions many ideas or statements. For example, the Examined Life asks, does life have meaning? This idea was analyzed, experienced, questioned, discussed and concluded in many different ways. There was a common thread between the Philosophy film, the Apology, our class discussions and the video, Examined life. We often ask ourselves, are we obligated to other people?
“The Yellow Wallpaper” is set in the countryside, miles away from the nearest village, in a summer home. Surrounded by hedges, a garden, and servants’ quarters, the setting provides a serene but confined feel to the story. The setting gives off a feel of tranquility but later on is discovered
The house and property are seen as positive only when the narrator first describes them. Gilman uses the imagery to create an air of suspense and insinuates the narrator’s coming fall into insanity. The setting of “The Yellow Wallpaper,” in large part, leads to the narrator’s collapse. Almost instantly, the narrator’s already unstable mind perceives a ghostliness that begins to set her even more on edge.
Within the German Democratic Republic, there was a secret police force known as the Stasi, which was responsible for state surveillance, attempting to permeate every facet of life. Agents within and informants tied to the Stasi were both feared and hated, as there was no true semblance of privacy for most citizens. Directed by Florian Henckel von Donnersmarck, the movie The Lives of Others follows one particular Stasi agent as he carries out his mission to spy on a well-known writer and his lover. As the film progresses, the audience is able to see the moral transformation of Stasi Captain Hauptmann Gerd Wiesler primarily through the director 's use of the script, colors and lighting, and music.
Film Analysis of Life Is Beautiful “La vita e Bella” is an Italian film; Roberto Benigni starred as the main character, Guido Orefice, and also directed it. The film was contentious because of the way Benigni presented its content of the Holocaust with an unlikely comic slant. Some people thought that it showed a misrepresentation of the concentration camp, whilst other thought it showed the triumph. However, in March 1999 it was nominated. for seven Academy Awards including Best Picture and Best Director.
In relation to contemporary cultural aesthetic, the postmodern adopts two modes: mainstream mode and oppositional mode (Hayward 302). In Amelie, a mainstream approach is taken through the mannerisms and stylization of the film, through pastiche. Amelie resembles a mainstream use of pastiche and bricolage, which can be seen through the assemblage and mixtures of the different styles and genres. The assemblage of different genres is a common characteristic that is found in many postmodern films. We get a blurred line of genres ...
The world before her is a film of hope and dreams for Indian women. We examine two girls with different paths but one goal in common, empowerment. This term conveys a wide range of interpretations and definitions one of them being power over oneself. Both Prachi and Ruhi manifest a will for female empowerment but both have distinct views on how this is achieved. Prachi believes the way to achieve empowerment is through her mind and strength, while she still confines to tradition views of Indian culture. Ruhi desires to achieve female empowerment by exposing her beauty in a non-conservative way while maintaining her Indian identity.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Scott uses setting to transform the image of the small town to the dark attic of the St Denis house in order to capture