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Essays on women in film
Women film analysis
Analysis of women in film
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Film Analysis – Jackson Gould – Ms. Resetti
Welcome all. I am extremely excited to introduce Crocodile Dundee to our fabulous audiences here at the world renowned Australian Film Festival. Released in 1986, this acclaimed and illustrious film captures the raw essence of the identity of the typical Australian male, the landscape of the Australian outback and the value of masculinity, all greatly appreciated by many Aussies during the time of release.
The film Crocodile Dundee, set in both the barren Australian outback and the busy streets of America, contrasts life in the crowded and rushed city of New York and the relaxed and carefree town of Walkabout Creek. The landscape in Australia is shown through a variety of extreme long shots, to show the emptiness of the land, to portray the outback as isolated and ruthless. One location which is important in
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the film is the pub at the Walkabout Creek Hotel. This scene is used to set the course for the movie, and many medium shots are used to focus on the characters and what they are wearing and participating in, such as fighting, drinking, dancing and playing darts, so the viewer can fully absorb the Aussie culture and traditions. A few audio codes such as locusts or music are used to increase tension or change mood rapidly. This is used to portray the Australian outback as an unpredictable and scary place. All of this, however, is contrasted when Dundee and Sue travel to New York. The use of lighting and technical codes are made apparent to make shots seem duller, with many scenes being shot next to grey walls and buildings. It is always crowded in New York, to represent it as very busy and frustrating at times, compared to the relaxation felt while in Australia. This is clearly depicted in a scene where Dundee finds it painstakingly hard to walk around town, where as in Walkabout Creek, it is very rare to see someone else unless you are at a popular area like the pub. This is done to develop the impression of Mick’s rightful home in Walkabout Creek. During the scenes in New York, all that can be heard in the background is the footsteps and talking of everyone around, making it sound like a very fast-paced area, whereas in Australia, the noises are much more natural, being animal noises and Australian songs, to create a very down-to-earth feeling within the viewer. The most powerful identity represented in the film is the typical Australian male.
This is done by having Dundee wear an animal skin vest with a loose button-up shirt and blue jeans, with an Akubra. A combination of this and how he acts recklessly and talks with very little formal language represents him as a man that has a feeling of independence and roughness about him. This thought is further encouraged by the fact that he survived a crocodile attack all alone in the middle of nowhere, and lives to tell the tale as if it’s a joke, also showing a sense of larrikinism within the Aussie stereotype. Many medium and close-up shots are used to show how Dundee looks and where he is, again building up the Aussie stereotype. This is done through the use of a levelled camera angle, to make the viewer feel as if they are in the scene, so they can fully appreciate the representations of the characters. The line from the film “I always feel safe when I’m with you”, spoken by Sue Charlton represents Dundee as protective and loyal. All these attributes are the building blocks, creating what is known as the typical Australian
male. Crocodile Dundee also represents the value of masculinity. This is portrayed positively, but also as if everyone in Australia must have a bold sense of masculinity about them, and if not, they are not truly Australian. This is seen within the movie through many aspects and scenes, such as the bar scene. Everyone within that scene is represented as carelessly dressed, dirty, wild, drinking a lot of beer and fighting in some parts, all values associated with be a ‘manly person’ or a ‘bushman’. This is also seen whenever Dundee displays his bushmen-skills in Australia or New York, or tells stories about his escape from the crocodile. This value is further reinforced by the setting for most scenes while in Australia, being shot in the bush, mainly related to manly activities. This is again contradicted in New York with most of the males being business-men, and have no knowledge of the bush or how to survive alone in the wilderness. The setting for most scenes while in New York is in a room or on the streets with many buildings in the background. Ladies and gentlemen, as you can see, this movie represents the typical Australian stereotype with humour, mateship and courage depicted throughout the whole movie. These landscapes, identities and values portrayed within the film were found at the time of release in Australia, and are still found in modern Australia to this day.
During the scenes that Red dog is travelling the desert looking for John, viewers are able to see a perfect example of what the Australian outback is really like. Dry, vast and scattered with the odd tree, red dog is on the search, he hitchhikes up the whole western side of Australian. During the daytime scenes in Red Dog you see the glaring sun beaming upon the rich Australian soil and you can only imagine how hot it would be if you were actually there. As red dog sits in John’s house waiting for him every day he observes the sunset in the distance, as it disappears behind the rocky road. For international viewers the landscape in the movie red dog clearly represents the Australian outback. The stereotypes throughout red dog, are typical to the average Aussie bloke; Bogan attire, beard, dirty and always with a bear in there hand. The actors use jargon and slang to depict the average conversation between two Australian
One of the first representations encountered in the film Jedda is the portrayal of Australia as a tourist destination in the exposition of the film. This glorified view of the landscape is conveyed to the audience through the use of bold visual images and birds eye camera angels. The visual images, as well as portraying Australia as a tourist destination, also adopt the romanticised Hollywood view of the landscape that many American westerns use to emphasise their appeal to an audience of European background. An example of this romanticised view can be seen in the incorporation of camera shots of landscapes such as rolling planes of dry grassy land, and areas of steep rocky hillsides. This style of filming has been incorporated into the exposition to highlight the drama, beauty and primeval nature of the landscape, and to entice the audience into continuing to watch the film. The films documentary-like voice-over also contribute...
Since the beginnings of cinema in Australia from around 1896, Australian films have charted a range of views of the Australian identity, most specifically Australian Rules directed by Paul Goldman and Sapphires directed by Wayne Blair. Movies like these two gems deserve to be recognised and put into “The Hall of Fame” along with all the other masterpieces produced.
The distinctively visual provides a means of which a composer can connect with his or her audience in order to create a clear, distinct visual image of other people and their worlds - conveyed through the use of visual or literary techniques in their media. Composers such as Henry Lawson and Dorothea Mackellar are able to effectively depict an image through an exceptional use of language and techniques that help shape our understanding of the Australian people and their world. In particular, Henry Lawson’s short stories ‘The Drover’s Wife’ and ‘The Loaded Dog’ and the Dorothea Mackellar Poem ‘My Country’ are able to effectively depict the unique environment of the Australian bush landscape.
Distinctively visual allows one to explore the ways images are created through the use of visual and literary techniques. The Australian bush is a harsh, dangerous and lonely land with no one around for miles. Henry Lawson clearly identifies this as he highlights the difficulty and consequences if one doesn’t adapt to it. The prescribed texts ‘The Drover’s Wife’, ‘In a Dry Season’ and ‘The Bush Undertaker’ by Henry Lawson and related material ‘Spelling Father’ by Marshall Davis-Jones as well as ‘Australia’ directed by Baz Luhrmann paint an image of what is normal for someone in their position as well as what they need to be. This can be seen through the concepts love for the family, the harsh Australian environment and the eccentric minds stereotypically
The suburban house, as the film’s setting and sphere of action, is extraordinary partly because it is ‘next-door’ to an airport. The odd layout of this backyard is underlined because their suburb meets the kind of architectural cast-offs often found at the margins of big cities. This mix of the humble backyard with the international vectors of travel, tourism and international trade plays out in the film’s narrative which connects the domestic and the distant. The Castle displays many locations and landscapes easily identified as being unique of Australia- The ‘Aussy’ barbeque and patio setup, greyhound racetrack and poolroom, just to name a few. The neighbours of the Kerrigan’s are a symbol representing the multicultural diversi...
The film Australia by Baz Luhrmann displayed numerous misrepresentation of Indigenous Australians. King George or better known as the “magic man” according to Nullah demonstrates an inaccurate and stereotypical view of Aboriginal Australians as being mysterious and spiritually powerful. Australia depicts Aboriginal Australians as being in touch with nature which is a positive stereotype. Nature plays an important role in the Aboriginal culture since they live off of the land by hunting, gathering, and farming the land. Aboriginal Australians were also portrayed as the “other” in this movie and their culture was viewed as being primitive compared to that of the white culture. Movies portraying Aboriginal Australians as being exotic, mysterious,
'The Australian Legend', in itself is an acurate portrayal and recount of one part of society, from a specific era, ie. the Australian bushman of the 1890s. Its exaggerations, however, such as the romanticism of the bush ethos by Australian writers, the unbalanced use of evidence, and the neglect to acknowledge the contribution to our national identity from certain sections of society, ie. aboriginal people, city-dwellers, women, and non-British immigrants, render this book to be flawed. For these reasons, it cannot be regarded as a complete and balanced account of Australian history.
In Sara Gruen’s novel Water for Elephants, the theme of love being a driving force in the characters’ decision making is displayed through the use of characterization and conflict throughout the novel. Jacob’s love for Marlena causes him to make unexpected and often foolish decisions. When Jacob suddenly kissed Marlena, her reaction caused him to realize “‘[he] shouldn’t have done that,’” (Gruen, 2006, p. 153). Jacob was unable to conceal his love for Marlena, which, in turn, caused him to suddenly kiss her. Jacob’s character is extremely love driven, which is demonstrated by his romantic outbursts. Without thinking of the results, Jacob decided to keep Rosie because of his love for her. When Jacob told Marlena they were keeping Rosie, his reasoning was “‘I love that bull.
"How The Crocodile Got It's Skin" is a myth because it meets all the criteria a myth requires. The three requirements a story must have in order to be a myth is it must follow a pattern, answer the question "why?", and follow a belief system. The crocodile is introduced to the readers early in the story by repeatedly coming out of the water; "The crocodile became very proud of its skin and started coming out of the water to bask...even while the sun was still shining". (Paragraph 2) In order for a story to be a myth it must follow a pattern. Theoretically because the crocodile seeks the attention, he continuously came out of the water to bask; therefore, meeting one of the requirements of a myth. Also, in the text it said, "But each day
On Sunday April 28, 1996, Martin Bryant ambushed the Tasmanian tourist destination Port Arthur and heightened the Australian death toll for a single person massacre to a ravaging 35 people. The day had good, calm weather, attracting numerous abundances of tourists to the small Broad Arrow Cafe of Port Arthur in the early morning. By 1.00 pm, an estimate of over 500 visitors were at Port Arthur, although the number died down to about 60 people remaining just before Bryant’s initiation of attack. In his first few seconds, Bryant had managed to claim three young victims, an asian couple and the girlfriend of Mick Sargent, who escaped death with a grazed scalp. Using an AR15 semi-automatic rifle, Martin Bryant’s shots were clean, fast, and unanticipated - causing people to run and hide for their lives. Many males were killed in heroic attempts to shelter their wives and children from the gunfire, with some killed instantly and many left to bleed to death at a slower, more painful ra...
Peter Weir’s 1981 film Gallipoli can in every sense of the phrase be called an ‘Australian classic’. The impact and effect this film has had upon the psyche and perspective of several generations of Australians has been significant. Whilst it can be argued that every Australian is aware of the ANZAC legend, and the events that occurred on the Turkish beaches in 1915, Weir’s film encapsulates and embodies a cultural myth which is now propagated as fact and embraced as part of the contemporary Australian identity. The film projects a sense of Australian nationalism that grew out of the 1970’s, and focuses on what it ‘means’ to be an Australian in a post-colonial country. In this way Gallipoli embodies a sense of ‘Australian-ness’ through the depiction of mateship and through the stark contrast of Australia to Britain. A sense of the mythic Australia is further projected through the cinematic portrayal of the outback, and the way in which Australia is presented in isolation from the rest of the world. These features combined create not only a sense of nationalism, but also a mythology stemming from the ANZAC legend as depicted within the film.
The Red Lionfish (Pterois volitans) is an invasive saltwater predator that is increasing exponentially in the tropics of the western Atlantic (Benkwitt, 2013). The Lionfish invasion is causing a dramatic decline in native marine reef species due the gluttony of the lionfish.
This book is appropriate for three-to-five years of age children as the story is very engaging and children are exposed to the Aboriginal culture. The book is illustrated in oil paint in impressionism and the whole story is in double-page illustration, which shows the landscape of Cape York and Aboriginal people. The pictures use vibrant colours including forest green and many shades of brown and the kangaroos and the snake people have red eyes. Educators can guide children to discuss the information in the image which can help children to understand how these details support meaning construction (Spence, 2004). For example, educators can tell children that the kangaroos and snake people who have red eyes reveal that they are evil, so that children can understand that adding more details in both writing and speaking can provide more information for audiences and the explicit language is very effective in constructing the meaning. Educators can use toy snakes and toy kangaroos and other materials to retell the story with children or make a small display that shows part of the
Evolution is defined as the change of hereditary characteristics of populations over generations (Caroll, 2009). The environment is continually changing therefore organisms have to change in order to stand the changes in environment so they can survive and reproduce (Caroll, 2009). Regular change in genetic material of organisms over generations can lead to the development of new species that are more adapted to the environment (Caroll, 2009). It is said that failure to evolve may lead to extinction of a species (Caroll, 2009).