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Dystopia is one of the latest trends in mainstream media. Some of the most popular movies of the 2000s are ones that explore post-apocalyptic plots. Examples are the Hunger Games, Mad Max, and the Terminator franchise. People flock to stories grappling with human extinction, social inequality, and survival. In world where these issues are concrete, people look for escape in movies, yet most fall short in addressing how dark society can grow. In order to tap into this trend, the above films follow strict rules to become block-busters. Romance, low causalities, good-looking actors, and happy endings are trademarks of block-buster films. Audiences can leave dystopian worlds behind after two hours. In contrast, Snowpiercer challenges this trend. Bong Joon-Ho directs this 2013 Korean film. Snowpiercer draws inspiration from a French graphic novel published in 1982, Le Transperceneige. It remains …show more content…
Bound by the confines the train, the plot can only move forward. Once Everett's revolution begins, it cannot stop. Survival, like the train they live on, depends on moving onward. The further characters go, the harder it becomes to reach the end of the train. Obstacle after obstacle appear, often appearing in a deceptive form. In addition, it is made even more difficult by the fact Everett cannot leave the train, nor can he harm it. Their society is a balanced ecosystem depending upon all the parts to stay where they are. The children stay in their car, the workers in theirs, and the wealthy in theirs. However the back section cannot stay the same if they want to survive. It is unfair and dangerous. American movies like The Purge II, or The Hunger Games show governments that strip others of basic rights. Snowpiercer addresses this in more chilling manner. There are no fresh faced characters, suburban heroes, nor mutilated monsters. The heroes stand flawed and the only monsters are
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
Sex, love, depression, guilt, trust, all are topics presented in this remarkably well written and performed drama. The Flick, a 2014 Pulitzer Prize winning drama by Annie Baker, serves to provide a social commentary which will leave the audience deep in thought well after the curtain closes. Emporia State Universities Production of this masterpiece was a masterpiece in itself, from the stunningly genuine portrayal of the characters of Avery and Rose, to the realism found within the set, every aspect of the production was superb.
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.
Davis, J. G., R. M. Waskom, and T. A. Bauder. Managing Sodic Soils. Colorado State
"Fed Up (Soechtig, 2014)." narrated by Katie Couric, focuses on the growing link between sugar consumption and the obesity epidemic. The film aggressively attacks the food industry, advertising, and the government who, it claims, all contribute to the U.S. sugar-dependent, obesity problem. The film sets out to prove the government, and food industry is knowingly causing an increase in the amount of obese children. It reserves its most critical comments for government advisory panels who make and enforce food and health policy, and its failure to properly regulate the food industry. They claim lobbyists for the sugar board have been instrumental in the removal of negative statistics from research papers worldwide. Instead
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.
In the opening scenes of the trailer, already the audience is exposed to the dystopian atmosphere of chaos, social anarchy and oppression. This is promoted by short fast paced montages and high angle shots of the swarmed streets, close angle shots of people in terror and military forces. This also conveys the magnitude of chaos this “dilemma” has caused. A short scene of the main protagonist Robert struggling through the crowd has also been visually constructed to enforce to the audience that he is the main character of this movie. The visual construction of this scene is utilised by a close up slow motion focused shot on Will Smith with the background blurred to completely draw the audience onto him. What is more unique is that this combination of effects acts as an inference that Will Smith is the solution or only hope in settling this anarchy as he swiftly makes his way through the congested street. The explosion of the bridge also informs the audience the narrative is set in New York implied by being a landmark of the city. Already in the exposition, the visual conventions have provided an engaging and well informed construction of dystopian qualities and information about the plot itself.
The imagined community at the front of the train has little knowledge of the conditions that the less fortunate passengers of the train are subjected to. The existence of the imagined community that is comprised of ticketed passengers is integral to the sustenance of the train. Nixon writes, “the modern nation-state is sustained by producing imagined communities” (Nixon 167). While the train is by no means a modern nation-state, the privileged passengers are vital. Unlike the unimagined community in the back of the train who are decidedly rebellious, they seem to have largely submitted to the authority of Wilford. Without this submission the train would not be the microstate, it is. Rather, the train would be little more than a shelter from the icy wasteland earth has become. This reliance on an imagined communities is paralleled in all nations today. Without a submissive faction that realises and legitimises their government, the state holds no actual
The movie I decided to analyze for this course was American History X (1998), which stars Edward Norton. Though this movie isn’t widely known, it is one of the more interesting movies I have seen. It’s probably one of the best films that depict the Neo Nazi plague on American culture. The film takes place from the mid to late 1990’s during the Internet boom, and touches on subjects from affirmative action to Rodney King. One of the highlights of this movie that really relates to one of the key aspects of this course is the deterrence of capital punishment. Edward Norton’s portrayal as the grief stricken older brother who turns to racist ideologies and violence to cope with his fathers death, completely disregards the consequences of his actions as he brutally murders someone in front of his family for trying to steal his car. The unstable mentality that he developed after his father’s death really goes hand-to-hand specifically with Isaac Ehrlich’s study of capital punishment and deterrence. Although this movie is entirely fictional, a lot of the central themes (racism, crime punishment, gang pervasiveness, and one’s own vulnerability) are accurate representations of the very problems that essentially afflict us as a society.
Dystopian literature has been around for many years, but why all of a sudden are millions of people in search for different dystopian books? The answer is simply movies.
Throughout dystopian works the human versus nature conflict acts as a catalyst for the hardship society endures. Where nature represents innocence and vulnerability, a lack of it symbolizes a world of corruption and constraint. In worlds where society synergizes with nature, there is confidence in the future similar to the cycle of the Eloi and Morlocks in The Time Machine. However in worlds such as, Andrew Stanton’s Wall-E, Mordecai Roshwald’s Level 7 and The Matrix by the Wachowski brothers, an obvious lack of nature adds to the seemingly hopelessness of the work’s atmosphere. The root of suffering in dystopian worlds stems from the human pursuit to conquer nature.
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.
Closely related to the apocalypse and post-apocalypse sub-genre dystopia films often take place around such apocalyptic events. The dystopia film also takes techniques and symbolism from sci-fy, fantasy, horror, thriller, and action films to create the frightening and uneasy diegetic world. The singular determiner for a true dystopia film centers around the fall or failure of some pivotal part of our lives. Dystopias usually fall into three
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.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.