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Precious movie analysis
Movie Precious case study
Precious movie analysis
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This text is about the author reviewing the famous movie “Precious”, which is directed by Lee Daniels and based on the novel “Push” by Sapphire. This 1-hour-and-50-minute film is about a pregnant Harlem teen named “Precious”, played by Gabourey Sidibe, attempted to escape from her abusive mother Mary, played by Mo’Nique, in order to build a new life together with her babies after being offered to turn her life around. In addition of reviewing the movie and just giving thoughts about the general aspects, she went on talking about the director’s style, each actor’s performance of the main as well as side characters. She described Daniels’ style as “confronting viewers with the most squalid, violent depredations Precious suffers at her mother’s hands” and realistic as Precious cannot face the reality of abusing because she retreated from it by daydreaming her “boyfriend”. So as we can see, instead of lessening the pain, Daniels showed us the full view of Precious’s sad and miserable truth, which is quite unlike many directors of the same era. Although Hornaday did mention about the problems and cliché of the film’s characters like Mary and Precious herself like how precious can withstand the “plague of social ills” without becoming “grostesque” , she said it made up for the actors’ impressive performance to the point …show more content…
Even so, they do it with a spirited and resilient way, which is true to the meaning of the word “Mettle”. Indeed, life can have many obstacles that we have to come across. It can be money, finance, internal conflict, abuse,…anything that can block us from our path to success. It is better to raise our heads up and fight that problem rather than give up and never stand up again. I personally think there are still people who fight back their hardships and diseases in order to live for a tomorrow and a better
She has been traveling to these places since the late 90’s and early 2000’s. She has written multiple articles and filmed a great number of short films from an assorted amount of perspectives to fully grasp the essence of the turmoil in these areas. In this particular article and film, Murphy documents the personal aspects of a young girl and her troublesome life. Being a privileged, educated woman from Connecticut could cause emotions and bias to run rapped through Beth Murphy. She sees a more difficult and different situation than she has ever experienced, let alone imagine, and it creates thoughts and feelings because the situation is hard to comprehend. She spent days and hours with Pashtana and her family, how could she not develop an attachment to them and their story. Watching a young girl show so much passion for something we all dread is special and unique and Murphy was mesmerized by this intensity. Beth’s bias and investment in Pashtana and her family is what made the article and documentary all the more emotional and powerful. Murphy uses strong adjectives and and personal opinion to make the reader feel as though you spent as much time with Pashtana and that you know Pashtana as well as she did. Beth Murphy uses her bias and connection to this story to only enthrall the reader more and further make a point about
Diane Urban, for instance, was one of the many people who were trapped inside this horror. She “was comforting a woman propped against a wall, her legs virtually amputated” (96). Flynn and Dwyer appeal to the reader’s ethical conscience and emotions by providing a story of a victim who went through many tragedies. Causing readers to feel empathy for the victims. In addition, you began to put yourself in their shoes and wonder what you would do.
The novel Speak, written by Laurie Halse Anderson is about a girl, who gets raped in the summer before the start of her freshman year in high school and the book follows her as she tries to cope with the depression that comes that kind of violation. This book was turned into a movie; and released early in the early 2000’s and when adapting books to film, a lot of information and details are lost in the process. When comparing Speak the novel and Speak the movie, the noticeable differences are; the character relationships, Melinda’s character, and Andy Evans and Melinda’s dynamic.
The Soloist (Foster, Krasnoff & Wright, 2008), is based on a true story of Nathaniel Anthony Ayers Jr. who develops psychosis and becomes homeless. In the film, Nathaniel is considered a cello genius who is discovered on the streets by Steve Lopez, a journalist from the Los Angeles Times. Steve was searching for a city story and he decided to write a newspaper article about Nathaniel. Nathaniel always had a passion for music. He was a child prodigy and attended Juilliard School of Music. However, he faced many complications at Juilliard, particularly hearing voices speaking to him. Unable to handle the voices, Nathaniel dropped out and ended up living on the streets of Los Angeles. Steve and Nathaniel develops an unexpected friendship, in which Steve tries to help Nathaniel to live a normal life; having a home, treat his mental disorder, and to fulfil his dream of being a cellist again.
In Laura Mulvey’s “Visual Pleasure and Narrative Cinema”, she presents a number of very interesting facts regarding the ways that the sexual imagery of men and women respectively are used in the world of film. One such fact is that of the man as the looker and the female as the looked upon, she argues that the woman is always the object of reifying gaze, not the bearer if it. And “[t]he determining male gaze projects its fantasy onto the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to be connote to-be-looked-at-ness” (487). Mulvey makes the claim that women are presented and primped into this role of “to-be-looked-at-ness”. They are put into films for this purpose and for very little other purposes. However, this argument cannot be incorporated with The Treasure of the Sierra Madre; the existence of women in the film is extremely insignificant to an extent that could be considered absent. “In a world ordered by sexual imbalance,” male serves as the dominant figures with which the viewer can identify, women only appear in the film for a very short moment of time. For instance, the appearance of women is only shown when Howard rescues the ill child in the village and his return to the village for hospitality reception...
The story of “Precious” provides an excellent example of how a person can become lost in the system, and also how one can begin to turn things around by utilizing available resources. Precious’s mother, Mary, has been taking advantage of Precious to help her manipulate the system so Mary can continue to receive welfare benefits. Precious ultimately meets with the social worker, Mrs. Weiss, who begins to help her move forward in life. It is my understanding that Precious initially met with Mrs. Weiss for welfare benefits, but this relationship seemed to change as the movie progressed. I was admittedly taken aback by the conditions of the office in which Mrs. Weiss worked, how she interacted with Precious initially,
Beloved is a movie full of pain, love, and triumph. This film is constructed and created from the works of Toni Morrison’s novel. Beloved can be considered a ghost tale based on how the main character Beloved magically appears and disappears with no warning signs. The movie takes place in the summer of 1865 in Ohio at 124 Bluestone Road in a little white house on a plate of land.
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Success without adversity is impossible. Everyone in life has their ups and downs and nothing in this world is perfect. At some point in life, hardships begin to occur and that’s when the real test begins. Some people rise up and try their absolute best to take a stand against the challenge. Then there are others that would crawl back into their shells, crying for mercy. There should be no excuse for giving up or not putting in the effort. People are only successful in winning the battle of adversity when they are mentally tough. The intense game of adversity can be referred to football.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
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 people have experienced some form of violence in their family. Many of these dramatic events involve children becoming victims of abuse. In the movie “Precious” an African American sixteen year old female is tormented by her parents. Precious is the victim of several different form of abuse including: sexual, neglect, psychological, and physical. She is pregnant with her second child, both her children biological parent is her own father, who constantly rapes her. Precious’s mother is envious of her daughter because of the sexual relationship he has with his daughter. This creates conflict among them resulting in physical and psychological abuse. Precious escapes from realty by imaging herself as a glamourous star. With the help of her
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
I have chosen to review the film Boyhood written by Richard Linklater that took twelve years to film. In the movie Boyhood, it illustrates the life of a boy named Mason Jr. through the many stages of his childhood to adolescence to becoming an adult. The movie follows Mason Jr.’s life through his years of kindergarten, middle school, high school, and to college. Through these milestones in his life encounters society with socialization, culture and norms that are exhibited through his family, friends, and others. With factors of social classes, and gender that influence Mason Jr. as he grows and fits into the society that is formed. From the events and milestones in Boyhood, it is able to show human behaviour in society from our