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Essay on movie genre and social commentary
Essay on movie genre and social commentary
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Federico Fellini is one of the most important film directors of all time. He created multiple films that expressed the true reality of a Fascist Italy. Italy at the time was under Fascist control, which was similar to that of the Nazi take over in Germany. In his movie 8 ½ Fellini casts Marcello as the lead role, some say that Marcello was portraying a younger version of Fellini. Marcello plays the role of Guido in the film. Guido is a young man who is struggling through a sort of directors block on his recent film. Throughout the movie Guido’s past life unfolds before his very eyes as the women of his life return and many other memories unravel. This movie is a great example of the mastermind that Fredrico Fellini really is. The opening scene lays out the entire story for the viewers. Guido the main character is in a traffic jam that he cannot escape. He is trapped inside a car with people from his past staring him down at all angles, as if forcing him to move. Guido eventually is able to escape out of the roof of his car; as soon as he is out he begins to float away in a rope that is pulling him into the sky. As he floats away he passes over the city of Rome and floats on endlessly until one of critics pulls him out of the sky and back into reality. This is where his story begins. Guido is constantly in and out of reality because he is under some much pressure to finish his latest film. This film goes back and forth between what is reality and what is fantasy. To the people watching the film it becomes difficult to decipher what is really reality and what is fantasy. If you watch the film closely some say that Guido touches his nose when he switches from reality to fantasy while others have no idea what the difference... ... middle of paper ... ...oving together to achieve a common goal, or the idea of a group of people marching to music, most of these scenes were further away in the background, but some were displayed in the front. Such as the ending scene where all of the actors march in a line to the same beat on the spaceship like set that Guido created for his film. The idea of unity and working together formed the idea for the conclusion in the end. This scene is well known and demonstrated in many other films created by Fellini. Fellini is what some many call a magician, as he is able to incorporate all of these magical scenes discreetly into all off his films. He has proved himself over and over again to be the vision of Cinema, and his film 8 ½ is the last building block in his puzzle. Works Cited Bondanella, Peter E. The Italian Cinema Book. N.p.: n.p., n.d. Print. The 8 ½ film
of water to the west of the Outer Banks of North Carolina for the Pacific
In the film, Guido is a Christ figure to his son. During their imprisonment in the concentration camp, Guido explains things to his son in a way that shelters his son from the reality of what is happening. Guido loves his son and he protects his son from being hurt, even if doing so involved breaking rules and getting in trouble himself. In such a way did Jesus Christ love his followers. Jesus suffered to protect His people. Jesus loved his followers and was not selfish toward them. He always did what was right for the well being of His people, even when it was considered wrong or unla...
...es linger on his admirer, and Aschenbach does not seem as pathetic. The object of his affection is willing, and we lose some of the tension from the novel. Most of the mythological, psychological and philosophical references have been removed. Visconti makes Aschenbach a composer, not a writer, with a strong relationship to his (dead?) family. His character is not as fully rendered as in the novel but it is sufficient. Tadzio is probably the best part of the movie. The casting was spot-on and one can see how a grown man could fall in love with that. Some of the strange men are there, most notably the guitarist, but the repetition is not emphasized. The film shows Venice's descent into epidemic well, with the street bonfires and disinfecting of the streets. Overall the movie is almost watchable for an art film, but it does not do justice to the very complex novella.
But through all of these images of the horror and sadness of the time period, hopes are constantly raised by the humor, and personality of Guido and the magic his character brings to the story. Riding into a hotel ballroom on a green horse, and riding away with his princess—stealing her away from her fiancé, much like the old stories from the past. In the film, the concentration camp is a playground for a young child. And in the same town that Mussolini was driving through, Guido first meets his princess.
...s the audience more about Roberto than Roberto’s actions do. We can tell that from his grandfather that Roberto isn’t meant for this kind of work, and this characterization is reinforced when he quits his job after throwing away peaches (symbols of innocence). Garonne, through this unusual characterization, shows the audience that Roberto doesn’t fit into the mob life.
Baz Luhrmann’s Romeo and Juliet is a film that converts Shakespeare’s famous play into a present-day setting. The film transforms the original texts into modern notions, whilst still employing Shakespearean language. Compared to Franco Zeffirelli’s adaptation of Romeo and Juliet, Luhrmann’s picture is easier for a teenage audience to understand and relate to because of his modernisations. Despite the passing of four centuries Shakespeare’s themes of love, hate, violence, family and mortality remain the same regardless of the setting.
The pace in which the The film goes very fast and it changes from one location to the next in a sequence of images, which occurs a lot during this recent film. In Franco Zeffirelli’s adaptation of the film, there are very similar. settings as they are both set in Verona but they have a different timescale and time period in which the film was produced. In the beginning of Act two Scene ii (the balcony scene), Romeo.... ...
In the play ‘A View from the Bridge’, an Italian-American family take in two illegal immigrants. The youngest of them, Rudolpho, falls in love with the niece of Beatrice, Catherine. Eddie Carbone, the main character, is driven by desire and lust, which eventually brings upon his own downfall. He calls the Immigration Bureau to arrest the two immigrants in an attempt to get his niece back, and so the scheme fails, and the play ends when Marco murders Eddie in a mere act of self-defence. Miller uses the character of Alfieri to increase dramatic tension throughout the play, doing so by introducing the idea of inevitability in the play. He establishes the character as a chorus, a component of early Greek theatre and tragedies. Alfieri basically expresses to the audience what the main character, Eddie Carbone, could not say, such as his fears or secrets. By knowing what will happen, and knowing how the play would end, whether a happy ending or sad, the principle of certainty and inevitability is revealed. Alfieri isn’t even capable of changing anything, altering the future, which also increases dramatic tension in the play. Throughout, Alfieri’s roles are obvious; he’s both the family lawyer and also the narrator of the play.
Antonio Vivaldi was born on March 4th, 1678, in Venice, Italy, and died on July 28, 1741, in Vienna, Austria. His father, a barber and a talented violinist at Saint Mark's Cathedral himself, had helped him in trying a career in music and made him enter the Cappella di San Marco orchestra, where he was an appreciated violinist.
Giovanni Bellini was born in Venice, Italy around 1430. He was the son of Jacopo Bellini, an esteemed painter at the time, and probably began his career along side his brother as an assistant in his father’s workshop. Though his artwork was influenced by many of his friends and relatives, Giovanni possessed certain qualities in his compositions which set him apart from the others. He blended the styles of both his father and brother-in-law, Andrea Mantegna, with his own subtle appreciation of color and light, the high regard he held for the detail of natural landscape, along with the very direct human empathy he placed in his painting. These components of Bellini’s personal style became foundational to the character of all Venetian Renaissance Art. Bellini later developed a sensuous coloristic manner in his work which became yet another characteristic he contributed to the Venetian Renaissance Art.
In the end of the novel, Michele has matured. Initially when he meets Filippo he is repulsed by the notion of touching him, however in the end of the text Michele embraces Filippo when they are both shivering with cold' (pg. 211).
Baz Luhrmann opens 'Romeo and Juliet' with an exceptional beginning, by creating an effective prologue which sets the stage for the movie. The feature of a prologue immediately grabs the attention of the viewer and keeps them captivated; the prologue is used to highlight the contrast in 'Romeo and Juliet' and typical modern day films - that no present day movies contain a prologue and using this technique will engage the modern audience.
This somber conclusion to the film seems to be an expression of hopelessness for Italy's future. By 1948, the country had gone through a series of tumultuous historical events, caused by the inadequacy of its political and economic system. The disillusionment of its citizens with the system and in fact with the very concept of their nation was taken to its limits by yet another failure to achieve true social change after World War II. The transformismo of the Christian Democrats and the attendismo of the Communists offered no hope for Italians, appearing as just another stage in the country's endless cycle of political and social failure.
Before the dawn of Neorealism, Italy was under great turmoil in the early 1920s suffering from major economic crisis, bank failures and a collapsing government, which would also mean a collapse in the Italian film industry and the ‘Silent Era’ of cinema (Roberts, 2005). When Benito Mussolini took control as the 40th Prime Minister of Italy in 1922 the revival of Italian cinema would be once again be relived, but this time ruled under the control and guidance by Mussolini and his fascist government (Bondanella, 2001).
Some of the difference in the time period I noticed are the people of Verona have an arranged marriage. Arranged marriage means the parents tell them who they what and, think that they should marry then it is set up to be married. Here in our times unless your religion says otherwise.. You can go marry anyone you please. I think that Luhmann did this because trying to show, us a little of what happen in the 15th century. In the movie they are portraying like they are doing a news article. They in the movie are living it out. Also I was expecting it to see a little bit more of a older movie scene. The movie has a ton of differences but they are good difference I like the difference that Luhmann put in the movie.