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A paper stereotypes about transgenders
Elements of narrative structure in film
A paper stereotypes about transgenders
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The film Mala Mala was a documentary that centered on the transgender community in Puerto Rico, depicting the average life of a variety of transgender people living in Puerto Rico. Throughout the film, the audience is able to hear the stories of the struggles these transgender people face, as well as their views on the progress of the transgender movement in the country and their struggle to gain equal rights. The use of a typical narrative structure and the subjects focused on, as well as the different filming techniques used contributed to a telling depiction of the transgender movement in Puerto Rico. Though the film was a documentary, it was structured in a way that resembled a more typical narrative film. The argument could be made that …show more content…
When the film was shot, the filmmakers used a sort of first person style of shooting to convey the story of the transgender people in the film, which gives the film a more personal feeling. To achieve this, the film utilizes hand-held cameras for a variety of scenes, such as when the woman Ivana is driving in the car. The film also uses medium close-up shots to interview the subjects of the film, which is a good shot for capturing the reactions of the subject. As described by the textbook, medium close-up shots also: “...tend to produce a greater sense of intimacy by allowing viewers to focus on the actors’ faces and character emotions…” (Pramaggiore, Wallis 142). In addition, the filmmakers use close up shots of a variety of everyday objects to contribute to or comment on the gender stereotypes in the film, with shots that focus on traditional feminine objects, such as makeup, or even religious objects, such as the cross in Samantha’s car. In a traditional sense, the film also uses establishing shots to show the audience a change in scenery and reorient them. In addition, the film uses voice overs at various times to allow the characters to comment on an issue, while also showing more scenes of their lives. Each of these filmmaking devices contributes differently to the overall feeling of the film and allows the filmmakers to address the issues in the community in a fluid way, where the filmmaking does not interfere with the focus on transgender
There are types of main techniques such as zooming, craning, tracking and lighting. Zooming is one on going motion, the camera moves from an area to a close up shot. Tracking is when you move the camera towards or away from the film and it is designed to make the actor feel like they are part of the scene or is removed from the scene. And Craning is when the camera angel is place on a crane to make better interest to the location of the film. Last but not least is Lighting. Lighting is when the light changes throughout the film and draws attention to the objects and also lighting can be used to create their facial expression when it’s light or dark. The characters in the film wear a costume to represent the movie and to show the character personality of what they doing. Also in this scene you can see many other many cinematic techniques in this set. As it appears Dave has more lighting than Gail. That’s because since Dave was white and Gail is black. Black and white people can’t be in a relationship or get
... a documentary film by definition must include visuals, but Ames aspires to explain how an emphasis on certain imagery can be used to persuade as well as inform.
Up until recently filmmakers have tried to branch out from this style of film making to create a real to life story with passion. Enter Mosquita y Mari, a film that focuses on the building relationship between two teenage girls. Written and directed by Aurora Guerrero this film is an honest representation of life for a teenaged girl struggling with identity. This essay will give a brief summary of the film and characters while depicting an example of form and context as well as personal thought of the film and director.
On the other hand, the point of this movie was to exhibit an example of what
The documentary is structured in a way that presents the factual information first, and uses
Guerra, Lillian. Popular Expression and National Identity in Puerto Rico: The Struggle for self, Community, and Nation, chs. 2-3 (Gainesville: U Press of Florida, 1998) 45-121.
"Visual Pleasure and Narrative Cinema" Laura Mulvey asserts the fact that in mainstream films, women are simultaneously looked at and displayed. That is to say, the woman is both an object of desire and a spectacle for the male voyeuristic gaze. The male's function is active; he advances the story and controls the gaze onto the women. Interestingly, the spectator identifies with the male through camera technique and style. In an effort to reproduce the so-called natural conditions of human perception, male point-of-view shots are often used along with deep focus. In addition, camera movements are usually determined by the actions of the male protagonist. Consequently, the gaze is dominated by the active male while the passive female exists to support desire within the film. In an attempt to change this structure, Mulvey stresses the importance of challenging the "look." One way this is accomplished, is in the film Reassemblage, where the look of the camera is free from male perspective and dominated more by passionate detachment. In doing this, the filmmaker, Trinh Minh-Ha attempts to destroy the satisfaction and pleasure derived from images of women in film, by highlighting the ways Hollywood depends on voyeuristic and fetishi...
Guerra Lillian. Popular Expression and National Identity in Puerto Rico: The Struggle for self, community and nation. Gainesville: University Press of Florida, 1998. PP 45-121
The Three Here’s for Cooking The romantic comedy, Today’s Special, expressed the worries of Indian parents becoming at ease. Also, expressed the struggles a parent faces in search of a better life, the passion and dedication going unnoticed in the work field, and the connection between friends, a lover, and family. However, the film centered its attention more on the development of Samir’s “cold” cooking within the Indian food, with the help of Akbar. In addition, the main actors in the film looked the part and associated with the main idea of the culture of an Indian family. For instance, Samir’s appearance showed he had drifted away from his family’s culture and developed a professional understanding and love for the cooking industry.
Chilwane, Desire. "Recognizing Transsexuals: Personal, Political and Medicolegal Embodiment." Journal of International Women's Studies 12.4 (2011): 158+. Expanded Academic ASAP. Web. 13 Oct. 2011
"Baraka" exemplifies everything Emile Durkheim referred to as sociological functionalism. This is the perspective that various parts of a society or social system affect other parts within that system, and how they function in the overall continuity of that system. Durkheim showed that all the aspects of human society work together much like the parts of a machine. The concept of social solidarity - ties that bind people to one another and to society as a whole- play a major role in the lives of humans. This film reflects these ideas.
Baraka is a non-linear environmental documentary released in 1992 and directed by Ron Fricke. The film is full of sweeping shots of breathtaking landscapes, intimate scenes of individuals in their environment, and time-lapse sequences of both natural and man-made structures. Without dialogue or a linear structure, the film successfully uses visual context to tell several stories that weave into the film’s overarching theme. First, Baraka tells the story of the importance of ritual and religion in the human experience, with a focus on indigenous cultures. Then, the narrative shifts focus and Baraka tells a new story, one about human modernization and the consequences of modern society. Finally, the film makes apparent its overarching theme:
2. Nichols, Bill. ‘Documentary Modes of Representation (The Observational Mode).’ Representing Reality: Issues and Concepts in Documentary. Bloomington & Indianapolis; Indiana University Press. 1991. 38-44
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in 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 connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...
A.I.: Artificial Intelligence is a Steven Spielberg science fiction drama film, which conveys the story of a younger generation robot, David, who yearns for his human mother’s love. David’s character stimulates the mind-body question. What is the connection between our “minds” and our bodies?