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The different genres of movies
Classification essay on movie genres
Classification essay on movie genres
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Film Genre: The Dance-Musical Side of West Side Story Within Jerome Robbins and Robert Wise’s film West Side Story (1961), elements of crime and drama are noted; however, even as the sub-genres play-out in the movie, it is evident that this piece is a dance-musical. This essay will demonstrate how this work is deemed predominantly under the musical genre, as well as how the sub-genres appear in the picture. The main genre of West Side Story being a dance-musical is exhibited throughout the movie regardless as to what situation the actors are playing. For instance, during a fight scene between an American gang (the Jets with Riff as their leader) and a Latino gang (the Sharks with Bernardo as their leader), the two rivals dance their way through a rumble as music blares in a violent tempo. In two separate scenes the main characters, Tony and Maria, the sing about their love for each other. Here, the music is soft and smooth. Even when one of the characters dies there is no dancing going on, but the death scene is played initially in striking and anxious music, and then drops to a very slow and sad pace as Tony lays dying. …show more content…
For the women, their dresses are all A-line in form, which is typical for dance routines Latin in influence. The shoes the women wear are distinctive for dance routines such as ballroom dancing. The heel of the shoe is approximately two inches high, which is just high enough to accentuate a female dancer’s legs and yet not so high as to make her turn her ankle. As for the males, their costumes are form-fitting, yet lose enough for the many twists, turns, and jumps that are performed during their dance routines. The shoes worn by the male actors were usually flat and some of them wore
At the dances, the young men would wear dress pants, button down shirts with jackets, ties and dress shoes. On the other hand, the females would wear flared dresses, with one inch heels. The beat of the streets showed power, because the jets would snap and the sharks would whistle. The shark’s music was associated with the Mambo, claps, loudness, and percussion instruments. On the other hand, Jets were associated with Jazz and brass instruments. Also, the music goes from light and happy to sad and gloomy. The music in West Side film enhanced my enjoyment because it expressed feelings and it talked about the characters experience.
Romeo and Juliet, written by William Shakespeare, is a story that many people are familiar with, even to the point that many mindlessly quote the balcony scene without really even knowing what it means. It is a classic story that students have learned about in school for years now, and still do to this day. Since it has been published in the 1500s, it has become one of the most famous love stories in history, and as the years have progressed, people have created several stories that portray many similar ideas. One of those stories is West Side Story; with the rivalries, the love story, and even the lesson, it follows the concept of Romeo and Juliet more closely than one would think.
The play West Side Story, by Arthur Laurents, is based upon the play Romeo and Juliet, by William Shakespeare. Despite a few differences, both works, in essence, have the same plot. The source of violence in Romeo and Juliet and West Side Story is the ever-present hatred between families and between gangs, although, because of the "star-cross’d lovers" motif in Romeo and Juliet, the hatred plays a larger role in producing the ending of West Side Story than it does the ending of Romeo and Juliet.
Marc Blitzstein’s The Cradle Will Rock, published in 1938, has garnered attention from the very beginnings of its existence. It quickly seduced the initial director and producers with its varied musical styles ranging from classical arias to satirical ensemble numbers. However, this proletarian opera has reached moderate infamy not necessarily because of the quality of its content, but because of the way it reached its premiere performance. What began as a government-sponsored production became a guerrilla effort to perform in spite of government censors. This controversial piece resonated with both performers and audiences, and most of the cast’s sheer determination to present Blitzstein’s work is a source of great fascination. Due largely to the perfect storm created by the lingering tensions of the First Red Scare and the Great Depression, The Cradle Will Rock and the events surrounding its debut contributed directly to the end of the Federal Theatre Project.
Locklin, Gerald. "The Day of the Painter, the Death of the Cock: Nathaniel West's Hollywood Novel." Los Angeles in Fiction. A Collection of Original Essays. Ed. David Fine. Albuquerque: University of New Mexico Press, 1984.
West Side Story suffered a doubtful early history before it made its first Broadway appearance in 1957. The musical was not appealing to potential investors because it was considered too dark and ugly to be commercially viable; its gritty realism and tragic ending seemed too serious to become mainstream. West Side Story dealt with serious subjects—bigotry, race, rape, murder, and death—in a more direct way than Broadway had seen before. Although it did not initially seem possible, West Side Story successfully synthesizes the large tradition of Broadway with the relevancy of Hispanic immigration and juvenile delinquency of the 1950s.
New York circa 1950 to 1960, when the film would take place, was full of gang violence and juvenile delinquents. Arthur Laurents, and Leonard Bernstein had been meeting up, trying to collaborate on a work which would end up falling through. Spying a Los Angeles Times headline on gang violence in 1955 be...
Tennessee Williams’ Suddenly Last Summer is a one-act play with a cast of colourful characters ranging from the eccentric Violet to the troubled Catherine. One individual, George Holly, is more minor than others, and as such might get overlooked. However, the Fictional World method of analysis uncovers new insight into his nature. By analysing George’s character in the Social World of the play specifically, we get a better understanding of how traumatic and powerful the climax really is.
The musicals that were produced around that time period were meant to be strictly for entertainment, for the most part. It was a very brave move for the creative team of this musical to tackle themes like racism, violence, and death. The risk definitely paid off, because even today West Side Story still remains a very popular musical. The main message that this show is trying to convey to the audience is that it shouldn’t take a horrible tragedy to finally unite people. Just because someone may not look the same way you do, or act the same way, or share your same belief system, that doesn’t mean you have to be fearful of them. Instead we should try our hardest to embrace the fact that this world would be a very boring place without a little diversity, and it’s ok to celebrate the things that make us
Ostlere, Hilary. “Taming The Musical.” Dance Magazine 73.12 (1999): 84. Expanded Academic ASAP. Westfield State College Library, MA. 15 April 2005.
The play West Side Story takes place in a suburb on the West Side of
Women are always searching for the right shoe. There are so many different styles, types, colors, and even heights. To me the two most common types are high heels and flats. Well, at least in today’s fashion those are the two most common. Both, if paired with the correct outfit are simply stunning. High heels offer a sexier look that’s nearly impossible to get from a flat shoe. Nevertheless, I feel very strongly about women in high heels. They make your legs look longer, butt look better, and they are sexier than flats. On the other hand, if you’re running around and being busy all day, nothing feels better than a cute pair of flats. Its time we hit the ground running as we explore the real similarities and differences of the two common types of shoes, in which I mean comfort, styles, and versatility.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
The two decade period beginning in the late 1940s and concluding in the late 1960s represented the height in popularity for the Hollywood musical. With every major production proving to be box office gold, the level of critical approval was high establishing the Hollywood musical as a genre. Born with the coming of sound, the Hollywood movie musical derived from two sources: opera and operetta, brought over by European emigres, and the American tradition of vaudeville, the inspiration behind so many “backstage” musicals, the plots of which revolved around putting on a show. The interesting alliance between dream and reality in the musical gave directors, designers, and cinematographers the most creative scope within the commercial of Hollywood. Being able to experiment with elements like color, split-screen techniques, and surreal settings made the musical an important force in imaginative filmmaking, without it being attacked by cautious studio moguls. Fortunately, musicals could also easily bypass the censorious Hays Code, which was instigated in the 1930s as a moral guideline for film studios. Although guidelines like “ dances which suggest or represent sexual actions”, “dances intended to excite the emotional reaction of the audience”, and “costumes permitted to undue exposure” were condemned, musicals were full of “shocking” dances and scantily dressed women. Scantily dressed women and sexual innuendo almost went unnoticed by the censors as long as they remained within the seemingly harmless confines of the musical as if nothing immodest could happen in the context of the make believe world the family entertainment inhabited.
“Groovy practice y'all!” Lizzie blurts with excitement. The Jango Rango Hip-Hop Dance team emerge from their studio after a long day of dance. The sun blazes down on the New York sidewalk, nearly burning all it touched. The team wipe their sweat off their brows and gulp down some water.