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Germany Year Zero is a post war movie directed by Roberto Rossellini, filmed in Berlin (1948), which focuses on conveying the reality of Germany after the war through the life of a young boy. Closely Observed Trains, directed by Jiri Menzel (1966), is based on the novel written by Bohumil Hrabal and illustrates the coming of age of a young boy to a man. While both movies illustrate different aspects of life they also interlink in key aspects such as both boys succumbing to becoming men, one due to the events out with his control and the other through choice. This essay will analyze both avant-garde movies in regards to their innocence in relation to others, naiveté of both characters, value for life and responsibility. In both movies there is a display of innocence in relation to the key characters. The German expressionist cinema in Germany Year Zero focuses on Edmund a young boy who has taken on the responsibility of looking after his family. It becomes apparent through the severity of destruction that Edmund innocence is stolen from him and as a result he is thrown into becoming an adult. The casting of the character identifies with the general labeling of a young carefree boy with Edmund representing the youth of this period. He is seen as being pure, fitting Nazi ideology of blonde hair and blue eyes. His teacher, father, sister, and brother all project an image onto Edmund as being innocent and untouched by what is occurring around him. Throughout the movie you see the effects that the war has on Edmund’s life. The lighting on Edmund emphasizes the angelic persona. As the movie progresses the transposition of light becomes dark, which mimics his loss of innocence and childhood. However, this is also seen in regards to t... ... middle of paper ... ...place the bomb, this depiction of camaraderie, which is ironic as it was also an element of the Nazi Ideology. Eva represents the many that had to take responsibility for their siblings and family’s after the war. The responsibility was placed on the children of the war to pick up the pieces and the mess left behind. In conclusion the role of children in both these movies plays a large part in how the movies are depicted. Both boys have a lost innocence and naiveté about the world, and their perceptions of life and values are very similar. They represent the youth at that time and the situations that they found themselves in, by using children as the main characters both filmmakers were able to represents the struggle for the generations after the war, and the consistent pressure to live up to society’s demands and perceptions, whilst trying to cope with reality.
The film illustrates the common social and sexual anxieties that the Germans were undergoing at that period of time. It also employs cinematic aesthetics alongside with new technology to create what would be considered as one of Germany’s first sound-supported films. Furthermore, it was the film that popularized its star Marlene Dietrich. The film is also known for combining elements of earlier expressionist works into its setting without becoming an expressionist film itself. It is important also to point out that the visual element has helped to balance the film easily against the backdrop the nightclub lifestyle that Lola leads the professor to fall into.
Children are an important focus in both stories. Jackson makes it easy. for us to imagine their "boisterous play"(para 2), and Le Guin writes "their" high calls rising like swallows crossing flights over the music and the singing"(para 1). I see these children being used to symbolize perceived states. of happiness in both stories.
Where Schlondorff, Wenders, Herzog, Fassbinder and Kluge once investigated the extremities of the German character and the Americana that infested West German culture through the New German Cinema of the late 60s, 70s and early 80s, the Germany of today has through its cinema acknowledged past hardships but with a more positive emphasis placed on the possibilities of forgiveness, redemption and hope for what can be made of tomorrow. Bibliography A Reversal of Fortunes? Women, work and change in East Germany. Rachel Alsop.
As the boys witness death and mutilation all around them, any preconceived notion about the indoctrination, "the enemy" and the "rights and wrongs" of the conflict disappear, leaving them angry and perplexed. The story is not about heroism but about toil and futility and the divide between the idea of war and the real life and its values. The selected passages are full of violence and death and loss and a kind of perpetual suffering and terror that most of us have never and hopefully will never experience. Both authors ability to place the reader right there on the front line with the main character so vividly, not just in terms of what he physically experienced and witnessed All the complicated, intense and often completely numbed emotions that came along...
Throughout the documentary, the film maker illustrates the important events and characters that influenced Germany and Bonhoeffer by combining several aesthetic elements. As the documentary begins, we learn that Bonhoeffer was raised in a privileged district outside of Berlin. His father...
Thinking that the war was just an ideal character. Convincing the reader to believe the boys didn't know the risk they were taking by being in this war. They way the boys viewed it, shows that, true their are some hard times in wars, but their minds are young and they thought it was just another thing to talk about. When they should have been taking things more serious, but thinking about the good parts helped them to keep a hold on their sanity. "They ought to have been mediators and guides to the world of maturity, the world of work, of duty, of culture, of progress to the future", was the beliefs of the boys after their friend Behn dies. Their generation thought that the authorities were going to look after, and take care of them, the authorities were thought of real highly by them. Until their friend passed away, then everything changed. "We had to realize that our generation was more to be trusted than theirs", this is where they came to reality that, everybody was taking care of their selves, and didn't want anything to do with other peoples problems.
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
As Nichols explains, the relationship between form and content in a film expands the abstract ideas of a film into solid, concrete figures. Providing concrete representations of these otherwise intangible figments solidifies these ideas for the viewer. The director of Germany Year Zero tackles many abstract concepts and provides them with a physical representation. One strong concept throughout the film is uncertainty.
... overall themes, and the use of flashbacks. Both of the boys in these two poems reminisce on a past experience that they remember with their fathers. With both poems possessing strong sentimental tones, readers are shown how much of an impact a father can have on a child’s life. Clearly the two main characters experience very different past relationships with their fathers, but in the end they both come to realize the importance of having a father figure in their lives and how their experiences have impacted their futures.
Each boy gets nurtured and find outs what is it that they want in life eventually finding it one way or another.
‘Das Leben der Anderen’ (The Lives of Others) is a striking example of how a director can convey narrative links within a film by employing various styles and film techniques. The Lives of Others relies upon these visual means to assist with the telling of the story as much as it relies upon the script. In this selected sequence of the film, several narrative links are drawn here to form the conclusion of ‘Operation Lazlo’. These narrative links are further cemented by Donnersmarck’s use of various lighting styles, diegtic and non-diegtic sound, revealing camera shots and intricate mise-en-scene.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Very often, historical films offer some level of realness, yet they lack the historical accuracy. This film exemplified the real life effects at the time, in a creative manner, while maintaining the iconic factor that modern movies require, in order keeping interest. There isn’t a sort of manipulation to alter the vibe of the film. What’s meant to be serious is serious. What’s meant to be sad is sad. If something is funny, it is funny. There isn’t a force of emotion, as Zwick leaves all emotional connect to the hands of the viewer.
Spielberg’s Schindler’s List uses a variety of macro and micro techniques that are effective in eliciting strong emotional response form the spectator. Unlike horror films, which rely on micro techniques to create tension or foreshadowing, Spielberg relies on unconventional techniques that are often juxtaposed to have the spectator feel unsettled. Despite not being a horror film, it is compatible through the lack of violence in the film and the context of the Holocaust. Therefore, as a spectator, it is clear that ‘horror’ in a horror movie differs greatly to ‘horror’ in this particular film because of Spielberg’s raw and authentic style in making the spectator feel uneasy as the narrative progresses.
The expressionist movement in German art and cinema was very sensitive to the current state of the country after a huge worldwide conflict. Prior to the rise of the next Nazi Regime, German filmmakers incorporated many aspects to their films that had never been used together before this period of time. M is no exception to