To draw the conclusion, it can be effectively said that it is very difficult to incorporate the ideas contained in books into films, especially when one has to prove some theory. Pasolini has done it successfully by incorporating his film theory contained in the book Heretical Empricism into the film Mamma Roma. Pasolini’s creativity is an integral part of the classical art. He gave his life to change the world for the better through his films. He has not only presented his socialistic thoughts in the film, but also included religious motifs of Christianity to show the plight of a woman in this materialistic society. The development of unforgettable emotions and memories are guaranteed in return. Modern society should know and remember the
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
Triumph of the Will is a propaganda film, directed by Leni Riefenstahl, thats purpose is to promote the idea that under Hitler’s leadership, Germany will once again rise to power. This film was commissioned by Hitler. This film was a staged documentary, meaning that scenes were planned ahead of time. The film is set in Nuremberg, Germany twenty years after WWI. The cameras take different angles in attempt to convince viewers to believe what they are seeing. At one point in the film there is even a camera moving up and down an elevator, giving a beautiful view of Hitler and the massive crowd in front of him. Each member of the crowd hailed and enthusiastically applauded him. Throughout the movie, the camera focuses on the faces of the Germans. They all appear joyful and happy. The film even focuses on the faces of children. The children are all hailing and supporting Hitler, even though they have little, if any knowledge of what he is doing. The film attempts to imprint in the viewer’s minds that Hitler will bring Germany to power. The film also cuts to clips of Hitler and Rudolf Hess delivering speeches to massive crowds frequently. It also shows soldiers precisely goose stepping in order, during the parades. It is amazing how they are able to turn the corners, and probably a lot of work went into the preparation of these routine. This film outlines Hitler’s power and attempts to persuade the viewers that Germany will once again rise to power. It is a powerful propaganda film.
These days more and more audience like to see their beloved actors and actresses portray superhero or heroine figure in spandex suit blasting laser beam from their eyes, turn into fire then fly away to outer space, or even a scientist who turn into a huge, green, car-throwing, head-smashing monster with indestructible pants when he transforms. But not small amount audience like films with classical-antiquity geographical and timeline set such as Ben-Hur, 300, Spartacus, etc. Antiquity and modernity always be an important part in filmmaking, whether in its screenplay, set design or character design. In some movies these aspect can be shown separately or combined in sort of a new way in filmmaking.
The purpose of this essay is to analyze the following animated films: “Girl’s Night Out” by Joanna Quinn (1987), “Persepolis” by Satrapi and Paronnaud (2007), and “Sita Sings the Blues” by Nina Paley (2008). The main goal is to analyze the aesthetic, and the technique of the aforementioned animated films and also, to relate them to the second and third waves of feminist movement.
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.
... movie stars like royalty or mythical gods and goddesses, viewing the drama between great archetypal characters in a personal psychic realm. By considering the statements made and their societal impact from a Marxist perspective, Benjamin’s method is highly effective, as it does not simply consider art in terms of pure aesthetics anymore, but considers art’s place in a society capable of mechanically reproducing and endlessly duplicating film, photography, and digital art. His qualm with losing the aura and mystique of an original work is negated by the cult of movie stars, the adoration of fame, the incorporation of soundtracks which embody a particular time period, cinematographic allusions, and time-capsule-like qualities of a film such as Basquiat, a 90s tribute to the 80s, produced both as a part of and resulting from the art movements and trends it addresses.
Nevertheless Italian NeoRealism was essential to Italy’s film industry at the time the war ended and while Europe was recovering from the war. Its impact on modern film has been monumental, not only in Italian film but also on French New Wave cinema, and ultimately on films all over the world.
Before the civil rights movement could begin, a few courageous individuals had to guide the way. Dr. Vernon Johns was one of those individuals. Dr. Vernon Johns was a pastor and civil rights activist in the 1920s. Johns became the pastor of Dexter Avenue Baptist Church in Montgomery, Alabama in the late 1940s. During his time as a pastor, Johns preached many sermons on how African American people were being treated not only in the community but in society. Johns on multiple occasions upset his community through his ideas on social change. Through a sociologist perspective, many sociological concepts were displayed in The Vernon Johns Story. Some of those concepts included: ascribed status, conflict theory, deviant behavior, alienation, and
The aim of this report is to discuss Italian Neorealism (Neorealismo); looking at how the movement played a significant element in European cinema during and after the times of Benito Mussolini’s fascist regime. The report not only looks at how but why Neorealism became a growing phenomenon for filmmakers during its debatable 10 year period, and what implication of messages these Neorealist directors were trying to send out through their films. Backed up by several reliable book sources, the evidence for this report will also highlight the influences Neo-realism has created in modern filmmaking today.
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
The very idea of cine piquetero is controversial. For some, the term refers to militant cinema made by those who participate directly in the piquetero movement—those who “recuperate” dormant factories, cut off traffic in the streets, or march in political demonstrations; for others, the term refers, more broadly and capaciously, to films made by individuals or groups who sympathize with the piqueteros and their contestations of neoliberalism, the media’s false images, poverty, and corruption. Some creators of this kind of cinema support the idea that cine piquetero constitutes a genre that both converges with and diverges from Third Cinema; others reject outright the idea that cine piquetero is a genre. Developed in parallel with the reflexive,
Art has been always seen as a form to express self emotions and ideas; an artist creates an idea and shapes it by culturally known objects and forms to send encrypted message. Through the times both, ideas and materials used, separates art in to different periods and movements. In late 40’s and late 50’s two art and culture movements emerged, one from another. The first one, Lettrism, was under the aspiration to rewrite all human knowledge. From it another movement, Situationism, appeared. It was an anti-art movement which sought for Cultural Revolution. Both of these movements belong to wide and difficulty defined movement of experiment, a movement whose field is endless. Many different people create experimental films because of the variety of reasons. Some wishes to express their viewpoints which are unconventional. But most of them have an enthusiasm for medium itself. They yearn to explore what prospects the medium has and wishes to open new opportunities to create and to explore, as well as to educate. Experimental filmmaker, differently from mainstream filmmakers, wishes to step out from the orthodox notions. The overall appreciation is not the aim that the experimental filmmakers would seek for. Experimenters usually work on the film alone or with a small group, without the big budget. They intend to challenge the traditional ideas. And with intention to do so Lettrism tries to narrow the distance between the poetry and people’s lives, while Situationism tries to transform world into one that would exist in constant state of newness. Both of these avant-garde movements root from similar sources and have similar foundations. Nonetheless, they have different intentions for the art and culture world and these movements...
The film Cinema Paradiso was originated in 1988, it is a drama film that was directed by Giuseppe Tornatore and it’s original title was Nuovo Cinema Paradiso. The film was an inspiring way of exploring Italian Cinema and how it’s importance to viewers it truly is. Salvator, who is the main character looked up to Alfredo as a child, who was his best friend and teacher who taught him everything he knows about film making. In Cinema Paradiso the film dealt with several elements such as scenery, photography, editing, sound, lighting. Cinema Paradiso film showed specific understanding of the Italian and American traditions place in the history of this film. Cinema Paradiso is a film that not only is strong in Italian culture but also shows the significance
The “spaghetti” western, Sergio Leone’s conscious departure from what had come to be known as the “classic” western formula, became a modification of the conventions of the traditional genre. In the film For A Few Dollars More (Per qualque dollaro in più, 1965), Leone’s formula is developed through a reformed narrative structure, slight changes in the traditional characters, his unique style, and the simple use of language, which revolutionized the western.