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Paper on film analysis
Film analysis inside out
Film analysis inside out
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John Ford’s 1952 drama, The Quiet Man, is a classic American film about an American, Sean Thornton, who returns home to his roots in Ireland. Ford uses emotional scenes, film techniques, and an impactful ending to make this movie effective enough to be nominated for best picture.
One of Ford’s brightest spots of this film is the involvement of the character Michael Film. He uses him as the comedic relief when many of the scenes get emotional. He is often shown being drunk or getting drunk in almost every scene of the movie which lightened up the mood of the serious relationship between John and Mary Kate. Through the first half of the film, Ford sets me up to figure out who Sean Thornton was in America and why he is so rich. He constantly builds anxiety over me as I watched until he hit a breaking point. The climax of the film took place when Will, Mary Kate’s brother, challenged Sean to a fight over the rights of Sean marrying Mary Kate. Sean is challenged but
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As soon as Sean first went back to his hometown, he was close to 8 inches taller than anyone else in the entire town. Ford portrayed him as a strong, hardworking man by using many establishing shots of Sean sticking out as looking like a big brother to everyone else in a crowd of people. The first time that Ford has anyone close to the gigantic Sean Thornton, happens right after Sean falls in love with Mary Kate. It was clear to see the competition between Mary Kate’s brother and Sean Thornton as they were both close to six and a half feet tall. It was easy to see how Sean felt Will was a bully by Ford constantly putting Sean infront of Will with a low angle shot showing Sean's strength and courage towards taking on Will. All of these techniques that Ford uses help me understand what Sean is going through during the movie which is a strong characteristic of a movie worthy of best
If a person of authority ordered you inflict a 15 to 400 volt electrical shock on another innocent human being, would you follow your direct orders? That is the question that Stanley Milgram, a psychologist at Yale University tested in the 1960’s. Most people would answer “no,” to imposing pain on innocent human beings but Milgram wanted to go further with his study. Writing and Reading across the Curriculum holds a shortened edition of Stanley Milgram’s “The Perils of Obedience,” where he displays an eye-opening experiment that tests the true obedience of people under authority figures. He observes that most people go against their natural instinct to never harm innocent humans and obey the extreme and dangerous instructions of authority figures. Milgram is well aware of his audience and organization throughout his article, uses quotes directly from his experiment and connects his research with a real world example to make his article as effective as possible.
Philip Noyce's adaptation of Graham Greene's novel The Quiet American to film was a large success. It stayed true to the script, and kept the basic essence of the characters; pulling them from the pages of the book and creating them visually into marvels on screen. The earlier film made on the book was made in 1958 by Joseph Mankiewicz. Fowler was played by Michael Redgrave, with Audie Murphy as Pyle. This version was forced to reverse Greene's political stand taken in the book however, meaning it had no-where near as much impact as Noyce's production. Noyce chose to film in actual Vietnamese locations and without compromise, boldly sticking to the novel by not letting the Americans come out of the story too kindly. The Vietnamese conflict-its roots, effects, and lifestyle was captured brilliantly with Brendan Fraser depicting the deceivingly innocent yet devious Pyle, and Michael Caine as Fowler the ageing and unhappy journalist.
In Stephen Crane's "The Open Boat," the four men underwent an experience in which they endured the forces of the sea that caused them to change their perception of nature and ultimately brought them to see the conflict between humanity and the natural world. In the beginning, faced with the restless sea, the four men felt that outside help existed somewhere. The cook was the most certain that they would be rescued. In his argument with the correspondent, the cook told him, "There is a house of refuge...and as soon as they see us they'll come off in their boat and pick us up" (NA, 358). Soon after they saw the lighthouse, the four men were optimistic that their destiny was not to die, and that somehow another power, in the form of rescuers, would help them combat the forces of nature and bring them to safety. They viewed the sea as an obstacle that they could eventually overcome. The thought that luck was on their side uplifted the spirits of the men, and as they were heading towards the shore, "doubt and direful apprehension were leaving the minds of the men" (NA, 361).
In the opening scene we get a sense of what Michael is like. He is driving a boat of a car across the barren desert, like he is scavenging for something. Strapped for money he stops at a somewhat abandoned gas station where he finds a bundle of twenty dollar bills out in plain view. We get the sense that he tries to be honest because he doesn’t take the money and he buys gas with the last five dollars that were in his wallet, just enough to get him to Red Rock and not any further. He then gets turned down from his job because he told the truth about his leg being injured. When he goes into the Red Rock Bar we can see the change in his life coming. He walks in from the bright daylight into the darkness of the dimly lit bar. This lighting hints to the audience that from that point on Michael is fated for disaster.
As a single parent, Michael takes on the roles of father and mother to his teenage son. His brother-in-law even refers to him as, “a non-traditional mother,” in, “S.O.Bs” (Day and Vallely). Michael is a non-traditional parent in that he displays the qualities of a traditional mother as well as a traditional father. He fulfills the expectations of traditional father in disciplining his son, George Michael. When Michael chooses to transfer his studious son to a new school in, “S.O.Bs,” he is oblivious to George Michael’s unhappiness (Day and Vallely). After discovering what he believes to be the truth regardi...
“All Quiet on the Western Front” is a novel written by Erich Maria Remarque. It is a war novel that tells the story of a young man and his experiences in combat during World War I. The title of the novel roots from a phrase used to describe the silence between shellings and infantry attacks during the battles fought on the western front ( Text, 895 ). Although World War I was a very real event, the testaments of the main character in “All Quiet on the Western Front” is purely fictional, but they are based on the accounts of veterans of the war.
“All Quiet on the Western Front” is a novel by Erich Maria Remarque, published in 1928 about Paul Baumer, a 19 year old student, who is persuaded by his schoolmaster to join the Imperial German Army. He goes to the western front where he and his comrades witnesses the horror and brutality of war through a series of deadly, meaningless battles that left an entire generation traumatized. The book was adapted to a movie in 1930 as well as 1979. Having recently viewed the latter, I would strongly recommend that anyone read the novel rather than watch the 1979 film. To clarify, I am not immediately against a film remake just because it is not the original; at times it is interesting to see how a book is interpreted, however books are often difficult to make into a film and unfortunately, “All Quiet on the Western Front” was no exception. Not only was the film an poor adaptation, but it also was not visually appealing, the acting was somewhat poor, the wrong parts were emphasized and the atmosphere of the movie was inferior to that of the novel.
The climax is building when McMurphy comes back from electro-shock therapy and the rest of the ward is planning his escape. The two prostitutes Sandy and Candy arrive in the ward, and there is a wild party. This is where everything turns to chaos. McMurphy attacks Nurse Ratched, but he is immediately restrained and will never know of the hope he gave Chief. Chief believed that McMurphy made him “big” enough to finally lift the control panel that he throws through a window to escape.
He began to boast and embellish the story of what actually happened in that moment. He became seemingly selfish, and self absorbed doing only what would advance him in the society. After the small infraction of lying about this event, he brought John and his mother from their home, only to use them for personal gain and blackmail. These moments reveal that he is not so much about defining himself as an individual but more about conforming. That he did, becoming calculating and cold for self-gain.
... engages in a struggle with sexual identity. Both the governess and Miles find themselves lost in a gray area of their own sexuality. Although for Miles it relates to his relationship with Quint and how that translates into his own sexuality, the governess creates her own hardship through her desire for a sexual identity. While she is eventually attracted to every male that she meets, she still does not accomplish her various goals, from privilege to love. The wealthy uncle indeed presents an opportunity to achieve a higher status, but even in this case, she translates her dream into sexual desire. It is this desire which manifests itself in the ghosts of Peter Quint and Miss Jessel. These two individuals manage to represent everything about the governess that she fears. Quint presses her desire for the wealthy uncle while Jessel questions her adoration for Miles.
In “The Great Silence” Ted Chiang presents the reader with the idea that humans and other intelligent species do live on earth. Communication between different species on earth can be difficult because they can’t express their thoughts to one another. According to a possible solution to fermi’s paradox, intelligent life would rather hide than to present themselves to potential enemies. Humans have a hard time trying to find other species to communicate with because they only focus on extraterrestrial life. Humans created the Arecibo observatory to send out signals into space and pick up any signals that could be sent by extraterrestrial life. Although Humans cannot speak directly to other species we are able to communicate with our actions and vibes.
Margaret Mitchell’s epic tale is impossible to dissolve down to a “brief” description. Her story is the War and Peace of Southern Literature. It is a tale of extremes and contrasts, telling the tragic story of peaceful affluence destroyed by the ravages of war and the destitution and desolation of its aftermath. It is a love story that examines the motivations of the heart contrasted against the will to survive. It is a story of the destruction of an aristocratic society and its disintegration from nobility, honor and hope to humility, disgrace and despair. It is a historical novel and graphic retelling of the Civil War and the Reconstruction of the South as well as a journal of the human side of those events as it recounts the characters struggles to adapt as their lives and their world crumbles. Gone with the Wind is a literary classic that gives the reader a compelling history wrapped in a thrilling romance. Mitchell recreates an idyllic Antebellum Society complete with simpering Southern Belles and Noble Gentlemen, grand plantations and vast fields of cotton, privileged white land-owners contrasted against the poverty of captive black slaves. She details a horrific reenactment of the bloody clash between the Southern Rebels and the Northern Yankees, then like the Phoenix, she raises the South from its own ashes to a new, but very different way of life. Somehow in this rich and vibrant historical tale she manages to bring her equally rich and vibrant character’s lives along the same metaphorical path of affluence, destruction and survival in a mesmerizing account that is the stuff of legend.
Michael Lewis’s The Big Short tells the tale of the 2008 financial crisis from the perspective of a few idiosyncratic characters that saw it coming. Unlike big financial institutions that underestimated the risk of increasingly extending subprime mortgage loans to uncreditworthy customers, Lewis’ characters gauged such risk accurately and anticipated the eventual burst of the housing bubble. Not only did they foresee the inevitable, but they also made a fortune by betting on its happening. Had they conformed to the public sentiment of extreme optimism and confidence in the stability of the real estate market, they would not have reaped immense monetary rewards. Between the lines of The Big Short, there lurks, albeit not too covertly, a message about the benefits of nonconformity. While conformity is often times socially encouraged and applauded, it is important to wonder at times whether going against the flow would be of greater benefit to us or our community. In Michael Lewis’s narrative, defiance of the status quo as a result of skepticism toward financial markets has yielded big payoff, whereas conformity to the widespread denial of the housing market’s unpredictability has incurred massive losses.
In Ralph Ellison’s Invisible Man, the narrator goes through many hardships that make him who he is. He experiences being discouraged and unlucky many different times throughout the novel. However, there are three major times that the narrator goes through these hardships. He is mistreated for his race, especially in the beginning of the novel. He is discouraged by the president of his college when he is expelled. He is also taken down when he finds out that the Brotherhood is not who he thought they were. In Ellison’s Invisible Man, the narrator is degraded and humiliated three major times throughout the novel.
Breathless is in many ways the antithesis of the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.