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Feminist literary criticism an introduction summary
Writing a literary analysis essay-feminist perspective
Feminist literary criticism an introduction summary
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Rotten Tomatoes 2.0 We as humans can analyze and form opinions over literature. Those opinions lead to many different critical approaches. Critical approaches have begun ever since literature has been present, and have since evolved with modern literature. In the movie reviews, the forms of criticism generally used were feminist criticism and new criticism. New Criticism focuses on the entirety of the literary piece, “like an organism, the work develops…[from] parts to whole” (Mays 1974). In “Siskel & Ebert Halloween (1978) Review,” the two critics analyzed the movie using New Criticism. One of the critics commented, “Artistry can redeem any subject matter,” while describing how he thinks the flow of the music and the high view of light contribute to the “up and jumpy” feel of the movie. The critics center their attention on filmmaking and state how each part of the film share equal responsibilities to create the horror movie. This, according to their review, is what makes this a successful horror film compared to the “freak-show” movies they have previously reviewed. The others have the same basic idea for a horror film, but with their New Criticism …show more content…
However, this critic’s review was more negative. The critic’s New Criticism approach is demonstrated when he mentions the filmmaker’s “overused visual tricks, featuring dramatic falling stuff, Instagram filters, and suuuper slooow moootion.” The sarcasm used to critique this piece shows “the affirmation of unity for the artwork” is not present in this film (Mays 1975). The mixture of facts and inaccuracies throughout the film help enrich to the critic’s view of disappointment. The total disturbances for the critic ranged from an actor with a non-Greek accent, a very loud character, to “a blend of historical truth and [the director’s] nonsense.” Again, these small factors play a vital role in creating a very sarcastic New Critic
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
Many films, and sometimes film genres, are dismissed as being part of the cinema of escapism. This assumes that in times of particular social or economic hardship (often on a national or international level), people go to movies for the sole purpose of “getting away from it all.” While some films may follow this overall trend, it is important to note that it cannot be a generalization made for all films. During the Weimar era in Germany, the nation was in the midst of a national struggle on many fronts. As a people, Germans attempted to deal with their past (the problems during World War I as well as the consequences of their loss) and move toward the future (finding a solution for their economic struggles and defining themselves culturally and socially). This period saw a resurgence of the horror genre, this time adapted to the new medium of film. However, the way horror was portrayed via film is the interesting part: it drew specifically on the struggles of the nation to instill horror. This is an exact reversal of the idea of cinematic escapism, since many Weimar era horror films used relatable struggles in order to both entertain and terrify (in this case, existing concurrently as well as dependently on each other). One of the clearest examples of this is through the film Nosferatu, a cinematic retelling of Bram Stoker’s novel Dracula directed by F.W. Murnau. The budding horror genre of the Weimar era, as exemplified by Nosferatu, succeeded because it drew parallels to the German people’s collective post-World War I mindset, including references to the terrible nature of the war itself and the fearful prospect of how to move forward.
Halloween is rife with psychological scares that affect its audience greatly. “Symbolism, dreamlike imagery, emotional rather than rational logic” are present in Psychoanalytic criticism. Siskel and Ebert talked about how the movie makes you feel as if you are the protagonist, scared for your life and feeling every bit of suspense (Siskel and Ebert). The movie is purely fueled by emotional responses to what is happening to the characters and focuses itself purely on how the audience will respond. In the clip shown, the main protagonist talks about how she killed the killer but he is shown alive. The movie is not concerned with the logic; otherwise, the killer would have at least been slowed down by the injuries he sustained. Siskel and Ebert laud the movie on its set up of scenes, score, character development, and use of lighting to make the audience feel the terror the characters undergo.
One of America’s famous actress film director and producer Katie Aselton once said,” I don’t love horror movies with something surreal happening. That doesn’t work for me. What’s terrifying is something that could actually happen to me and what I would do. I don’t know how to throw a punch, and I’ve never had to do it.” This quote shows connection to King’s article. I’m starting to consider that everyone has a crazy side. Why We Crave Horror Movies explains the reason people want to go see horror movies. The average person enjoys the horror movies because they are in a safe environment knowing they can not be harmed. By discussing the argumentative strategies such as ethos, logos,
The genre of horror films is one that is vast and continually growing. So many different elements have been known to appear in horror films that it is often times difficult to define what is explicitly a horror film and what is not. Due to this ambiguous definition of horror the genre is often times divided into subgenres. Each subgenre of horror has a more readily identifiable list of classifications that make it easier to cast a film to a subgenre, rather than the entire horror genre. One such subgenre that is particularly interesting is that of the stalker film. The stalker film can be categorized as a member of the horror genre in two ways. First, the stalker film can be identified within the horror genre due to its connection with the easily recognizable subgenre of horror, the slasher film. Though many elements of the stalker film differ from those of the slasher film, the use of non-mechanical weapons and obvious sexual plot points can be used to categorize the stalker film as a subgenre of the slasher film. Secondly, the stalker film can be considered a member of the horror genre using Robin Wood’s discussion regarding horror as that which society represses. The films Fatal Attraction, The Fan, and The Crush will be discussed in support of this argument. (Need some connector sentence here to finish out the intro)
basic charge of this criticism can be stated in the words of a recent critic,
The Importance of Aesthetic Distance in American Horror Movies What then do we make of American horror movies? In the canon of horror pictures they almost always come second in respect to foreign horror movies and any American horror film that is considered to be artful is the one with the most aesthetic distance. Upscale slashers like Johnathan Demme's The Silence of the Lambs (1991) or David Fincher's Seven (1995) are both gruesome and bloody borrowing many of the same shock techniques as their lower budget counterparts (for example, Russell Mulchahy's Sevenish thriller Resurrection (1999)), both focus on the body and its violation, either through sexual means or violent means, and both feature villains who fit easily into Carol Clover's
The Horror Movie in Late Modern Society’ that labelling films such as these as postmodern may be an overreach. He argues that the hybridity of the genre as seen in horror-comedies such as ‘The Cabin in the Woods’ and ‘Scream’ are nothing ‘new’ and that comedy has always played a prevalent role in the horror genre. He goes on to state that, “much of the comic fun to be had (in contemporary horror-comedies) derives from the excess of gory detail. The other aspect, in this case more a development characteristic of the 1990s than the 1980s, is the tendency to reflexively generate humour by openly appealing to a knowing audience’s familiarity with the genre conventions.” This view suggests that Tudor views the emergence of a more comedic element to horror movies as more of an evolutionary step in horror, than a deliberately postmodern outlook. He cements this as his view as he uses the example of ‘Scream’ and the films made in its wake (such as ‘Scary Movie’ (2000)), Tudor claims “It is films such as these that have so often attracted the designation ‘postmodern’, if only superficially, because of their studied self-consciousness and their use of pastiche.” (Tudor, p.107) Tudor’s view is that films such as these bear only surface-level post-modernism that the term is used too liberally and the films would be better suited towards the term parody than a post-modernism. Tudor argues that their “studied self-consciousness” disqualifies them from being labelled as postmodern, however it can be argued that parody and self-consciousness elements of these films are what make them postmodern at
Now, reader response criticism is very different. In our text book for class it is portrayed by these three key facts:
Everyone's a Critic In film, as in literature, there are many styles of criticism available to critics, some of whom apply their craft more discerningly than others. Unlike literature, though, films are marketed to the masses as an inexpensive diversion requiring little investment of the viewer's time and energy. For this reason, most film reviews are understandably geared towards audience reception, known as reader-response criticism in the world of written works. The critics of the three subject films reviewed, Halloween, 300, and Frozen, employ audience-response criticism from the feminist, gender, and cultural perspectives whether directly or by inadvertent invitation.
A good novel is hard to put down. The story in the novel is perfect with a great plot, convincing characters, and a suspenseful build up to the climax. You have been drawn into the story and it is almost like you are there, living along side the characters. You understand their background, their trials, and their joys. The story brings to life something from long ago that may or may not be fictional. It is hard to tell without doing further research. In reality, that further research does not mean much to you at the present moment. The story, in its entirety, is all the matters to you. This is Narrative Criticism. Narrative Criticism focuses on the stories told by a speaker or writer which help us to make meaning out of everyday life. Not only does Narrative Criticism focus on the speaker or writer, but the criticism also focuses on genre, structure, characterization, and the author’s perspective. The Narrative Criticism approach has roots in history and a type of criticism known as Historical Criticism. From Historical Criticism, Narrative Criticism has grown into a whole new understanding of the text: not in fragmented pieces or overanalyzed passages, but rather as a study of the story as a whole.
Almost everyone has a favorite genre of film, but how everyone defines their favorite genre can differ greatly. Horror is one of the genres where its definition can be perceived differently by many people. Like all other genres, horror does have rules and traditions that must be included in order for a film to be considered a horror film. These rules and traditions include a protagonist, an antagonist, an escape or escape attempt of some sort, and very influential audio and visual effects.
The far-reaching influence of New Criticism stems less from theoretical or programmatic coherence than from the practical appeal of a characteristic way of reading. The theoretical differences among the critics commonly described as New Critics( I. A. Richards, William Empson, F. R. Leavis, Kenneth Burke, John Crowe Ransom, Allen Tate, Yvor Winters, Cleanth Brooks, R. P. Blackmur, W. K. Wimsatt, Jr., René Wellek,) are sometimes so great as to leave little ground for agreement. As much as they abhorred the new "scientism" that passed for authority in the modern era, the New Critics believed the study of literature could be more organized and systematic than it had been in the past. Specifically, they believed they could isolate the object of their work just as other "sciences" had isolat... ...
Literature is an intricate art form. In order to attempt to understand the meanings and ideas within literary work, there are many forms of criticism that propose different approaches to its interpretation. Each criticism is crucial to the understanding of how individuals interpret literary works. Since each criticism has a different approach to enrich the understanding literary works, the question is raised whether one criticism should be used over others, whether a certain combination of criticisms should be used, or whether all criticisms should be taken into account. This may all be dependent on the reader’s individual preference or opinion, but each criticism presented builds on the others to create a well-rounded and unique understanding
There are many ways to analyze the movie but utilizing formal criticism brings unique aspects out that aren’t always found with other methods of analysis. Bedford literature describes formal criticism describes as the following: