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The difference between the allies and the axis powers
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What if World War II didn’t end in the suicide of Adolf Hitler and the surrender of the Axis powers? What if instead there was a double conspiracy in the works against Hitler that was concentrated coincidentally on an extravagant movie premiere in honor of the efforts of Nazi German soldiers in France at the time? How different history would be. This very plot is depicted in Quentin Tarantino’s World War II movie staring Brad Pitt as Lieutenant Aldo Raine and Mélanie Laurent and Shosanna Dreyfus. Shosanna is a Jewish dairy farmer’s daughter in France at the time of the German take over and is forced into hiding with her family under the floorboards of a neighbor’s farmhouse to elude capture by the searching Gestapo officers. In an eventful encounter with Colonel Has Landa of the SS also happily known as “the Jew Hunter” and her family’s host, Perrier LaPadite, she and her loved ones are given up and open fired upon. All are killed but a filthy bloodstained Shosanna who crawls out from under the house and sprints to freedom with a feeling of panic and despair. Years later Shosanna takes on the name of Emmanuelle Mimieux and owns a small cinema in Paris that attracts the attention of the newly honored war hero Fredrick Zoller who stars in his own movie showing his recent deeds. Zoller requests that the premiere of the film be moved to Emmanuelle’s theater as he falls in love with her and when it is approved she devises a plan to kill the repulsive Nazi leaders that will no doubt be in attendance. Lieutenant Aldo "The Apache" Raine appears in “Chapter Two: Inglourious Basterds” as a brutal leader of this notorious group that has been sent from the United States into France with one objective; “as a bushwhackin' guerrilla army, we're ...
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...of emotions is bound to ensue.
Works Cited:
Inglourious Basterds. Dir. Quentin Tarantino. 2009. Universal Studios Home Entertainment. Web.
"Inglourious Basterds Soundtrack." InternetMovieDatabase.com Inc. Amazon. 2014. Web. 15 Apr 2014.
"Inglourious Basterds." InternetMovieDatabase.com Inc. Amazon. 2014. Web. 15 Apr 2014.
Yang, G.. "Quentin Tarantino Explains Song Choices on "Inglourious Basterds" Soundtrack." Prefix. Prefix Magazine, 24 Aug 2009. Web. 15 Apr 2014.
Klein, Joshua. "Various Artists in Inglourious Basterds." Pitchfork. Pitchfork Album Reviews, 16 Sep 2009. Web. 15 Apr 2014.
Milian, Mark. "Quentin Tarantino's Method Behind 'Inglourious Basterds' soundtrack mix-tape." The L.A. Times. The Los Angeles Times, 22 Aug 2009. Web. 15 Apr 2014.
Graydon, Danny. "Inglourious Basterds Review." Empire. Empire Magazine, 17 Aug 2009. Web. 15 Apr 2014.
Part of this is due to the film’s soundtrack – just like its plot, it’s a daring and muddled mix in equal measures, an amalgamation of Jonny Greenwood’s terrifically periodic score, and the various offerings of artists, each with a booming, bombastic track to deftly support what’s on screen; Vitamin C, Here Come the Ho-Dads, Simba, and Les Fleur all stand-out as proudly and brilliantly as Doc’s sideburns. They also help contribute to Inherent Vice’s wonderful, tonal atmosphere – the turn of the 1970’s portrayed on screen with expert
George Romero's reinvention of the zombie in night of the Living Dead (1968) is clearly a critique of elements of the American society, and the film as a whole is easily twisted into a warped view on the 'American Dream'. Themes throughout Romero’s film, dealing with controversial topics during the time that the film was made, are still, to this day debated by critics and film historians. Themes of racism and war are defined within the movie, hidden underneath the idea of carnal, cannibalistic zombies and over the top heroes who, eventually, succumb to the reanimated; despite their every effort. These themes are colored over and painted to hide beneath subtle references to the typical American Dream during this time, and Romero does quite the good job at it too. This dream, whilst continuously changing in the everyday lives of modern Americans, can be loosely defined as a national ethos of the United States, or a set of ideals dealing with freedom and the opportunity for success - an upward social status that can be achieved through hard work and effort.
Kennedy, Randy. "New York Times - Movies." 18 November 2007. New York Times. 17 January 2010 .
... until recent times and there are plenty of Tarantino-esque filming and production quirks including the famous trunk shot, the extended tracking shot, and the gritty, emotionally charged violence. Or just violence in general along with a lot of racial slurs and f-bombs and general vulgar language. The soundtrack was completely void of scores and only pre-recorded music was used for the soundtrack which adds a nice touch to the realism of it all. It’s also speculated that ‘Stuck In The Middle With You’ by Stealers Wheel was all in Blonde’s head, proving his insanity.
Travers, Peter. Rev. of Almost Famous, dir. Cameron Crowe. Rolling Stone. Rolling Stone, 13 Sept. 2000. Web. 29 March 2011.
Kaplan, Jon. "Dumped!: Famous and Not-So-Famous Rejected Film Music." Film Score Monthly 8.9 (2003): 24-31. IIMP. Web. 6 Dec. 2010.
actor and best film editing. The elements in this film such as music, sound, picture, and visual
Sure, he's abrasive, blunt, unvarnished and maybe egotistical. But he's also got the self-confidence, fearlessness and knowledge of his personal mission that in past years, and some parts of Idaho today, would have gotten him called an uppity N-word, maybe worse.
Next, we hear Norman’s voice as he yells “mother, oh god, mother, blood, blood”; his voice, is a very distant, reverbed, non-diegetic wet sound. Afterwards, we hear the soundtrack, which is non-diegetic, playing simultaneously along Norman’s figure in frame. The reason behind it, is a way to demonstrate that he is, indeed, the killer, hence why the same track takes part when the killer commits the crime as well as when Norman approaches the room.
Kenneth Turan. "Movie Reivew: Basquiat: The Tortures of Creative Life" Los Angeles Times, Friday August 9, 1996. http://www.calendarlive.com/movies/reviews/cl-movie960809-2,0,6464898.story
For this essay I will be looking at the work of Hans Zimmer to discuss how music in film engages the viewer and evokes emotion and pulls the viewer toward the film. Hans Zimmer is a German born music composer. Hans Zimmer’s love of music stems from his childhood when he learned how to play various instruments. Before Zimmer began composing music for films he was in a well-known band. The band was called The Buggles whom were famous for their song Video Killed the Radio Star. After the Buggles Zimmer played in other bands but never had another hit. As Zimmer has progressed as a film composer so has his list of nominations and awards. Zimmer has won 4 Grammy Awards and 2 Golden Globes and many more for his outstanding film scores. The reason I chose to write this essay on Zimmer was that his genres and music score are extremely versatile ranging from animations to comedy to dark thrillers. This is important to highlight as it shows Zimmer can create almost any atmosphere with his music whether it be sad or creating tension that all cause us to engage with the film. Zimmer's use of themes and introduction of different instruments allowed him to create these wonderful engaging film score. In this essay I will look at three films by Hans Zimmer these are The Holiday Rush and Rain Man.
Quentin Tarantino’s 2009 film Inglourious Bastards entails a Jewish revenge fantasy that is told through a counterfactual history of events in World War II. However, this story follows a completely different plot than what we are currently familiar with. Within these circumstances, audiences now question the very ideas and arguments that are often associated with World War II. We believe that Inglourious Basterds is a Jewish revenge fantasy that forces us to rethink our previous understandings by disrupting the viewers sense of content and nature in the history of World War II. Within this thesis, this paper will cover the Jewish lens vs. American lens, counter-plots with-in the film, ignored social undercurrents, and the idea that nobody wins in war. These ideas all correlate with how we view World War II history and how Inglourious Basterds muddles our previous thoughts on how these events occurred.
Levy, Emanuel. "Review: 'Good Will Hunting'" Variety.com. N.p., 30 Nov. 1997. Web. 17 Apr. 2014.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
Shore, Howard, and Doug Adams. The Music of The Lord of the Rings Part 1. Los Angeles: New Line Tunes, 2002. Print.