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Transnational cinema research topic
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4 Months, 3 Weeks and 2 Days is a Romanian film, written, directed and produced by Cristian Mungiu. It was released in 2007 under the label of Mobra Films Production, the independent company established by Mungiu himself and the film’s director of photography, Oleg Mutu. The motion picture is considered to be the international breakthrough of the Romanian New Wave, winning various awards including the prestigious Palme d’Or and the FIPRESCI Award at the 2007 Cannes Film Festival. (Dawson 2009)
The story is set in an unnamed provincial city in Romania, where Otilia (Anamaria Marinca) and Găbiţa (Laura Vasiliu) share the same room in a student dormitory. They are University colleagues during the last years of communism. In 1966, a law banning abortion was imposed in Romania. Being 4 months, 3 weeks and 2 days pregnant, Găbita finally settles for an illegal abortion. Otilia rents a room in a cheap hotel, and in the afternoon they are going to meet Mr. Bebe (Vlad Ivanov), a back-alley abortionist. (Porton 2009)
The transnationalism of the movie is represented by Cristian Mungiu’s approach to the controversial issue of abortion. The film crew utilizes various techniques and emotional angles to portray a frightful reality, as opposed to Hollywood’ treatment of the same issue. Jason Reitman’s Oscar winning motion picture, Juno (2007), disclosed a more familial and friendly overview. The way in which Mungiu sketched the theme of abortion is endorsed by the historical context of communism, or how the totalitarian dictatorship of Nicolae Ceauşescu had reached such an in-depth level of protrusion that it also affects the intimate life. It creates an everyday scale of historical opposition to totalitarianism enforced by the relationship b...
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...n, M. (2009). ‘Analysis: The Romanian New Wave’. Left Field Cinema [online]. Available: http://www.leftfieldcinema.com/analysis-the-romanian-new-wave [9/3/2014].
2. Higson, Andrew (2002). ‘The Concept of National Cinema’. In Williams, Alan (ed), Film and Nationalism, pp. 52-67. New Jersey: Rutgers University Press.
3. Pop, Doru (2010). ‘The Grammar of the New Romanian Cinema’. Film and Media Studies. Vol. 3 (2010): pp. 19-40.
4. Uricaru, Ioana (2008). ‘4 Months, 3 Weeks and 2 Days: The Corruption of Intimacy’. Film Quarterly. Vol. 61 (No. 4): pp. 12-17.
5. Wilson, Emma (2008). ‘4 Months, 3 Weeks and 2 Days: An “Abortion Movie”?’. Film Quarterly. Vol. 61 (No. 4): pp. 18-23.
6. Porton, Richard. (2009). ‘Not Just an Abortion Film: An Interview with Cristian Mungiu’. Cineaste [online]. Available: http://www.cineaste.com/articles/not-just-an-abortion-film.htm [9/3/2014].
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
German Cinema since Unification. Edited by David Clarke. Continuum, in association with University of Birmingham Press. 2006
"Background on Abortion." OnTheIssues.org - Candidates on the Issues. On The Issues.org. Web. 23 July 2011. .
Small, Pauline. (2005) New Cinemas: journal of Contemporary Film Volume 3, Queen Mary, University of London
Hinman, Lawrence. “Abortion: A Guide to the Ethical Issues.” May 13, 2010. University of San
"Abortion: Woman's Choice or Modern Holocaust? – Part 2." Abortion: Woman's Choice or Modern Holocaust? – Part 2. N.p., n.d. Web. 14 Apr. 2014. .
Gallagher, T. 2002. Senses of Cinema – Max Ophuls: A New Art – But Who Notices?. [online] Available at: http://sensesofcinema.com/2002/feature-articles/ophuls/ [Accessed: 8 Apr 2014].
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
... very controversial topic out into view. Viewers can see just how abortion has evolved through the decades and may change many people’s minds about how they think of abortion. Seeing the desperation on the faces of the women in the three different years never changes. All three are left with only a few choices that they must make on their own, where none of the choices are very appealing, and decide on something that they will have to live with for the rest of their lives. No matter what year it is though, each woman has been left to deal with being pregnant and what to do about it on her own. That is something to think about. This movie achieves a good rating, and is recommended for people who want to see what abortion is about from the view of a victim, someone left to deal with it on her own and make a decision that will follow her for the rest of her life.
The Political, Social, and Legal Environment of Business. Case Study Analysis: Union Carbide Corporation and Bhopal. A single slip in action may cause lasting sorrow. A slight mistake in operation at a Union Carbide pesticide plant in Bhopal, India, caused a lot of deaths and injuries. What a tragedy it is.
Lacey, N. (2005). Film Language. Introduction to film (pp. 16-22). Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
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.
David Bordwell. The Idea of Montage in Soviet Art and Film. – Cinema Journal, Vol. 1, No. 2, 1972, 9-17.
Ruberto, Laura E., and Kristi M. Wilson. Introduction. Italian Neorealism and Global Cinema. Detroit: Wayne State UP, 2007. 7. Print.
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.