Resistance has become one of the significant factors when it comes to the subjects of many films from the Third Cinema. “Paradise Now” and “The Violin” both seek to “imagine” nationhood through culture, and speak to a land lost by the greater authority or nation. They are presented in specific contexts that represent each political conflict, and provide complications of the characters’ stance that are challenged by the cultural dynamics and the characters’ positions in society.
According to Joseph Massad of “The Weapon of Culture,” in which he talks about how the cultural and the aesthetic factors have influenced the Palestinian cinema, he noted that the filmmmakers’ direction of the political aspect seemed to shift in recent memory compared
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Plutarco and Genaro are on the resistance side, while the captain is against it, but despite the opposing sides, the one item that both sides at least connect to is Plutarco’s violin, which represents indigenity of the nation. In “The Violin,” the villagers’ land has been taken away by the military forces, and Plutarco tries to pass the checkpoint on day to retrieve the ammunition hidden from the farming ground. After the captain tells him to play the violin, it seems to connect the two characters with similar interests and the appreciation of the national land, which at least for a moment, blurs the line of friends and enemies. The three characters all present some form of a patriarchal order, and show how their different approaches of action all blend in that results in a tragic end. Genaro is being shown as the one who is more involved in the resistance and would someday pass it down to his son. Plutarco is shown to be assisting Genaro in the movement, and his violin represents how Plutarco can be seen as the heart of the land. The Captain is the leader of his own groups of forces, but the roles become challenged when the relations between Plutarco and the Captain get more complicated due to personal
...ome to us at an interesting time, before the Revolution, 40 percent of Tehran movie theaters were showing pornography. The function of this office is purification as well as promotion for the arts.” The first part notions the Western stereotype of the Orient since the same as the time when it was discovered, but now the people of the Orient realize the stereotypes and are changing the way they see themselves because of these stereotypes. It is only by correcting these assumptions, stereotypes, and misconceptions of the Orient at the heart of society today, the media can Orientalism be fixed. The Eastern people must be allowed to sympathize in movies and films to humanize them and have intimate interactions. Otherwise, the Orient will be continued to be known incorrectly as a place with people who are without reason, screaming, protesting, and in swarming mobs.
He also adds details to make the storyline heroic and inspiring. Plutarch's text is a third-person view on the events, with little explanation of people's opinions and thoughts. Plutarch describes Brutus as merely one of the conspirators that took a little persuading. After Brutus joined the conspiracy, he rapidly gained control. In the play, although Brutus leads the conspiracy, his character goes deeper.
Do you ever have one of those days when you remember your parents taking away all of your baseball cards or all of your comic books because you got a bad grade in one of your classes? You feel a little depressed and your priced possession has been stolen. This event is the same as August Wilson’s, The Piano Lesson. The story is about a sibling rivalry, Boy Willie Charles against Berniece Charles, regarding an antique, family inherited piano. Boy Willie wants to sell the piano in order to buy the same Mississippi land that his family had worked as slaves. However, Berniece, who has the piano, declines Boy Willie’s request to sell the piano because it is a reminder of the history that is their family heritage. She believes that the piano is more consequential than “hard cash” Boy Willie wants. Based on this idea, one might consider that Berniece is more ethical than Boy Willie.
In the 1920s there was a growing interest in country music, and bluegrass was one of the genres in hillbilly music that caught the attention all over the country. Known for the unique guitar sound, religious and gentle ballads, and mountain singing practices, the Carter Family is considered to be one of the great representatives of the bluegrass music in the Appalachian region. Loved by the audience all over the country, they established a “standard” sound that people would expect from bluegrass music. Taking a deeper look into the genre, almost all of the bluegrass groups are formed by solely white people. Why there were no traces of other races in the region being involved in the music? As the listener could imagine on the good old days and pretty scenery depicted in the bluegrass ballads, very little details on the lives of the people living in the present were heard from the songs. Bluegrass music is not a genre that provides listeners a genuine image of the musical and social landscape of the Appalachian region, but the commercialized music genre that is created by the white Appalachian residents for the whites in the whole United State America using newly-developed broadcast and commercial recording technology.
Principally, Vega portrays the commodification of the peasant women of Fuenteovejuna. Throughout the playa, the Commander treats the peasant women as his property. During their first conversation in the play, the Commander forcefully asks Pascuala “don’t you belong to me?” after she rejects his sexual advances (Vega 37). Within the same conversation, he takes verbal possession of her by calling her “my wild beauty” (Vega 37). The possessive pronoun “my” demonstrates how the Commander perceives Pascuala as his property rather than as a person. He continues to equate the peasant women with property by declaring to Pascuala and Laurencia “you’re also here as presents/just like the rest!” (Vega 39). By paralleling the women to the food he takes from the villagers, the Commander objectifies them, portraying them as property. In a Marxist staging of the play, this equation would be enriched by the important role property plays in the conflict between the Commander and the peasants. The Commander’s objectification of the peasant women is not only insulting; it represents his further exploitation of the property of the working class. Indeed, Vega parallels the women with food, the property the Commander exploits from the villagers. When Laurencia asks the Commander’s
‘’ Speak not you for him; he’s a traitor. Come;/ I’ll manacle thy neck and feet together: /Sea-water shalt thou drink; thy food shall be /The fresh-brook muscles, wither’d roots, and husks/ Wherein the acorn cradled.’’ (Shakespeare, I, ii, 461-464), is dramatic irony as the audience is aware of the fact that Prospero likes Ferdinand and wants him an Miranda to fall in love, but is still being rude to Ferdinand as a test. This is funny and provided entertainment to the audience, as they are aware of something that the characters aren’t. The archetype of the hero’s journey is used here, as Ferdinand is going through trials to prove his love for Miranda. He is proving his determination, strength, and courage along with his love. The images used in the collage are of Miranda and Ferdinand meeting, to show the humour behind their role in Prospero’s plan to get the throne back. Overall, Shakespeare’s use of symbolism, imagery, allusions, and dramatic irony help the audience to understand the archetypes, which helps in analyzing the meaning behind the words of the
The Bluegrass is a unique region. Not only because of the history of the region, but the culture, the land, the vegetation, and the animals are what makes this place unique. When you hear the term “Bluegrass” you would think that the grass would be blue, however that is not the case. The Bluegrass is actually all green, the reason why it is called the Bluegrass is that when the grass grows out long enough, you would be able to see a blue tent in it(Bluegrass). Even though a lot of people do not see that tent of blue because people mow their lawns and it is hard to tell, that is why Kentucky is nicknamed “The Bluegrass State”. The Bluegrass Region is a very attractive place to go to because of the landscape and the attractions the place has.
... 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.
Although the majority of "Beirut" proves to be quite the task to watch, it’s still rather refreshing to witness Hamm continue to come into his own as a genuine A-list talent. By exploring the depths of alcoholism as a result of tragedy, Hamm’s hardened performance as a seemingly washed-up diplomat provides audiences with just enough motivation in order to sit through the entirety of this questionable direction. Nevertheless, it’s unfortunate that the charismatic display by Hamm is wasted on an unrealistic and stereotypical portrayal of vital history, contorted through the scope of American exceptionalism. As “Beirut” epitomizes the problematic American lens of Middle Eastern conflict, the subject matter at hand would have been served no different if say, Michael Bay directed this film.
In 2005, the Palestinian director and writer, Hany Abu-Assad, released his award winning motion picture, “Paradise Now.” The film follows two Palestinian friends, over a period of two days, who are chosen by an extremist terrorist group to carry out a suicide mission in Tel-Aviv during the 2004 Intifada. The mission: to detonate a bomb strapped to their stomachs in the city. Because the film industry seldom portrays terrorists as people capable of having any sort of humanity, you would think the director of “Paradise Now” would also depict the two main characters as heartless fiends. Instead he makes an attempt to humanize the protagonists, Khaled and Said, by providing us with a glimpse into their psyches from the time they discover they’ve been recruited for a suicide bombing operation to the very last moments before Said executes the mission. The film explores how resistance, to the Israeli occupation, has taken on an identity characterized by violence, bloodshed, and revenge in Palestinian territories. Khaled and Said buy into the widely taught belief that acts of brutality against the Israeli people is the only tactic left that Palestinians have to combat the occupation. In an effort to expose the falsity of this belief, Hany Abu-Assad introduces a westernized character named Suha who plays the voice of reason and opposition. As a pacifist, she suggests a more peaceful alternative to using violence as a means to an end. Through the film “Paradise Now,” Abu-Assad not only puts a face on suicide bombers but also shows how the struggle for justice and equality must be nonviolent in order to make any significant headway in ending the cycle of oppression between the Israelis and the Palestinians.
Throughout the presentations, I made a connection with Poncio Vicario at the wedding party. Page 44 in the work describes the old man at the party. “Really, the most intense image that I have always held of that unwelcome Sunday was that of old Poncio Vicario sitting alone of a stool in the center of the yard. They had placed him there thinking perhaps that it was the seat of honor.” When a daughter of a family gets married, the father feels happiness and joy. Contradictory to that, Poncio Vicario is described on the lines of being blind and powerless man, deprived of control and influence.
Ballet is a popular dance form that originated in the 1500s around the time of the renaissance. It consists of many different forms that have evolved over the years. Some examples of these forms include French Ballet, Vaganova (Russian Ballet), Cecchetti (Italian Ballet), and Balanchine. Ballet forms and variations originated mainly from Italy, Russia, and France. However, today, many different forms of Ballet exist. Despite the many different variations, all Ballet has certain things in common. It is an effective form of exercise, requires special equipment, contains many set principles, and can result in specific injuries.
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.
The Symphony No. 6 in F major, Op. 68 was composed by Beethoven and was completed in
The epiphany of this however, is realized at the end of the play. Nearly every scene in the play, either intentionally or unintentionally, portrays a struggling relationship between a figure that possesses power and a figure that is suppressed by that power. The play explores the relationship between master and servant very dynamically. In the opening scene, the boatswain (servant) is very oppressive towards the noble men (master) due to their sophomoric attitude in a dangerous situation like that. This is especially visible when Antonio, the usurping Duke of Milan, asks the boatswain where the master is, to this, the boatswain replies, “Do you not hear him?