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An essay on greek democracy
An essay on greek democracy
An essay on greek democracy
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Greek film director Theo Angelopoulos began his career with an interest in leftist politics and a determination to reveal what he believed to be the truth. As a result, his earliest films were opinionated and patriotic. Still, due to historical changes in the region and personal growth, Angelopoulos explains that, throughout his life, he came to trust political figures less and less. Becoming more and more conflicted about right and wrong, finding that power corrupts, and discovering the true complexity of human nature led sense of confusion in the films he produced during the early nineteen eighties. Ultimately, Angelopoulos explains, he lost all hope in his previously held humanistic point of view. This sentiment is certainly reflected in his later films on personal, social, and universal levels. In Ulysses’ Gaze, A, a director much like himself, is the embodiment of this bitterness. We follow him Homeric voyage beginning at his birthplace near the Albanian border and ending in war-torn Sarajevo. This film, in addition, presents all of the people who lost hope in the leftist politics that once held promise of uniting the European people and promoting equality. Furthermore, elements of Ulysses’ Gaze imply that this process of disillusion is experienced by all of humanity in one way or another, especially as we face the end of a century and recognize that we have not achieved our anticipated progress.
Angelopoulos’ distict style is one that allows his films to simultaneously embody autobiographical and universal themes. I admittedly found the film difficult to watch at first. The techniques used by most successful Hollywood directors tend to favor excessive action and sound, “reaching immediately for the climax of each scene” and ...
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... everyone in the Balkans, Europe, and the world.
Works Cited
Angelopoulos, Thodōros, and Dan Fainaru. Theo Angelopoulos : interviews. Jackson: University Press of Mississippi, 2001. Web. December 2013.
Fox, Margalit. “Theo Angelopoulos, Greek Filmmaker, Dies at 76.” New York Times. 25 January 2012. Web. December 2013.
Grunes, Dennis. “Ulysses’ Gaze.” Grunes. Wordpress. Web. December 2013.
Iordanova, Dina. “Conceptualizing the Balkans in Film.” Slavic Review. 55.4 (Winter 1996): 882-190. Web. December 2013.
Maslin, Janet. “Ulysses, Ozymandias And Lenin in the Balkans.” New York Times. 17 January 1997. Web. December 2013.
Papadogiannis, Nikolaos. "Between Angelopoulos and The Battleship Potemkin: Cinema and the Making of Young Communists in Greece in the Initial Post-dictatorship.” European History Quarterly 42.2 (2012): 286-308. Web. December 2013.
This point is illustrated by the heated controversy surrounding the director’s Lifetime Achievement Award, which was presented to him at the 1999 Academy Awards. Kazan’s importance to the world of cinema is undisputed, but Hollywood remains divided by a single political affair that took place over half a century ago. The Academy Award was therefore protested by some and supported by others. But should Elia Kazan still be regarded with such contempt by his peers and contemporary members of the Hollywood community? Should his legacy be based on this one transgression, rather than his long history of cinematic achievement? And has Kazan already put the entire subject to rest in On the Waterfront, perhaps the best work of his entire career? I hope to answer these questions in an essay that will discuss the t...
Edmunds, Neil. Soviet Music and Society Under Lenin and Stalin: The Baton and Sickle. New York, NY: Routledge, 2009. Print.
Fiehn, Terry, and Chris Corin. Communist Russia under Lenin and Stalin. London: John Murray, 2002. Print.
Orr, John, and Elżbieta Ostrowska. The Cinema of Roman Polanski: Dark Spaces of the World. London: Wallflower, 2006. Print.
Alder, Peter. "Stalin: Man of Steel." Prod. Guido Knopp. Dir. Oliver Halmburger. Perf. Ed Herrman. The History Channel, 2003. Videocassette. Youtube. 15 Mar. 2013. Web. 12 May 2015.
Sumiko Higashi, author of numerous books, sociologically takes apart media films and newsreels that were available during the years of World War II. Her claim focuses around the title of “melodramas” in which she categorizes these types of propaganda films. Furthermore, she uses the works from different authors, such as Foucault, Michael O’Malley, and others, to argue the melodrama...
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Cinema Journal 48.1 (2008): 27-50. Project MUSE. Web. The Web.
Lacey, N. (2005). Film Language. Introduction to film (pp. 16-22). Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
SADOUL, Georges. Dějiny světového filmu : od Lumiera až do současné doby. Vyd. 2. Praha : Orbis, 1963. s.156.
On this essay I will be focusing on Lars Von Trier background and biography. I will then list some of his major contributions to the art work, and his most famous works of art. I will include some interesting facts that have influenced him throughout his life and which I thought were important for his development as a filmmaker. Finally I will conclude the essay with my personal opinion of his character and overall art work.
Juka, S.S., Kosova: The Albanians in Yugoslavia in Light of Historical Documents. New York, NY: Waldon Press, Inc., 1984
To develop this investigation, I will look at a variety of sources including biographies of Slobodan Milosevic, research books on the conflict in Kosovo, and internet sources on Kosovo nationalism.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
'Ulysses' is both a lament and an inspiring poem. Even modern readers who are not so familiar with the classics, can visualize the heroic legend of Ulysses, and so is not prepared for what he finds in the poem— not Ulysses the hero but Ulysses the man.