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Violence in the movies
Violence in the movies
Gender and violence in movies
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The world will deceive you. Time will trick you. People will fool you. We seem to live in a place where we think peace, love and humanity prevail, but no. Time has brought everything to what the world is now, to what we are now. Unlike any other movie, Gasper Noe’s Irreversible (2002), with his own unusual but unique way of telling a story, shows how violence roots from love, how pain roots from pleasure, how imagination roots from reality and how death roots from life. This movie focuses Marcus and Pierre’s battle with the illusion of justice to avenge Marcus’ girlfriend, Alex, from her atrocious fate. And beginning this with the ending, Gasper Noe has created not just a realistic and powerful movie but has explained, as well, what it means …show more content…
People can just go around performing crimes, torturing and destroying other people and just be fine at the end of the day, no policemen chasing after them, no cell waiting for them. People often blame the policemen for this but is it really the police’s fault only? When Alex is being raped by La Tenia, a man shows up at the background, stands and watches the scene for a moment. He then walks away from the place, doing nothing to save Alex. Man continues to seek for the justice they are asking for when they, themselves aren’t doing something to prevent crime and do justice to others. “Blood calls for revenge. Vengeance is a human right.”states one man in the movie. This is the idea of justice that is instilled in our minds with this kind of world we are living in. But even if Marcus has put all the effort in finding La Tenia and avenging Alex, he still ends up unconscious on a stretcher, arms …show more content…
From the way it started with a pure act of violence—with Pierre killing a man brutally using a fire extinguisher, to Alex being sexually tortured and beaten, to Marcus and Alex being happy with the idea of having a child to Alex reading in a peaceful place with the other women and children and from the way the movie started and ended showing how time destroys all things, the movie has shown what it means to be irreversible. If it were going to be told using the normal linear storyline, then the movie would just seem to focus on the sexual parts and violence. Alex could have been mistaken for prostitute. Their intimate and playful bed scene at the latter part of the movie could have been mistaken for a sex just for pleasure, not sharing some love at all. The act at the beginning of the movie will seem like just a normal fight scene in a chaotic world. The nonlinear way of telling the story has strengthen its points and the way it is shown using fast random movements has created a harrowing impact on how the movie wanted to tell the story to the
Such a series of tragic events has a great toll among the two main characters (Cox ) . For a vicious, careless indivi...
The motion picture I selected to analyze is Relatos Salvajes (Wild Tales) an Argentinian movie, directed and edited by Damián Szifrón and Pablo Barbieri. Wild Tales is dark, comedy with a series of realistic events that turn unpredictable. This film displays six different segments and six different story lines with a variety of actors. I believe that the best edited segment is the “Road to Hell” segment. The “Road to Hell” story line is about two male drivers, where their road rage becomes deadly. This analysis will go over how Szifron and Barbieri used certain shot angles, sound, and music to intensify and bring the story together. In the “Road to Hell” segment the director does not include the character’s name, for analysis purposes I will refer to the first character as Carlos and the second character as Pete.
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
The world is not always what you think it is. Things change or can appear to be
Both Kassovitz’s La Haine (1995) and Meirelles’ City of God (2003), utilise distinctive techniques in order to present ideas of power, poverty and conflict, as well as to reflect their urban environments in a particular way. Both directors present conflict between the poor and the powerful through a range of powerful micro and macro techniques to create films which expose the problems related to urban areas, and the context that each was set in, which contributes to getting the messages of their films across and thus has a greater impact on the audience.
Before taking this course, I always looked at films and read books just as the average person does; interesting plot and how long will it hold my interest, but this course gave me an entire different perspective when watching films and reading books. Now that I have taken this course and have watched the required films, the most important thing when watching other movies and reading books, is the meaning behind each scene and how they relate and affect our world. For this paper, I will discuss a book that I read a long time ago, which is She’s Come Undone by Wally Lamb and how this book relates to this course.
Don't expect anything linear when it comes out of the insubordinate, tortuous mind of the Canadian cult filmmaker Guy Maddin, who in his last sumptuously demented tale, “The Forbidden Room”, had the contribution of the newcomer Evan Johnson as co-writer and co-director. As in the majority of his past works, the film masterfully evokes the black-and-white silent classics and Technicolor fantasies in order to create a layered story that despite the numerous sinister characters and baffling interactions among them, can be summarized as a man desperately looking for a woman. A jocose spirit is present since its very beginning when a man wearing a robe discourses about how to take a bath. This hilarious little dissertation leads us to the central
Spike Jonze’s film Her reveals the increasing complexity of intimate relationships concordant with the ever-growing presence of technology in our lives. In the frequent—almost excessive—moments of bright, lively red, we see the hope, desire, or even existence of intimacy. However, the few juxtaposed moments lacking red create a serious, threatening distinction between life with and without this sense of closeness and affinity. Through the powerful, effective use of mise-en-scène elements, tone, and off-screen space, the viewer gains insight into a possible future without intimacy as Sam and Theo’s relationship evolves and eventually corrodes.
By creating intense themes of obedience, bravery and rage, the audience was able to relate to the protagonist to build up the same characteristics as them. Loyalty was manifested through the costumes and angles by unveiling how different opportunities and random individuals can make a beneficial change in one’s life. Lighting, angles, and height express the fearlessness of the characters by expressing the mental and physical strength. Whereas, the intensity of the scene connected the audience to obtain a personal and emotional connection to the characters and film. During the end of the film, the color of the explosion, which is a factor of mise-en-scene proclaims the royalty treatment that wealthy people are given. It hinted that when they are targeted their death is more valuable than others. This revealed the theme of anger that the protagonist experienced because it showed that most high standard people are always seen as elevated individuals compared to the lower class civilians. The cinematography and mise-en-scene are important factors of a film because it makes the theme of the story become more alive and enthralling. Altogether, the themes of this film prevailed the crucial qualities of a proper hero and a
...es in misunderstanding the mix of the motions the movie evokes in them, or mainly focus on broad aspects of the story without analyzing its notion. Despite there are some concepts in Neill’s theory that still leave the room for improvement, it can be stated that his lens achieved the level of being valuable in understanding the inner approaches of different films. Apparently, both Alex Neill and Michel Gondry construct their projects leaving the room for the audience to use their imagination and improve their emotional education.
A four-hundred-year-old play and a modern comic book movie may seem to have little in common on the surface, but the Marvel film Logan and Shakespeare’s tragic play King Lear have a curious similarity. The overtly feminized cursing in King Lear and symbolic play on words in Logan give light to an ever-present cultural issue, the devaluation of women by men in a patriarchal society. Both male protagonists share a staggering similarity as cruel and callous parents but are relatively free from any judgment of their behavior. In fact, the film and play both have tremendously high body counts due entirely to the hubris of the male lead characters, and yet they are still the hero's; albeit tragic ones.
In her book, On Violence, Hannah Arendt studies violence as it relates to war, science, power, aggression, and the like. In this paper, I will speak on the topic of violence as it pertains to aggression. I argue that we, as human beings, possess at least a basic level of aggression that is explainable through animalistic research and characteristics. This argument is one that contradicts the overarching ideas of Arendt’s thoughts on the topic. Through an explicative and then disputatious discourse, I hope to bring validity to my viewpoint.
This world is not like what it used to be. Many people in today’s world are judgemental and not accepting. This world is full of hurting and sorrow. This world will forever be corrupt. When are people going to start getting along? Will there ever be peace? Will we ever live the life God wanted us to from the beginning?
The Return’s primary message can be understood through the divergence of the film’s initial scenes with the ambiguous and enigmatic ending that left me riddled with interior question. At first glance, the film seems to fit into the category of a psychological thriller, but as the film progresses, it becomes apparent that it acts as a metaphor for man’s inherent need for a means of self-definition. Furthermore, the Return was a breath of fresh air in that it exemplified an ambiguous and complex narrative rather than fitting into the stereotypical plotline that seems to define recent movies as ultimately having a happy ending.
This film really focuses on the characters. Their thoughts, anger, distress, and mistakes become part of your mistakes. This deals with a father’s s priority and how he will achieve that priority by using unethical ways like torturing an innocent man. Bringing up child abduction and torture are