Augusto PinochetTHA 2304 Week 4
The movie Dr. Strangelove masterfully uses its visuals to direct the audience’s attention. The black and white way in which the movie was shot is not only used to draw actual imagery of the cold war and the world wars into the audience’s minds while watching, but it also allows the film to use shading to more effectively tell the audience where to look. In one scene shot through a blurry chain link fence you can see how the exaggerated contrast of black and white film is used to shows the audience where to look. The fallen solder’s dark military uniform sharply contrasts with the light shade of the pavement. Covering the lightly shaded sky you can also see a dark billboard with the bright light words “Peace is Our Profession.” The phrase itself is key the movie because it illustrates the paradoxical nature of the defense
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The character Jack D. Ripper, an obvious allusion to the famous serial killer, is faded out of the film when he enters the bathroom to ‘wash up’. As his full body leaves the shot you are only able to his upper body, and as he slowly closed the door on his character arc, both figurative and literally, the audience realizes the slow fade was foreshadowing his goodbye of his character. The introduction scene of Ms. Scott and General Turgidson also uses mirrors, but this time to slowly fade the General into the story. In this way, the mirror shots are used to introduce and say goodbye to characters in the films plot, they could also represent the need for the generals leading the military, and the American people, to reflect. The character Ms. Scott on the other hand is always present in the scene, and the mirrors allow her to be presented in a hypersexualized manner by showing all angles of her body. The theme of sexuality is represented consistently through the movie using visual
Mirror: a live entity. The movie shows that the mirror is alive and covered with gold draped. The portrayal of unsecure feelings of the Queen could be the identity of the mirror. It is because only the Queen can see the mirror alive. It shows the progress of the Queen and her fate in the story.
Mulvey, Laura."Visual Pleasure and Narrative Cinema." The Sexual Subject: A Screen Reader in Sexuality/Screen. London: Routledge, 1992.
The hints of sexuality appear as soon as the first shot comes onscreen. The fluffy white buffing rag caressing the body of the car ever so slowly, it then finds its way to two shiny circular (and very breast-like) objects that are part of the car’s engine. Moving from the body to these two “breasts”, the buffer never wavers, never slipping up in its quest to polish every inch of the car’s body and engine. Immediately afterwards, and in the same pan, the camera finds a hood ornament of a man sitting down (and apparently fishing) with a very phallic fishing rod projecting out in the silhouette. It is shots like this that give the short its erotic undertone.
Not a Love Story: A Film About Pornography. Dir. Bonnie Sherr Klein. Perf. Lindalee Tracey,
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
In this essay, I have chose to talk about the movies, American Beauty and Thirteen from group #1. The two topics discussed in this essay from group #2 are identity and difference along with sexuality. The cinematic elements from group #3 that will be discussed are cinematography and costume use. In many ways, both these films portray similar content in terms of characters fighting battles with themselves and society in order to fit in. In American Beauty, Lester Burnham tries to free himself from his boring life and depression. On the other hand, Thirteen shows the struggles of Tracy Freeland, who tries to fit in at school. This results in her to go on a self-inflicting rampage with her supposedly best friend Evie. Identity and differences are displayed through sexuality with Lester and Evie in different types of way. Lester lusts over his daughters best friend Angela, while Tracy tries to experience sexuality in different types of ways following Evie’s footsteps.
I found “Someday My Prince Will Come” to be a very interesting and enlightening article, sometimes when watching Disney movies at face value, it is easy to miss just how heterosexually driven these movies are. Many of the Disney movi...
Gender and the portrayal of gender roles in a film is an intriguing topic. It is interesting to uncover the way women have been idealized in our films, which mirrors the sentiments of the society of that period in time. Consequently, the thesis of this essay is a feminist approach that seeks to compare and contrast the gender roles of two films. The selected films are A few Good Men and Some Like it Hot.
...mirror revealing the dual natures within her femme fatale, by the intimate conversation she holds with Leonard by confiding in him of her loss in order to gain his trust. Another notable symbolism used in the film is the photographs which Leonard uses to recreate his short term memory. The fact that he is forced to rely on his old memories to survive turn out to be difficult because Leonard can't realize the true meaning of the photos he carries and therefore is not capable of reaching the same ending every time he sees them. In other words, his dependance on the photos to remember only helps him remember an alternate reality. Thus, as seen by Leonard’s dialogue, “We don’t need mirrors to remind ourselves of who we are”, Nolan explains that the deception of one’s memories cannot be justified whether it be for the better good for it can only lead one to harm’s way.
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
Full Metal Jacket is written and directed by Stanley Kubrick. The film was released in 1987 and it is starring Matthew Modine (Joker), Vincent D’Onofrio (Pyle), Adam Baldwin (Animal), and R. Lee Ermey ( Guy.Segr. Hartman).
For the purpose of this study, I will critically examine the representation of homosexuality in Hollywood cinema. I will specifically analyse films from the early 90’s to mid 2000’s from ‘Philadelphia’ to ‘Brokeback Mountain’. This dissertation will argue that over the space of 12 years homosexuality has become an acceptable part of cinema. I will look at early Hollywood’s representation of homosexuality depicting how aesthetically so much has changed. The current paper will predominantly focus on the two films ‘Philadelphia’ and ‘Brokeback Mountain’, by critically analysing the aesthetic differences between each film as well as their overall importance to gay culture.
	The pounding of shells, the mines, the death traps, the massive, blind destruction, the acrid stench of rotting flesh, the communal graves, the charred bodies, and the fear. These are the images of war. War has changed over the centuries from battles of legions of ironclad soldiers enveloped in glimmering armor fighting for what they believe to senseless acts of guerrilla warfare against those too coward to be draft-dodgers. Those who were there, who experienced the terror first hand were deeply effected and changed forever. In their retinas, images of blood and gore are burned for the rest of their life.
...on how they have overcome this demeaning concept, it is still present in many of the films created today. Laura Mulvey, a feminist of the Second Wave, observed the evolution of female representations in films. She concludes that films still display dominant ideologies that prevent social equality between men and women. Mulvey came up with three common themes that mainstream films continuously promote within their films. These three common themes reinforce that women are always going to be seen as nothing more but objects. They do not serve any symbolic purposes except to help advance the story by motivating the objectives of the male characters. As evident, Happy Endings is one particular film that embodies all of these traits and as a result, the female characters are perceived as sexual objects in both the perspectives of the male character(s) and the spectators.
...f women & individuality, the sense of fashion, and the passion in a sexual act distinct it from being sexually objectifying. Similarly, this type of film also needs a higher cognitive skill that could reason and reflect upon the tricky features in the entire picture.