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The different genres of movies
Proper movie genres analysis
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Introduction
In my essay I will discuss the differences between national cinema and Hollywood cinema by using Rio de Janeiro¡¯s famous film City of God. There will be three parts in my following main body, the first part is a simple review of the film City of God, I will try to use the review to show the film structure and some different new points from this, show the how did the ¡®Shocking, frightening, thrilling and funny¡¯ (Nev Pierce) work in the film. The second part is my discussion parts; I will refer some typical Hollywood big name films such as Gangs in New York, Shawshank¡¯s Redemption, and Good Fellas to discuss the main differences between City of God and other national films. The third part is my summary, I will use my knowledge to analyse why there have big different between both kind of films and their advantages.
Part One
By simply review, I will say, "City of God" ("Cidade de Deus") is the story of a boy who lives in a "favela" what is the word of slum in english on the outskirts of Rio de Janeiro. The "favela" is like a shantytown witch called "Cidade de Deus" in the film. And from the beginning to the end, throughout this stylish movie both the boy and the favela grow.
In the film, we can see the story telling styles are quite like the some Hollywood films such as Shawshank¡¯s Redemption. As Morgan Freeman been a narrator Ellis Boyd "Red" Redding in the film Shawshank¡¯s Redemption, The same roll in City of God is boy, Rocket (Buscap¨¦ in Portuguese, played by Alexandre Rodrigues), who is born in Cidade de Deus and grows up in Cidade. He is quiet and easygoing, just a non-violent person seeking a way to survive in a brutal environment.
The director makes Rocket a narrator in this movie; I think the reason is find an intermediary between gangs and the press, inside of the evil world and the outside. So we can see, his voice that accompanies us throughout many of the stories that "City of God" has to offer by Rocket¡¯s photography dream became true.
Still the same as Shawshank¡¯s Redemption, the main character also belongs to Andy Dufresne (by Tim Robbins). So in the City of God, The other main characters in City of God are the gangs, like Li'l Z¨¦ (by Leandro Frimino) who was one of the boys that used to play soccer with Rocket, grow up to become a murderer and a drug lord, someone that makes his own laws.
...ttis point of view, the first person point view. This gives us the impression that we are watching the mystery unfold at the same time he is. The narrative form is exemplified in the scene where Gettis is on bridge, watching Hollis Mulwray talk to the little boy on the horse in the flood plain. We start with an establishing shot of Hollis's car driving down the riverbed. Then it cuts in tighter on Hollis. The next cut is of Gettis watching the scene through binoculars. In use of the film noir this narrative form we are left with no clue as to why Hollis is in the riverbed, what was said in the discourse with the boy on the horse or what Hollis is looking at on the hood of his car. At the same time neither does Gittes.
In conclusion, Jay Gatsby is a magnificence character throughtout the story because of his modest beliefs, genuwine heart, and generous will. A hero is often a man that is usually of divine ancestry. In the story The Great Gatsby, Gatsby’s reach to become a hero not only for the wealth, but for the true love. Gatsby is the great hero in this story because of his elegant figure that rule over one person’s life, which is Nick Carroway.
The main character of the story, which is the protagonist, is a boy by the name of Kevin Delevan. The antagonists in this story are the owner of the store where the camera was bought, and the dog that appears in the pictures taken by the main character. Some of the other characters that were in the story are, his father Mr. Delevan, his mother Mrs.. Delevan, his sister Meg Delevan, the owner of the store where the camera was bought Pop Merrill. That is about all of the important characters in the book.
Gilbert Grape is the protagonist and also the narrator in this film. He lives in a town where nothing ever happens. The only time that the police have something to do is when his developmentally delayed brother climbs the water tower. Gilbert 's mother is obese and a recluse ever since her husband killed himself in the basement of the house he had built. Gilbert holds down a job
The 1948 Western Red River is a movie of action, romance and hardship. The main characters are Tom Dunson played by John Wayne, Wagon Driver Groot Nadine played by Walter Brennan and Adopted son of Dunson Matt Garth played by Montgomery Clift. This is a western that shows the first Cattle drive of the Chisholm Trail.
City of God we would all think of a holy place to be in but on the controversy it wasn’t the safest place to be in. “But in the end one needs more courage to live than to kill himself.” Albert Camus Many young kids do not have a house to run to, a mother to cuddle with, a father to set things straight siblings to get love from. Reality getting involved in violence can make you but in the end break you. Power with violence can make you stronger five you more power but break you in a blink of an eye. Brutality of life is revealed in Rios slums in this Brazilian film. A powerful film that views violence, lack of education, lack of money in 3rd world countries
City of God is an action-packed, drama-filled, Brazilian crime film that follows the lives of several young men whose lives all take a drastic turn as the city they once knew falls to drugs, crime, violence and corruption. In my essay I will focus on three young men in particular who all seemed to be consumed by the chaos that surrounds them. Through a series of hard hitting edits, sharp camera cuts, intense imagery and vivid storytelling, the film comes to life to portray the reality of life in the slums of Rio de Janeiro, and also helps to develop each characters persona.
Catholicism glorifies and represents mothers as the main foundation of the family through the example of the passive and unconditional loving Mary, the mother of Jesus Crist. This idea of the mother as unconditional lover beings has been passed on and reproduced in the Chicana/o community. Gil Cuadros and Reyna Grande through their autobiographical work testify against this predominate idea of the mothers being caring and loving persons. Even though most mothers fall into the norm of a normal mother, normality is subjective, therefore Cuadros and Grande’s work represent the complexities of reality. Grande’s The Distance Between Us and Cuadro’s City of God are autobiographical narratives that incorporate reality as a form of testimonial of existence, an act of healing and resilience. Given that these author’s life experiences can be
Born Carl Lucas and raised in New York City’s Harlem neighborhood, Carl Lucas goes through trials and triumphs throughout his life. Wrong decisions and being around the wrong people changed his life forever. Consumed by rage, betrayal, and pain, Lucas fights to make a major change. As the past continues to always come up, Lucas’s major change comes along when the journey of the hero mono-myth occurs.
a ‘God’ and is the most powerful man in the film. Even people on the
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
City of God is set in the sprawling slums of Rio de Janeiro, in a poor urban neighborhood built in the 1960s to host the city’s poor inhabitants. Lins Paulo, the author of the book of the same title on which the movie is based, describes a grim picture of the slum in its early years. He writes, “the new residents brought garbage, bins, mongrel dogs”… (Paulo 6), depicting the poverty of those who moved into the slum. The favela (the slum) is located far away from central Rio, in what can be interpreted as an attempt to create a as comfortable as possible distance between the rich who frequent and live with the main city, and the poor residents who present a security threat to businesses and Rio’s upper class society. This design of urban planning in which authorities go to great lengths
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Gran Torino expresses racism head on. Although the main character Walt Kowalski, played by Clint Eastwood, is prejudiced against almost everyone, the film focuses on an Asian neighborhood, surrounded
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.