The Coen brothers’ characters are, when all is said and done, quite unique. They do not follow the traditional model of their respective roles. However, there is an overriding sense of normalcy throughout the movie. Thus, by juxtaposing the conventional and unconventional, the Coens are able to create a world that is entirely their own, but still maintain key aspects of the film noir genre; such as the ability of normal people to commit crimes and the notion that everyone is on their own. Marge Gunderson is, possibly, the best example of how the Coens use juxtaposition to both enrich the film as well as break it from traditional modernist ideals.
I've got to say it wasn't easy trying to figure out which one I liked best, but I got to say I liked the film much more prominent then the novel. To see the action and adventure come to life was astonishing. Once you watch it though you see lots of differences from the novel and the film. You might see some from the characters or from something else. You will have to read it your self, but I will give you some differences to give you an idea of it.
I'm much more of a "genre" fan, and I much prefer fantasy, surrealism and absurdism to realism. My preconceptions were throwing me off of the film initially. The realist drama stuff seemed to drag on, and it made much of the film a hard sell. I loved the touches of weirdness, but they were too little, too far between--at least until I reached my personal interpretation of the film around the halfway mark. The film is also odd in that it's so retro.
A film following a protagonist from party to party among the rich is practically a slap in the face to the neo-realist movement. It was often said that “Nights of Cabiria” marked the conclusion of the first phase of Fellini’s career in neo-realism and “La Dolce Vita”, the beginning of the next. It is my preference to see his films in a continuous visual timeline so that I can visualize Fellini’s artistic growth. Both “La Dolce Vita” and “Nights of Cabiria” unfold in an episodic manner. However, “Nights of Cabiria” has a stricter and more traditional narrative structure, while “La Dolce Vita” is basically a series of short films.
The Culture Industry and A Walk to Remember Adam Shankman’s A Walk to Remember has proved to be a favorite of audiences across the country. The movie’s legitimacy as something artistic, however, is bound to be questioned by some. As a part of the film industry, A Walk to Remember provides good means to explore the true motives of the culture industry using the opposing views of Theodor Adorno and Max Horkheimer and Gerald Graff. Theorists Theodor Adorno and Max Horkheimer would see this movie as nothing more than a new spin on the same old story. Gerald Graff, on the other hand, would commend A Walk to Remember as an art form that gives rise to many debates and arguments about the movie and that gives viewers a chance to prove their intellectualism outside of the academic realm.
When discussing a film, audiences will recall its story line or characters to exemplify what the film was about. With an audience so focused on narration, a film’s structure is not decided on lightly. According to Luhr and Lehman, because a film’s narrative is crucial to its success, directors “have mastered a long-established and highly profitable tradition of narrative filmmaking- the classical Hollywood style” (29). The classical Hollywood style of narration requires that a film’s “plot should have a clear forward direction” (Luhr, Lehman 29). Every event should lead cleanly into the next to join in a unified whole.
This is one imbalanced side of the coin. But as the movie goes on you feel more and more alienated by the characters, as you should, because as the movie continues he becomes more and more like Tyler, the other imbalanced side of the coin. If you truly understand the movie, you shouldn't want to go out and start a fight club, or aspire to be either of the characters. The
Man Ray is one of my favorite filmmakers from the surrealist era. Usually I’m attracted to the implied violence of his work. This movie however did not seem to allude to violence like his other films do. This film was seductive in a more sedative way. A lot of the film was shot in a dreamy way almost as if the viewer was looking through water.
To solve this problem the developers usually release two versions of the same movie. A rated one for more mature and young audiences and an unrated one, which usually consists of vulgarity every few seconds. ! The consequences of censorship can be devastating to some people but not all. Some negatives of this are that it works against creativity, and it may intrude the privacy of some people.
But he didn’t. He persevered, even through temptation that could give his life a U –Turn. This is important because he reveals the idea of ‘Manawanui’ of persisting through the most daring times of his life. This character is also important because he shows the idea of ‘Realising your Dreams.’ This is seen through when the cameraman uses specific film techniques such as lighting. This is because lighting is usually considered the fundamental parts in the movie, because it sets the feeling or mood.