Mazzini created the Young Italy society after the 1831 revolutions. Young Italy helped spread opposition to the autocratic nature of the Italian rulers. It was established to create a republican nation-state. Although ‘Young Italy’ was still a small-scale, secret nationalist society, its effect on Italian attitudes was large, speaking in the long-term. Similar to the Carbonari groups, it was planned as a youth movement for the whole peninsula so had the potential to gain widespread and active support.
Whatever your taste may be, as an audience, your role is to critique a film based on what you see on the screen and decide if your entertainment was worth the eight dollar ticket. A successful movie producer’s ideal vision, whatever his style may be, is to create a production that the audience will enjoy and satisfy its viewers. The novel, The Catcher in the Rye, has many connections to the era and generation of the society we live in today. Given a movie producer in present day was to create the book into a film, one would produce a movie coordinated to reach the audience of the current era while still respecting the culture of the time the book was written. A producer seeks to fulfill the viewers of its generation and society so he would modernize aspects of The Catcher in the Rye to be sure to make a successful film The time period of the book would still be used in the film, as done before in movies such as The Great Gatsby, to create and maintain the theme or plot setting for the movie.
The OWI would manipulate the scripts and outcomes of many films for the benefits of the country as a whole. These books were historical contexts on films during the time of war. The books found were historical because they went over the history of World War II during this time, and they were also able to glimpse at the history of film. Both books made it obvious to their readers that the government played a major role in cinema during this time. Pressure from the war was high, and any way for the government to interlude propaganda to the public in order to boost morale was
Although myth was traditionally transmitted through the oral tradition on a small scale, the technology of the film industry has enabled filmmakers to transmit myths to large audiences via film dissemination (Singer, “Mythmaking: Philosophy in Film”, 3-6). In the psychology of Carl Jung, myths are the expression of a culture or society’s goals, fears, ambitions and dreams (Indick, “Classical Heroes in Modern Movies: Mythological Patterns of the Superhero", 93-95). Film is ultimately an expression of the society in which it was credited, and reflects the norms and ideals of the time and location in which it is created. In this sense, film is simply the evolution of myth. The technological aspect of film changes the way the myth is distributed, but the core idea of the myth is the same.
Popular music began its entry into film scores after World War II. Until this time, most scores still characterized classical film scores with wall-to-wall music and a full orchestra. However, this slowly began to change. Before the 1940s, popular music was rejected due to the difficulty of applying it to the changing moods in films. However, with the growth of the New American Cinema Era, where this style of changing moods was replaced by a single, general mood, popular music became acceptable.
Riefenstahl’s production of the feature films Triumph of the Will and Olympia have left a lasting imprint on history; these films established Riefenstahl’s influential career as a film director under the years of the Nazi regime. Although these films are attributed by scholars and critics to be Riefenstahl’s greatest achievements they are also considered to be her greatest fault, for the political denotation attached to their purpose. Before World War II, Riefenstahl was praised for her artistic achievements of these films, however the post war years present a hostile reception to her work, as they have since been decontextualized and criticized for their questionable propagandist content. Riefenstahl’s impact on history has changed greatly overtime, as she is remembered for both her artistic contribution to the social and cultural life of Germany and pioneering of revolutionary cinematography and in contrast her association with the Nazi party and her apparent glorification of the ‘Fascist aesthetic’. The artistic flair behind Riefenstahl’s production of Triumph of the Will lays testimony to her revolutionary filming technique that assiduously cultivated her image as the one of the greatest female artists of her era.
Both Lubitsch and Blake Edwards were both the most well-known and loved filmmakers of their respective eras. In both instances people would instantly recognize a Lubitsch and Blake Edwards film, so unique was their craft with signature touches. In the case of Lubitsch it was his use of satire, “Why shouldn’t I kiss Mitzi- should I misbehave or not?’ which draws on a element of Brechtian theatre of breaking the forth wall as Dr. Andre Bertier (Maurice Chevalier) speaks directly to the audience. Stimutanelously this element with used in “Pink Panther” By Edwards, in the scene, which prince Dala (Claudia Cardinale) holds a ball in Cortina D’Ampezzo to celebrate the reseizure of her sleigh, Amber by Sir Charles Litton (David Niven). The Greek “cousin” (Fran Jeffries) sings “Meglio Stasera” with her eyes staring through the camera and at the audience in most time of the dance, in additional, the background figures were all sitting properly on the sofa watching her performance by following her dance steps just as if they are audience like we do.
Assignment No. 2 Los Angeles is a city that is known for its film industry and portrays an image of success. This picture in today's world is supported by the amount of famous people who live there and who started their career there. John Fante shows different sides of Los Angeles in his novel Ask the Dust. I would argue that in this excerpt of Ask the Dust John Fante's character Arturo Bandini is very fascinated with the city of Los Angeles and is hoping for success and fame, not giving up on his dreams, but will still not find fulfilled happiness or inspiration in the city.
Topic: “It is the style of ‘On the Waterfront’ that gives the film its power. Discuss The dark and gloomy “On the Waterfront” is a film revered for its raw power. Though narratively and structurally exceptional, this power should be most accredited to the stylistic nature of its making. Director Elia Kazan employs various techniques encompassing the disciplines of mise-en-scene, film noir, and naturalism that deliver an authentic and gritty work of art. The actors equipped with the newly found, ‘method acting’ disciplines, most notably Marlon Brando, further showcase an honesty and precision of the feelings felt and predicaments overcome by their characters.
Tim Burton Essay By.KylarCrutcher F Block Ms.DeVries 1-20-12 A well-respected director Tim Burton has always created a new and unique way to make his mind blowing films.He shows a true ways on how to make his films as a director. One of his most popular film is Edward Scissorhands.He reveals a mysterious ways of making un-real humans by making Edward.Many more of his work uses a wide variety of techniques, include setting,motif,and point of grow. In Edward scissorhands,Tim Burton uses the techniques of setting.The setting of Edward Scissorhands lives in a "haunted" manor of the inventor whom created Edward on the top of a giant hill.In the urbanized society down the hill was filled with vibrant colors.It seemed that Tim Burton purposely set the dramatic comparison of life style setting.Ironically the Gothic manor is no more joyful than Edward himself.A similar setting comparison to this seen is another Tim Burton film, Charlie and the chocolate Factory.In that film,there is a dramatic change if color in the past to the colorless dual present.Setting is one of Tim Burton’s extraordinary ways of art. The use of point of view by Tim Burton is also very unique,in the scene that there are all three points of view all through the movie Edward Scissorhands.The movie is mainly told in third person because it tells the story of Kim’s experience with Edward when she was younger.It also switches to second person when Edward is being