During the scenes that take place in Casablanca, and especially the ones that happen in the café, harsh lighting is used on Humphrey Bogart (Rick). This emphasizes the façade he has created where he leads all those who know him to believe that he cares of nothing in the world except for himself. He is a harsh man and the lines and wrinkles in his face only help to lead the audience in a direction in which they almost dislike Rick. This changes drastically during the scenes in Paris. Soft lighting is used for these sequences implying that Rick is not so jaded at this point.
How does Kazan create tension and suspense in ‘On the Waterfront?’ (unfinished) - Rebecca Elia Kazan’s 1954 film On the Waterfront portrays a society gripped by corruption and injustice. The choice of location off traditional sets and the direction by Kazan supports the build up of tension and suspense of the film. He adopts a wide range of symbols and motifs to emphasise the oppression and entrapment of the people on the docks and the corruption caused through the mob and their actions. The music score by Leonard Bernstein added to the techniques used by Kazan by further highlighting the tension and suspense throughout the film. The adoption of symbols and motifs reflect on the corruption and injustices of the longshoreman of the time.
Thus, this section will only discussed two noteworthy songs on the album. “King’s Dead” with Future, James Blake, and Jay Rock is a song that Kendrick utilized to portray the perspective of the supervillain antagonist Killmonger. This is the peak of the album because not only does it correlate to the movie through perspectivism but it also correlates to the real world through numerous references. Kendrick Lamar in “King’s Dead” challenges Killmonger through his lyrics which say “Yea, miss me with that [explicit]. You ain’t really wild, you a tourist (a tourist)” and “I was absent.
Director Elia Kazan, uses the narrative of the Hoboken docks as a vehicle for his message that an individual can fight back and gain power to bring change for the good. Kazan not only uses imagery to project empowerment but also through characters Edie Doyle and Father Barry. Elia Kazan sets up a bleak and foggy, restrictive Hoboken dock in order to represent the control of one's freedom that corruption can cause. Kaufmann’s grainy, black and white filming creates a seemingly grimy and unappealing atmosphere, a potential metaphor for the life of the longshoremen. In conjunction there is the Manhattan skyline which a heavy fog floats, covering the view of the cities landscape representing how the longshoremen will never achieve the 'American dream'.
His work on the Israeli barrier was highly controversial. It included images of children digging through to a paradise, a ladder going up and over, and a nice home scene with a beach behind it among other things. A man is quoted to of telling Banksy to stop making the wall beautiful, because it isn’t, it is horrid and terrible. Another story includes a soldier coming up to him during part of his work and telling him to stop. Banksy kept on working, then the soldier yelled,”Safetys off!” and Banksy ran into the night.
This is used as the background to the title character’s story of powerful love for his cousin Roxanne, a love Cyrano does not think he deserves, despite his wit, because of his physical appearance. Dickens, on the other hand, creates his novel, A Tale of Two Cities, during a time of great turmoil, the beginnings of the French Revolution, which would eventually upheave thousands of years of hierarchy and tradition. Dickens’s France is dark, miserable and filled with a climate of overwhelming terror behind the heroic and sacrificial tale of self-deprecating hero, Sydney Carton, who gives his own life in a selfless act of love for Lucie Manette in order to save the man she loves from the guillotine. Though Dickens’s illustration of the revolutionaries is not always positive, he has a deep sympathy towards the plight of the poor therefore his portrayal of France is extremely negative and often exaggerated. Cyrano de Bergerac by Edmond Rostand and A Tale of Two Cities by Charles Dickens depict opposing interpretations of life in France which were developed based on the personal backgrounds of the authors and expressed in romanticized portrayals of French society in the mid-17th century and late 18th century respectively.
In “The Scarlet Ibis”, a man versus self-conflict, the protagonist’s issues with pride, can be immediately recognized. When readers are told “They did not know that I did it for myself; that pride, whose slave I was, spoke to me louder than all their voices […]”, it becomes apparent that the narrator of this story deals with a conflict within himself (Hurst 347). On the other hand, in “The Lady or the Tiger,” the most obvious conflict is man versus society, a criminal versus the king’s justice system. For instance, the story indicates that “crime was punished or virtue rewarded, by the decrees of an impartial and incorruptible chance” (Stockton 299). This explanation allows readers to realize that the justice system of this era wasn’t fair, and that the boy has no say in his punishments.
The two films Do the Right Thing (DTRT) and New Jack City (NJC) are drastically different in terms of style, content, and approach to life in New York and the complexities of race and racism, but there is a common thread in the philosophy of the two films. The films have been categorized as “black film noir” and both use the techniques of film noir to address the struggle of Black people in terms of social equality. Defining the traditional “film noir” is a difficult task, but Dan Flory, author of Philosophy, Black Film and Film Noir introduced the concept of “black film noir,” which is described in cinema as a way to look at characters for who they are and how they are supposed to live; this categorization is a perfect way to discuss these two movies. Film noir typically portrays (white) characters who could be described as seedy, or criminal, such as in crime dramas of the 1940’s and allows the viewer to try to relate to the characters in that realm. Flory suggests, that because racial (and other) minorities have often been denied the recognition and rights due them as full-fledged human beings, reflecting on their situation through engaging with black film characters can prompt a deeper, more philosophical sort of reflection.
Much of the corruption in the film is the fault of Johnny Friendly because he is the leader of the longshoremen, meanwhile Father Barry tries to take control by supporting those who wish to gain power. Terry Malloy’s gain of power at the end of the film becomes his redemption, as we see a power switch at the end of the film and the end to the ensuing corruption. The opening scene finds Johnny Friendly presented as a powerful character. Parallel to Leonard Bernstein’s intrusive score, the men of the union march from their diminutive floating shack, a subtle reminder of the limits of their power, framed by the immense ocean liner in the establishing shot. The hierarchy is clearly defined with Terry’s rough workman’s jacket marking him as less powerful than Johnny friendly and his well dressed henchmen in their “hundred and fifty dollar suites”.
Last year, he famously told a bewildered A$AP Rocky that one of his heroes was Arthur Lee before lecturing him on the merits of Forever Changes. The structure here suggests two LP sides, neatly divided, but one of the best things about Old is how mixed up it is—Brown's past, his present, his deranged side, his reflective side, his party songs and his nightmares. "Problems in my past haunt my future and the present," he moans