In the original film (Hitchcock) the old dark and colorless film, the creep music provide the viewers an idea that something wicked is about to happen. Therefore again both directors did provide enough action to carry over to each scene. In the remake the casting was truly wrong; For instance the infamous character Norman Bates, the psychopathic motel owner was played by fast talking, macho man Vince Vaughn. In the remake the Norman appears to be more of a sexual predator, whom would actually please himself as he watch Marion through a peephole in the shower scene; which gives the audience a different point of view about this film and van sant character Norman. However in the original version Anthony Perkins plays Norman Bates, who truly fit the character with calmer attitude, and good boy looks as Norman.
In his essay, “Why We Crave Horror Movies,” Stephen King tells us that some reasons we like a good horror flick are: to prove that we aren’t afraid of things that go bump in the night, to make us feel “normal,” and to have some good old-fashioned fun. Upon reading these assertions, I began to reflect on my own attitudes about the horror film genre. I have never considered myself to be a horror film fan. I tend to shy away from movies with extreme gore, violence, and gratuitous blood shed. They aren’t fun.
How does the theory and practice of montage cinema as seen in Eisenstein and Vertov differ from mainstream cinema of the same period? Discuss with reference to critical material and any film examples you want to use. You need to remember to include the theory in this essay to help ground a compare and contrast-type answer Eisenstein,s beyond the Stars: The Memoirs of Sergei Eisenstein,ed.Richard Taylor,trans.William Powell. British Film Institute: London In the first of my film,Strike,I wanted to take the terror of the finale to a high point. The most horrible thing in the representation of blood is blood itself.
This article seeks to specifically investigate the influence of Lacanian psychoanalysis on film theory. Its development will be traced in two articles through classic film theory, the role of Karl Marx and Louis Althusser, the contributions of semiotics, the debates surrounding apparatus theory and the gaze, and finally the input of feminism. While this type of broad overview has been attempted in many general introductions to film theory, it is hoped here to provide a rough sketch of its formative stages of development, while filling in the detail on a number of significant issues that highlight Lacan’s influence. Classic Film Theory It was not until after the First World War that it became possible to identify two particular groups within film criticism. Spearheading the first of these groups was the figure of Sergei Eisenstein, whose film-making and theoretical essays in the 1920’s established a conception of the role of the cinema as a primarily aesthetic one.
Fear For many, most vivid memories are conceived from times of fear. Our brains etch the memories into our brains from the adrenaline it gives us, which is called flashbulb memory. Fear makes people uncomfortable, especially since there are so many things to be afraid of. The fears of spiders, heights, failure, disease, getting injured, and that’s just to name a few. Peoples first reaction to anything is to go back to their comfort place, when someone watches a scary movie, their comfort zone would be closing their eyes.
and may have some potentially long term effects such as increasing the misbehavior, aggression, violent or criminal behavior, impaired learning, depression, and in worst case suicide. The items that are cited here are very alarming and they express the concern that spanking is more than just a punishment. As said before spanking "is the least effective way to discipline" a child for two reasons; both reasons teach the child nothing about the difference between right and wrong. The first fact is that spanking confuses the child. The reason that spanking confuses them is simply this; parents are the example of the difference between right and wrong and all spanking is doing is telling the child is that every time somebody does something wrong they should be smacked for the mistake they made.
Daniel Day English 10 Fahrenheit 451 Censorship in Movies ! Censorship has played a big role in our world, and to this day it remains a part of many things including: music, video games, movies, books, and journals. Censorship has both positive and negative effects, and can result in books, movies and other materials banned from certain countries, or cityʼs. I believe that they do a superb job censoring things in cinema especially. !
Their stifling and snobbish views show in their refusal to accept a new culture when they are away from their home grounds. Lucy in comparison longs for the ‘room with a view.’ In Freudian terms this would be a classic example between the ego and the id. The ego (is all that is English) “represents what may be called reason and common sense” and the id (Lucy’s desires) “contains the passions.” Her ego is repressing her id and therefore she wants to escape the narrow and stifling rooms (which symbolize the control of the ego) and through the ‘room with a view’ Lucy’s relationship with Miss Bartlett also reflects this battle between the ego and the id. Miss Bartlett has countless of times “repress” [ed] Lucy’s want, as though
________________________________________ ________________________________________ Concepts for Reading a Film • Try applying the following concepts to the film. Answer and consider the questions in each section and apply those ideas to the particular film you are studying. 1. The Concept of Absence. Cinema is about illusion and therefore what is missing from the screen is ‘present’ in some ways in the viewer’s mind.
Mrs Alving comes to believe that all people are loaded with “all sorts of old dead ideas and old dead beliefs”. They can’t “rid [themselves] of them”. She also realises how “pitifully afraid [people are] of the light” or the truth. People want to be free of the debilitating constraints of society, but are afraid to cast off the shadows, and step into the “light” of “truth”, where they may have to face issues long buried. Mrs Alving becomes aware that people believe that life is “a vale of tears…and [that people] do [their] best to make it one.” She wants to find the “joy of living” which Osvald describes, but instead she “struggles with ghosts, both inside and