voSubmitted to: Caemeron Crain Submitted by: Arthur Nazarov Date: 1/20/12 Euthanasia vs. Utilitarianism The film “You Don’t Know Jack” was produced and presented by HBO. A documentary based on a true story with great detail that it is definitely worthy of being nominated for an award. Pacino is always naturally gifted and extremely talented as an actor. In my belief, he is a legend when it comes to acting. His movies depict the fine artworks of a perfectionist.
Contrary to his unwavering independence in technique and style Spike Lee has taken on the challenge of film remake. Remaking a movie is always tricky, particularly when the original has an already strong following. The 2013 remake of the Past Chan-wook’s classic, Old Boy had Lee’s critics wondering why he engaged in such a dark film. When Chan-wook’s Old Boy hit theatres in 2003, it was praised for its unique structure, it’s magnificent and action packed fight scenes, and it’s visual flair, making Spike Lee a very bold choice to adapt the film for an American audience. It’s not a shot for shot remake of the original or the 2003 version, but like Chan-wook’s version, it’s graphic so don’t watch this on a fall stomach.
His pictures not only narrated exciting stories but also broke new ground. Many of his novelties were mechanical, such as his use of the long lens, his liking for shooting with multiple cameras, and his virtuosic editing. Other innovations were tied to his emphasis on details within his films, such as elaborate period costumes and sets, western music, stunning location shots, and detailed miniature sets. There’s not any reason to question Kurosawa’s word that all his films were Japanese and aimed solely at a Japanese audience. However, many writers on the topic saw camera movements or set ups that resembled John Ford, read about Kurosawa’s fascination for westerns and American pulp fiction, and added it up into a bland statement of Kurosawa being an essentially Western film maker.
German Expressionist films and Surrealist films are on the same page when it comes to the use of bold images and the unexpected. However, they vary when it boils down to the approaches they use to achieve this goal. In order to understand how these two movements captivated their audience, it is first best to examine how these two movements contrast each other. German Expressionism exploded with artistic activity that “followed the fall of the Kaiser and the founding of the Weimar Republic; making itself felt in all the arts, especially the cinema” (Mast, 2012). The dominating presence of German Expressionism was made possible through the movement’s exaggeration of mise-en-scene, which simply means everything that a scene is composed of.
The Candidate: Style and Satire of the film Prepared by Stefan Petty Prepared for Professor M. Cross POLS-1101 The Candidate is a film of the political satire genre, directed by Michael Ritchie, written by Jeremy Larner and starring Robert Redford. The Candidate received mixed but mostly positive reviews, possibly facilitated by the films release coinciding with the 1972 election. Critics and film goers were mesmerized by Larner’s screenplay and Redford’s character portrayal, finding the film both relevant to the political climate of the time and noteworthy for its jaded perception of the American political system. Today, The Candidate is considered to be a cult classic for its pessimistic yet comical view of the political machine as well as its criticism of the mindless minutia that the act of campaigning for public office entails. At the films beginning Bill McKay (Robert Redford) a young mid-thirties lawyer and son of former California Governor John J. McKay (Melvyn Douglas) is approached by Marvin Lucas (Peter Boyle), an election specialist who has been charged with finding a Democratic candidate to run against Republican California Senator Crocker Jarmon.
Müge Aribilginç 07130000379 Amerikan Kültürü ve Edebiyatı Midterm Exam Paper for Introduction to Western Thought I Philosophical Analysis of The Matrix The Matrix, which was released in 1999, has a revolutionary place in the film industry. The film impressed audiences with its spectacular effects and extraordinary fight scenes, and became the biggest cult film. Despite the fact that The Matrix has been known mostly for its perfect visual effects, it contains many intellectual and philosophical meanings to enlighten us. First of all, The Matrix creates some situations to symbolize the basic and traditional notions of reality. It indicates several both materialist and subjectivist notions, especially based on the question of reality.
Gloriously Good Year: 2009 Directed By: Quentin Tarantino Starring: Brad Pitt, Christoph Waltz, Melanie Laurent, Michael Fassbender and Martin Wuttke 4 Stars Christoph Waltz as Colonel Hans Landa In typical Quentin Tarantino style, Inglorious Basterds blends fact, fiction and various genres, with a lot of bloodshed in-between. The world’s most famous director is known for cult classics such as 1994’s Pulp Fiction and the Kill Bill series from 2003 and 2004. Inglorious Basterds does what Tarantino does best, and pushes the limits in what we have come to love from him. The excessive violence and relaxed attitude toward the Holocaust is sure to stir up some controversy. At a first glance, you see indications that Inglorious Basterds might be a Tarantino film, with the title being inspired from a 1970’s B –film, The Inglorious Bastards.
Joseph Nash 15/11/11 Media 10 Wendy Wisely Alfred Hitchcock Auteur Analysis Alfred Hitchcock is one of the most brought up names in the film industry. He is a director that brought many different technical innovations, along with techniques used in camera shots, music, lighting, and editing to capture suspenseful moments in his films and keep audiences on the edge of their seats. He notably put a signature in most of his films with a small cameo, he can be seen in the background walking a dog or reading a newspaper, being fresh out of the silent film era he made innovations in sound and color films cementing his name in film history as one of the top storytellers and the creator of the thriller/suspense genre. Alfred Hitchcock started his career in England, “39 Steps” which came out in 1935 was the first of his films that caught Hollywood’s attention and thus began his American film career. One film by Hitchcock that terrified audiences around the world with new shots to startle anyone was “Physco.” The scene where the woman is seen taking a shower while home alone, the scene is set up with lights high up on the side of the shower with the curtain drawn.
A critical film review on the movie: Crash Screenplay/writer: Paul Haggis Director: Paul Haggis The undercurrent of racism The drama called Crash which is also knows as L.A. Crash was written and directed by Paul Haggis. Since Crash was filmed in an alarmingly realistic way, carrying interesting and unique techniques within its film structure, it will be critically reviewed and discussed in this essay. The novel Crash is a socio critical drama, mainly presenting the several-different lives of inter-related characters that have never met each other before, but indeed have various aspects in common. Within the 24 hours of the plot’s duration, Paul Haggis has decided upon presenting thrilling-reality based themes such as oppression, crime, racism, corruption, obligation, indignation.
It convenes the message that determination and hard work can surmount any challenge thereby rewriting the American dream in modern lingo. The lead roles are assailed by stars that have already proved their mettle numerous times and it is not surprising that Will Smith - who played Chris Gardener, was nominated for an Oscar for his role in this film. The strength of the story and the power of his character cuts through the script like a blade of steel and the characters alone make evaluating the movie problematic. With their remarkable performances they compensate for any shortcomings that the script might have had. The challenge of the movie was to depict the conflict and tension of Chris Gardener’s life without draining the energy of the viewer.