In Books II: Halifax to Hollywood, she (Rebecca Solnit) took a great deal of time looking at 20th Century explosion and wars, along with the reaction of the people to it. While also leading up to how Hollywood portrays that in their movies and how (in)Accurate it may be. Something as major as a war or an explosion could easily change someones views from being all about god, and how he protects all, to now believing Survival of the Fittest. Movies could portray someones motives as being a 180 of what they really were, and Solnit looks at this compare and contrast seemingly through the pages, culminating towards the end on how things change for people in disaster. EXPLOSION In the morning of Dec 6, 1917, Gertrude Pettipas decided to look
The MPAA Ratings System and Today’s Parent: What is YOUR Child Watching? In the 1960’s, the morals of the American people were evolving rapidly. More people became concerned with topics and issues being explored in movies, and called for some kind of regulation. Because of this, the motion picture industry decided to put in place a ratings system that would notify parents of the content of movies without disrupting filmmakers’ creativity (Ratings paragraph 1). However, since the 1960’s, morals have continued to change.
1 Reel Injun This documentary Reel Injun directed by Neil Diamond showed how Hollywood viewed Indians in their movies. As he traveled across the country he spoke with Indian filmmakers, actors, and writers. The documentary exposed Hollywood’s false portrayal of Indians over the past century and how Indians are striving to change this. In their movies Indians were seen as spiritual, noble, free, and also as supreme horsemen when in fact most could not even ride. In the 1930’s Indians were transformed into brutal savages by movies like Stage Coach.
I do this by comparing the characters of the film. In comparing the characters of the film, each character affected the film in a certain type of way. The characters I discussed in this paper are General Turgidson, General Black, Dr. Strangelove, Professor Groeteschele, The President, President Muffley, and the woman. First, in Dr. Strangelove, General Buck Turgidson is kind of an over the top character. He acts like he knows it all but he really doesn’t in the aspect of pretending he knows exactly the circumstances of the war that Russia and America will be going into.
The time in cinema history named the Hollywood Renaissance (1967-1975) was a period that reflected in many aspects the turbulent socio-political context of the 1960s. Historically, this was a critical time in American life that generated a cardinal revaluation of some American values and assumptions. Somewhere amidst the "fervid brew of 1960s radicalism and counterculture to the icy paranoia of the post-Watergate period" the moviemaking process took a rapid turn in a direction, different in many respects from that of other periods, which consequently "set the pace" for the movies later being categorized as "The New American Cinema". [1] But is was not only the political factor and its general reflection on the era that led to this artistic renaissance – the abrupt downfall in the movie-going demographic due to series of reasons (I will go into detail with later on) necessitated some new and creative solutions to the economic insecurity of the movie industry. In this essay, I will look upon the nexus of conditions within the American film industry and community that impacted the movies associated with the New Wave period, and specifically director Arthur Penn’s Bonnie and Clyde (1967) starring Faye Dunnaway and Warren Beatty – the movie which was said to have initiated the era of Hollywood Renaissance.
Gabrielle Elsey Professor Fisher AFST 201 11 March 2014 Stereotypes in Birth of a Nation Historical drama films are often exaggerated, with multiple aspects of the movie accurately demonstrating the sentiments of the general population during the period in which the film was released. These exaggerations are made whether they are remotely historically accurate or not. The Birth of a Nation, a 1915 film directed by D.W. Griffith, is an example of a film that uses stereotypes to depict a significant period in American history. A significant portion of the film focuses on the Civil War, with the remainder of the film portraying the supposed results of the Reconstruction era. The film begins with the introduction of two families: the Stonemans and the Camerons.
David Denby creates a strongly negative view of a popular movie. He first builds a strong ethos via a wide range of background knowledge, builds the common ground between readers who might holds different views and him through logos, and uses great connotation and influential vocabulary and metaphors to validate his illustration by pathos. In terms of ethos, with valid academic background from Columbia College and Stanford University, David Denby is a well-known film critic of the New Yorker. His identity suggests his authenticity in film reviewing and background in the film industry. For instance, he mentioned in the second paragraph that, “The ‘All about Eve’ business with dancers preying on one another was retained from a discarded screenplay by Andres Heinz, who worked on the final version of ‘Black Swan’ with Mark Hyman and John J. Mclaughlin.” By showing the audience insiders’ insights from the film industry, Denby shows his familiarity with
Introduction: American movies are key cultural artifacts that offer a window into their cultural and social history; they provide an insight into their ideals, fantasies and preoccupations. Movies are approached by cultural historians in many different ways: * sociological documents that record the look and mood of a particular historical setting * ideological constructs that advance particular political or moral values or myths * psychological texts that speak to individual and social anxieties and tensions * cultural documents that present particular images of gender, ethnicity, class romance, and violence * as visual texts that offer complex levels of meaning and seeing. People wrestled with the problem of realistically reproducing moving images for centuries. Throughout the years, many people have tried, but the results were never really satisfactory. They faced, mainly, technical problems that were solved by two French brothers, Auguste and Louis Lumiere in the year 1894 when they introduced the portable motion picture camera and projector.
The Vulgar, the Cheap, and the Tawdry: What was the Hays Code and how did Filmmakers get around it Film as an art form suffered what could have been a severe setback from the reign of the Motion Picture Production Code (more commonly referred to as the Hays Code.) Hollywood used the Hays Code from 1930 until 1968 as a way to sort of self police itself. The code protected the industry from government or other outside intervention but sacrificed the artists and their visions. Luckily for cinephiles these artists found numerous and ingenious ways around this. Filmmakers’ subverted the censorship of the hays code through story implications and film techniques.
What is the driving force of all the interactions between human beings? By raising philosophical questions that are basic in structure yet complex in nature, the Matrix trilogy dismisses the idea of delivering insight on a silver platter to its viewers and forces audiences to ponder these questions for themselves (Glyph, Operator, and Special Ops). With these questions comes the realization of one of the most basic and most examined ideas of the forces that govern the nature of humanity’s reality: that people create their reality based on the perception of choice. Furthermore, the Wachowski brothers not only surround their movies with a theme of reality and