Although Armstrong persistently denied allegations of doping, even stating he was the most tested athlete in the world and suing accusers of libel, he finally admitted to doping in a television interview conducted by Oprah Winfrey in 2012. Armstrong was a child athlete, an Iron Kids Triathlon winner at the young age of 13 as well as national triathlon champion in 1989 and 1990. Winning the Tour de France seven consecutive times was no easy feat, he was a champion, a legend. Sponsors such as Nike, RadioShack, Anheuser-Busch and Oakley believed in him and made him wealthy. He faced many critics throughout his victory years, and continuously denied every allegation of cheating by doping.
[1] The various critical methodologies which have evolved around film are principally to do with a film’s provenance. And, as Matthew Sweet reminds us, “the history of film criticism has created its own orthodoxies.” [2] Like a piece of art, a film’s value is directly attributable to the signature in the corner of the frame. However, if it is possible to accept in principle that film is a collaborative venture where does that leave the screenwriter in terms of the attributing of a single cinematic signature? The case for Robert Towne as cinematic auteur lies in those tropes which mark his particular style of authorship – a consistency of dramatic elements as well as a special talent for writing the kind of dialogue that actors love to speak. A survey of his work demonstrates the kind of themes and qualities that compare with those characteristics normally attributed to auteur directors and here qualify as a
No Kirsty Hopkins HOP09271238 Tutor: Chris De-Selincourt. Art, Design and Moving Image Describe a film of your choice. What conventions of cinema do you notice being followed or challenged? Through detailed analysis of the films significant scenes, how do the director’s decisions function in relation to the whole film and the context in which it is viewed? In this essay I will be analyzing the film ‘No Country for Old Men’, 2007, written and directed by the Coen brothers – Ethan and Joel.
In this essay, I am going to argue that Steven Spielberg deserves be regarded as an auteur director. This can be backed up through the process of viewing and analysing several of Spielberg’s films, where reoccurring themes can be identified. These include: the absence of a strong father figure, representations of alien life forms, the lost child, and the frequent use of bright light. All of these themes can be traced to back to Spielberg’s own beliefs, childhood and personal life. The auteur theory of film criticism can be traced back to French film critics in the years after World War Two.
When came time to play his former school, Wellpinit, he started his first game. He scored only three points, but shut down his best friend/ best enemy, Rowdy. Reardan went on to beat Wellpinit by 44 points. Sherman Alexie has been noted for his love of basketball as a player, and a fan. He happens to be a huge fan of the Oklahoma City Thunder, and even testified for the then Seattle Supersonics to stay in Seattle until there lease at the KeyArena in Seattle was to expire in the year 2010.
My aim is to identify both positives and negatives about his film in relation to the question, eventually summarising my views on Apocalypse Now and how I feel it addresses the Vietnam War. Francis Ford Coppola’s term, “This is not a film about the Vietnam War, this is Vietnam”, will be the main focus of my essay discussing this term in relation to his film and other contexts of the Vietnam War film era. Apocalypse Now is a film during the Vietnam War, it tells the story of the horrors that war brings and the indulgence of morality through the character Capt. Willard, played by Martin Sheen. The plot follows Capt.
Jordan has had a long relationship with Gatorade, appearing in over 20 commercials for the company since 1991 (Wikipedia 1, 10). In addition, he was instrumental in popularizing the NBA or the National Basketball Association around the world in the 1980’s and 1990’s (Jordan 1). Michael Jordan was the most clutch player in the history of the NBA. Michael Jordan was born to James R. Jordan, Sr. and Deloris Jordan in Brooklyn, New York on February 17, 1963. His family moved to Wilmington, North Carolina, when he was only seven years old.
2. Approach I will approach this assignment by basing my analyses on chapter five from our Film and/or Media Analysis course book by Gitte Rose and H.C. Christiansen, Analyse af Billedemedier – En Introduktion. I have decided to mainly focus on the narrative analysis of the film, but also touch upon the most important aspects of a stylistic analysis, as this, of course, also is a very crucial part of the assignment as a whole. In order to be able to reach a broader conclusion, I will also briefly look into the movie’s psychological aspect as well as some of the creatures’ symbolism, as I deem both to be important to
“Charlatanry and Fraud in Orson Welles’s F for Fake” Damion Schiralli F For Fake is a meditation on art, authorship, and trickery that Corrigan classifies as a self-refractive essay film - a type of cinema that “creates and participates in its own aesthetic principals, overlapping its representations of other artistic and aesthetic experiences with their own cinematic processes and frequently reflecting those processes as a reflection on film itself” (181) - although he avoids further analysis. Reflexivity and self awareness is not limited to the cinema, as examples of it can be found in other forms of art, such as Norman Rockwell’s “Triple Self-Portrait,” or John Cage’s avant-garde musical pieces. But in cinema, the medium allows for a type of reflection on all forms of art that can both examine the overt pieces under analysis while also using the examination of another medium to meditate on the nature of cinema itself. Unlike other modes of essayistic filmmaking, the self-refractive mode seeks primarily to apply the introspection of all essayistic forms to the nature of films and filmmakers, and consequently to the author of the specific film. In other words, the medium of film itself is placed under inspection, so rather than only experiencing the subjectivity of its author, the subjectivity of cinema in general is made apparent.
Christian Metz’s theories are key significant way of dismantling film as an art form. Metz was a film theorist that incorporated the Lacaan Mirror theory, applying it to the role that film plays on it spectators. The theories key points help dismantle the way that an audience perceives film, and the way that film is able to appeal to an audience in particular ways. One specific film that incorporated various points of Metz’s theory, is Francis Ford Coppolla’s The Conversation (1972). The film is able to incorporated several points, incorporated by Metz’s in his work on “The Imaginary Signifier”.