The movie in all has done well. Steve Neale Steve Neale writes a lot about genre of a cinema. His discussions in the essay “Questions of Genre” include issues, concepts and concerns arising from work on genre. He says the concept of the acceptance of the truth is the main thing in understanding genre. There are certain things that make up the genre of the film, without even seeing the film the poster tells the genre of the film.
what message is he trying to relay to the viewer? The best propaganda is the one in which the audience is unaware of the message being conveyed to them. Film has the ability to accomplish this by forcing the viewer to dive head first into a world created by the director. Film provides a sense, to the viewer, of real time and real world interactions with what is going on the screen. Editing techniques and careful scene development have the potential to elicit strong emotional responses in the viewer – a crucial aspect in converting someone’s preconceived beliefs to those of your own.
Webster’s dictionary defines purpose as a desired goal; an intention; the use for which something is intended. The concept of purpose is the notion of idea of purpose. In an effort to abet in establishing the idea of purpose I have viewed the movie, The Book of Eli. To bring a sense of understanding to the concept of purpose I will explain the worldview represented in the movie as well as the characters sincerity. Expound on how the many barriers that attempted to keep the character from fulfilling his worldview were overcome and finally I will elaborate on my own reaction to the movie.
Oskar Werner is wonderful in the lead. But Truffaut made the mistake of putting Julie Christie in two roles in the same film, which was very confusing, and he eliminated some of the other characters: Clarisse McClellan and Faber the Philosopher and the Mechanical Hound. I mean, you can’t do without those!” Other than the characters in the story, including the score and alternate ending of the film, the movie was superlative. The characters in the story have precise roles and by leaving them out/altering them from the movie hinders the characterization and the originality of Bradbury’s novel. The major alterations in Truffaut’s film deals with the characters and their significance to the novel and movie.
Rosencrantz and Guildenstern: Critical Evaluation of Opening Scenes Tom Stoppard’s film adaption of his play, Rosencrantz and Guildenstern Are Dead, has a distinct difference from its original performance script. From the opening scenes, modifications have been made to change the emphasis on certain ideas. Stoppard subtly changes the meaning of the narrative through emphasising particular aspects in characterisation and changes in the script. With a realistic setting and the point of view created by the camera, the changes are furthered simply by the medium of film. The opening scene of the adaptation differs from that of the play script in that Rosencrantz and Guildenstern are travelling through an ominous, mountain landscape, rather than being still in “a place without any visible character”.
One of the central issues that will be discussed includes a theoretical framework in which to situate the novels and films. The most suitable theoretical frameworks for these movies include theories postulated by Jean Baudrillard and espoused in his work “The Evil Demon of Images,” as well as Jacques Derrida and his theory of deconstruction. Even Homi Bhabba’s concept of the “Other” and “Otherness” can be used to illustrate the way of seeing the disabled by society. A further concern that needs to be addressed is the way in which the disabled has been viewed in the media, before World War I, immediately after World War I, the period up to the 1950s and current portrayals of the disabled. There have been several misconceptions of the disabled and these myths need to be debunked, especially as they pertain to the role of the disabled in films.
With the setting being real it gives the film premise for having a chance of happening. The story and plot of the film is categorized as a Classical aspect of this film. The reason for it not being realistic is because it didn’t actually happen. This event is not taken directly from any part in history. The part that makes it Classical is the fact that it could have happened.
I chose the movie, A Clockwork Orange, because I have seen it many times before and knew that it had plenty of psychological themes presented throughout its plot. The main concept was taking away the ability or right to make one's own decisions (both positive and negative) and the dehumanization that follows such behavior. This is basically saying that it is better to be one's self with the just rights to chose what should or should not be done versus conforming to others ideas of how behavior should be. From this movie, I want to discuss social cognition, self-concept, external locus of control, attitudes and attitude formation, culture and behavior, social dominance, conformity, obedience, indoctrination, group forming, aggression, sexuality, communication, and politics. Many of the themes overlap each other with the same examples because they correspond to some of the same things.
What I used to decide if this movie was good or not, I looked for the quality of the score/soundtrack, the character development, and how it was edited. This movie showed a lot of potential in all three categories. When you think of an adventure movie you expect to see some action and intense scenes, am I right? Cast Away pretty much provides that as you see Chuck Noland (Tom Hanks) learn how to keep himself
Another form of approach to film history has lead to many film historians self publicising themselves, using it as a way to take credit for advancements of early film through various publications. This form of approach, known as the great figures approach looks at the works of individuals mostly so it therefore will have some bias