Italy was trying to recover the devastation caused by the Second World War but still suffering from unemployment and financial difficulties. And the story is told not only with dramatic elements but also with comic moments such as Alberto blocking Sandra in the wedding photo or workers on the roadside when vitelloni looking for Sandra In I vitelloni characters are described in voiceover narration. The story is told chronologically and episodic structure is mostly shaped by events of the town: the beauty contest, the annual carnival, theater play. First and foremost, Fausto as the “spiritual leader of the group” is a key in the plot of the film by impregnating Sandra (Moraldo’s sister), which we learn in the beauty contest sequences, and later getting married her, their honeymoon in Rome, unwillingly taking the job in a religious statuary shop, which his father-in-law finds him, flirting with other women constantly even if his wife sits next to him, Sandra’s run away when Fausto spends the night in somewhere else and their reunion. With related scenes Fellini shows us the other characters.
How does the long take illustrate this relationship? The cinema classic film known as The Bicycle Thief penetrates the effects of unemployment after World War II in the 1ate 1940’s, from the Italian culture’s perspectives. The film specifically focuses on Ricci’s difficult quest to find his stolen bicycle, which is "presented from the perspective of the owner" (Celli 5). The Bicycle Thief is recognized as an neorealism, which means it is shot on location. This popular Italian cinema stars the unprofessional actor, Lamberto Maggiorani as Ricci.
Italian neorealist films place the viewer in an unusual landscape. Vittorio De Sica’s The Bicycle Thieves (1948) transports us to real life in post-war Italy; with all of its dismay, discordance, and hopelessness. Italian Neorealism rose out of the ashes of an Italy defying the glamorised Hollywood depictions, to illuminate the plight of the people, significantly, the working class. Seemingly devoid of deliberate staging, and shot entirely on location, The Bicycle Thieves (1948) was in fact a thoroughly ‘directed’ film (Bazin, 1971, p50). By taking us outside of the usual mise en scene of the American norm, The Bicycle Thieves (1948) directed our attention with deceptive simplicity to the largely unremarkable story of a lost bicycle.
In “America,” Hoagland uses metaphors to illustrate the growing influence of consumerism, capitalism, and most of all the greed that rules the modern American society. Consumerism is a modern day blessing and a curse for America. Consumerism is the theory of society’s preoccupation with consumer goods. This is evident in the beginning of “America.” Hoagland writes, “Then one of the students with blue hair and a tongue stud/ Says that America for him is a maximum-security prison/ Whose walls are made of RadioShack’s and Burger King’s, and MTV episodes/ Where you can’t tell the show from the commercials.” Here, Hoagland lists the details of American “trendiness” by mentioning hair color and body piercings. Also, Hoagland describes modern day businesses like Radio Shack, which market and sell consumer based goods, and fast food restaurants like Burger King that gives super-sized food portions.
The author goes on to explain the diapers of the boy’s siblings that were in “various stages of anarchy” (8). The choice of words lets the readers know just how bad of a condition the diapers were, showing the readers just how that the “Kool-Aid wino” and his family were living. The figurative language used in this piece plays into the imagery of the story as a whole., When Brautigan uses a simile “ the car wobbled back and forth on the road as if the driver were having an epileptic seizure” (14) to show just how abused to car really was in town. But yet the grocer continued
Oppositions divided into two groups, financial driven and social/ environment driven. Walmart’s rapid growth affected local merchants and stores (who previously sells expensively through monopoly and price-fixing). These stores and retail chains were forced out from business. In return, they tried to stop Walmart’s invasion through excuses like low-cost reputation does not fits high society images and they are killing other stores by selling cheap. For social activist, their fights against Walmart have no financial stakes.
Adam Weindling Gordon English 12 6 October 2008 Milo and Major In Joseph Heller’s novel Catch-22 he uses satire to lampoon the absurd and dangerous military life. Heller effectively mocks the corruption and the horrors of war by creating characters like Milo Minderbinder and Major Major. The way Heller goes about ridiculing the military organization can even be applied today. Milo Minderbinder is in charge of the mess hall, but is mainly known for being the ruler of the black market. Milo’s business that started out selling eggs eventually blossomed into a huge money making organization where “everyone has a share.” This all started when Milo was looking for an out to his air raid missions.
Many will wince and wrinkle their noses at this film's sheer, uncompromising immaturity. Perhaps they prefer their satire more middlebrow, more responsible, like that Manchurian Candidate remake. But Team America: World Police is criminally, deplorably funny. The giggling starts at the spectacular opening scene when TAWP take down a bevy of terrorists in Paris - though at the unfortunate expense of destroying the Eiffel Tower, the Arc de Triomphe and the Louvre - and things more or less continue from there. The explicit puppet sex scene between Gary and Lady Penelope-lookalike Lisa is incredible, in every sense.
Italian neorealist film style became world recognised in 1946 when Roberto Rossellini made Rome Open City. The film clearly depicted the venerable struggle of every day Italian people, as they try to resist the difficulties they faced under German occupied Rome. This changed film forever as it didn’t follow traditional cinematic trends. This opened doors for film makers, as realism as a style meant you could literally shoot anything. This gave them the opportunity to visually tell the true stories of human reality.
Sex and Violence in TV and Movies It is hard to deny that the portrayal of sex and violence in the American media has grown steadily more graphic in nature as time has passed. In 1934, when cinema was still in the early stages of finding its place in American culture, the Clark Gable romantic-comedy vehicle It Happened One Night was allowed only to imply the act of sexual intercourse in it's closing scene (by way of a gag involving a trumpet). Today, in 2011, it is clear to see that these kind of restrictions have been greatly peeled back. Raunchy scenes depicting nudity and sexual acts can be caught in one's own home, on such popular television shows as True Blood and Desperate Housewives. Though there still exists many restrictions on what one can depict on TV and in movies, many citizens argue that we need more regulations on what can and can not be seen in the theater or one's living room.