More recent schools of thought such as that expressed by Linda Schulte-Sasse3 suggest that filmmakers including Riefenstahl were indeed propagandists, but that this is justifiable in context, therefore that they also ought to be praised for their contribution to culture. The popular school of thought suggests that those viewing Riefenstahl’s films as masterpieces are viewing them “in a vacuum”, without any reference to the context of the time. In Triumph des Willens, for example, Hitler, it is suggested, is deified. Seemingly endless marching scenes are said to glorify the militarisation (against the Treaty of Versailles) of Germany. The content of one of the speeches can be seen to
As a ruler, Adolf Hitler of the Nazi party had numerous successes but he also had he fair share of failures. At the beginning of World War II, Hitler was seen as a savior to the German nation because of his oratory skills, appeal to the people and his successes. One of his first successes came when he fulfilled his promises to the German people and reversed the Treaty of Versailles. After the death of Hindenburg in 1934, Hitler was seen as the successor. The German public saw Hitler as god-like with his vast power and glorifying the German race as being the “master race.” When he finally reversed the power of the Treaty of Versailles and rebuilt Germany’s armed forces, the German nation basically did as he told them to do.
Its empire was the largest with the richest industries and strongest navy. The envious Germany soon built up its empire to challenge Britain’s position. Germany struggled and fought to gain more and more power. This fight to preserve their balance of power scared many other countries which helped led into the war. A major cause of WWII was the fact that both Germany and Japan felt that they did not have the amount of power that they deserved.
Due to the Depression making people want a drastic change in political party in ower there was an increase in communist support and as a result an increase in Nazi support because people were scared of communism and the Nazi's promised to deal with them. The depression was taken advantage of by Nazi propaganda and they convinced a lot of people that electing Hitler would solve their problems. This means that the Depression was the most important factor in the election of Hitler because with out it then nobody would want to change the current party in power because before the depression then German was extremely prosperous. Therefore, the Depression was the most important factor that lead to the election of Hitler. It could be argued that the Hitler attributes was the most important reason for why Hitler was appointed Chancellor in 1933.
Can Nazi art be considered great art although we know their message is against humanity? With much of my referencing from Ben Shahn’s book, The Shape of Content, I will examine these questions in an attempt to show that great art like anything labelled great must first accomplish certain goals which include excellence and impact of content and form. Although it is nearly great, its content and history cripple the art, demoting it to a great technical film and as an example of flawed talent. Triumph of the Will, though eloquent and innovative, fails to attain the status of great art because of the inseparable nature of content, form, and artist. Although many artists wish for their works to been seen and judged as an independent entity from themselves, the audience has a tendency to relate the work of art in context to such things as a work’s historical background, its
A list of the movies characters are located in Appendix III. I. Psychoanalytical Perspective (ID EGO SUPER EGO DEFENCE MECHANISM) “Psychoanalysis was the child of Sigmund Freud's genius. He put his stamp on it from the very beginning, and it can be fairly said that, although the science of psychoanalysis has advanced far beyond Freud's wildest dreams, his influence is still strong and pervasive” (Sadock & Sadock, 2007, p.191). Freud ( 1856-1939) has been one of the most influential minds of the 20th century and is studied throughout the social sciences. Part of his fame comes from his development of his three part model of personality.
BLADE RUNNER The Cruellest Cut by Elaine Lennon Introduction - Genre Genre films are Hollywood's lifeblood: they define American cinema as we know it. These are standardised films made to type engendering a disciplined framework not only in an aesthetic sense for filmmakers but also (and crucially in an industry renowned for its flops as well as its hits) economically, guaranteeing repeat success with the mass audience. A genre film (like any other kind of film) has a social and cultural function, sometimes aligned with the myths of the past, perhaps even reducing them in importance. The Great Narratives of the West (typically Judaeo-Christian belief systems) are now rivalled in the cathedrals of celluloid that we call the multiplexes. It could be claimed that generic forms transmit ideological precepts, be they social, political or whatever, either imposing values or questioning pre-existent ideas.
The Screenwriter as Auteur: The Case for the Early Works of Robert Towne By Elaine Lennon Definitions of the cinematic and the assigning of both meaning and names to the narrative models which provide our cultural self-image have ceaselessly proved their attraction in the area of film studies. However, the naming of names is no easier now than it has ever been. Screen authorship remains keenly debated in both popular and academic criticism. The artistic neglect of the screenwriter and the identity of the screenplay has its roots in the origins of American cinema, as Tom Stempel reminds us in his landmark book, FRAMEWORK: A History of Screenwriting in the American Film: Much film history about screenwriting is inaccurate because the sources are those who have reasons for downplaying the role of the screenwriter: actors, producers, directors, and their publicity machines, both in the industry and in film studies.  The various critical methodologies which have evolved around film are principally to do with a film’s provenance.
Charlotte Bronte’s ‘Jane Eyre’ is a highly influential and well-known classic worldwide. Particularly scrutinised and analysed is Jane Eyre’s relationship with Mr Edward Rochester, a soul deep and impossible connection in the era in which the novel is set. The fame of Bronte’s novel resulted in the creation of a number of films, the most recent of which being Cary Fukunaga’s 2010 adaptation, and Franco Zeffirelli’s 1996 adaptation. Directors aimed to capture the film realistically, however, as in all adaptations, some changes were made and therefore, meaning is both conveyed differently and lost. The nature of Eyre’s encounters with Rochester are particularly emphasised in both films, drawing from the novel.
Interest in her works has dramatically increased, and nowadays Frida Kahlo ranks among the world’s most renowned 20th century female artists. Her deeply and even painfully personalized surrealistic paintings fascinate art lovers around the world. It is difficult to find an artist whose life and works were more deeply affected by illness