The many Film Noir conventions through characters is seen in Double Indemnity. Walter Neff is an ordinary middle class businessman selling insurance. One day, he goes to the house of Phyllis Dietrichson where the two fall in love. They plot to get rid of Dietrichson’s husband using a doppelganger - Neff himself wears the same colored suit and pretends to be Mr. Dietrichson commiting suicide by jumping off a train after killing his lover’s husband himself. Another stylistic convention that double indemnity uses is the unpleasant weather.
Hopes decides to help rebels overthrow the despicable Caldwell. Under Hop’s protection , rebels make their way through the shattered streets to the headquarters. Caldwell and his henchmen are overthrown in a stunning coup. With blessings of the population, Hope takes control of the monopoly , opening all the amenities to all the people, to pee for free whenever they like. The character conflict was surprising because I really did not expect the main character, Bobby Strong to die or be dropped from the building as it happened in the play.
“V for Vendetta” and Animal Farm: A Comparison The futuristic tale unfolds in a Great Britain that's a fascist state. A freedom fighter known as V (Weaving) uses terrorist tactics to fight the oppressive society. He rescues a young woman (Portman) from the secret police, and she becomes his unlikely ally. Written by Siriuslydead (source: imdb.com) In this obscure and Gothic tale, adapted from David Lloyd's graphic novel, one attractive girl, Evey gets involved accidentally in a terrorist attack, perpetrated by a masked and megalomaniac character, V. V is following the same steps of Guy Fawkes, a sort of terrorist of the XVII century, who wanted to blow up the English Parlament in London. However, in the present time, the Orwellian London lives under the fascist government of chancellor Adam, and V will fight against his regime, using the power of powder, blowing up important buildings.
This style is shown through the exploration of games and the game theory. This is shown specifically in the opening scene and the casino scene in the third version of the film. Edvard Munch also expresses this through an abstract painting The Scream. Tykwer’s postmodernist approach highlights Lola’s perspective with nothing fixed but open to re-interpretation. He characterizes things by ideas that life lacks stability or certainty as shown by the films story and distinctly visual disjointedness, its embrace of pop culture and its blurring of distinctions between high and low culture.
Consanguinity is the challenge and key issue that imitates the entire plot of the film. Without the cultural controversy of what is immoral, shameful, or taboo for American culture, there would be no ridicule, no repercussion and no revenge. If our ideologies accepted incest, and consanguinity then this film would be just another action thriller. But considering the visionary senses and reputation of director, Spike Lee unwavering stances and activism and student would recognize that statement. Lee’s attempt to highlight these cultural differences which through reputation of suicidal acts throughout the film.
Paranormal Activity 2 certainly delivers every promise it has made, capitalizing on our fears of the unknown in the same simplistic fashion as the original. In the following, we will be discussing the film Paranormal Activity 2 directed by Tod Williams, looking for meaning using deeper levels of interpretation. We will decipher all the elements of the film to understand how they come together to realistically portray the film as real footage of real events. Paranormal Activity 2 produces a “strong and inventive” element with the structure of the film(Muir, 2011). “Neither sequel nor prequel, it sort of surrounds the original and so it doesn’t just expand, repeat or continue; rather it reframes Paranormal Activity in a new context(The Fragmented Paradigm, 2010).” With that, we must include information from the original film Paranormal Activity to better understand the second production.
Life Sucks Screen play adaptations commonly differ from the book on which they are based. Just like gossip between peers is enhanced for entertainment purposes, films are enhanced for these purposes as well. Between Frankenstein, a novel by Mary Shelley, and the screen play adaptation, Mary Shelley’s Frankenstein, by Kenneth Branagh, there are numerous differences in detail. Nonetheless, there are similarities in the undertone of both mediums that portray mutual morals. However, it would be a blatant falsehood to say that this film adaptation is free from inaccuracy, somehow above reproach, or indeed perfect.
The way in which it was adapted into a scene within a film would therefore have had to been intense and moving to truly capture the essence of the point being made. When considering the success of an adaptation of a novel into a film, it is important to first define and understand what makes an adaptation ‘successful’. In the case of Nineteen Eighty Four, the adaptation would have to create the sense of real claustrophobia and then, in the moment Julia and Winston discover one another, offer the audience the same glimmer of hope Winston experiences. I believe the very nature of the novel centres around the dehumanisation of a whole society and plays on the readers empathy towards those within the novel that are forced to abandon their own; thus it can be said that without the autonomy to decide and imagine for ourselves the helpless of the situation, it takes away from our urge to empathise when seeing it upon a screen. Even when considering film adaptation in a general sense, the fact that there are so many people involved in creating a film again takes away some autonomy of the audience/reader; the different roles of everyone
The Devil’s Advocate includes a deal with the Devil, just as other variations of the Faust legends do, but it also presents it in a contemporary and subtle way, slowly drawing the audience into the pact Kevin has made with Satan throughout his various opportunities to resist fame and fortune for the sake of the moral high ground. The Devil’s Advocate places the temptation of the Devil into a more sophisticated atmosphere than other Faustian legends have. The temptation and eventual bargain with the Devil is the recurring theme throughout the film, yet is not always apparent. Instead of there being a direct, decided bargain between the protagonist and the Devil, like there is in Marlowe’s Dr. Faustus and Goethe’s Faust, Kevin never knowingly takes part in an organized wager. Instead, Kevin’s numerous temptations with the Devil and his refusal to resist these temptations solidifies his willingness to put his pride, ego and career above all else.
Despite fundamentally different literary styles, intents and origins, both works reveal postmodern influences adapted to the author’s respective cultures. Chronicle of a Death Foretold by Gabriel Garcia Marquez and The Outsider by Albert Camus, explore concepts of social inequity through equivocal narrative techniques, religious paradoxes and meticulously contrived settings. Rendering unconventionality and intentional inconsistency to the plot, both narratives complement the novels’ socially critical themes. Narrated in first person from 27 years in the future, Chronicle of a Death Foretold compiles civilian testimonials, with personal memories and recollections so as to unveil aspects of a murder which fails to demonstrate legitimacy. Part of this failure stems from the discrepancy in individual recounts of the same occurrence.