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University Degree: Film Studies
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"The meaning of texts is determined by their inter-relationship with one another." Using the term genre, discourse and inter-textuality, discuss this statement with reference to Bladerunner and Lambs of God.
Although the genres is varying, still Student no: 30646723 class: Thursday 6-7pm W5C309 this main issue is clearly displayed because the inter-relationship between Deckard, as a individual and an institution of four "replicants" are constant. Therefore their hostile positions strongly support the confliction exist between them, that is where is the tension between human and non-human is established. Taking Lambs of God as an example. The most obvious discovery that can be made through the observation on genre is that it is a contemporary (Gothic) fantasy. To extend this idea of fantasy, a number of conventions are taken into account.
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The purpose of this, as detailed above, is to 'insert' us into a familiar setting in the story world. We're introduced briefly to the principal characters, and their roles are hinted at. The 'Circle of Life' song complements the ritual that we see, which appears to be a baptism of Simba, the protagonist in the film. Despite not being next in Vogler's list, the next plot stage that occurs is the meeting of the mentor. The mentor in 'The Lion King' could be one of a few characters - Mufassa, Zazu and Rafiki.
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'A common experience while watching a documentary is to be manipulated by the filmmakers.' How far do you agree with this statement?
Compare Michael Moore's 'Sicko' (Sicko, 2007), which uses a lot of voiceover, to D.A Pennebaker's 'Don't Look Back' (Don't Look Back, 1967), which uses no voiceover. Moore's voiceover underscores poignant and disturbing interviews and footage, for instance when explaining that 'Rick' was given a choice by his hospital after his accident, which finger he could have re-attached, and showing the diagram giving the price of each finger. This is clearly intended to induce discomfort within the audience, and helps to set the tone for the rest of the film.
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She has been carefully fabricated into a star. Partly product of studio press releases, reprinted verbatim by the media and digested without question by both the public and Lina herself. It also is partly the product of the film technology that functions o conceal her flaws. Though she may look like a star, she doesn?t sound like a star ? her lower-class voice lacks refinement, failing to match the glamour and sophistication of her appearance. This was easily avoidable by silent film.
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The traditional French films always have a strong narrative, but French New Wave changed this ideal. In French new wave films, it always lacks of conventional narrative. The narrative looks very random. As we can see from Breathless, the dialogue between Michel and Patricia in the hotel is a typical example. This change makes the film become very real; it is exactly same as our daily life. The important movement of French New Wave is the editing. It is very unique. The invention of jump cut has created the new age of film making. ?The jump cut means when two shots of the same subject are cut together but are not sufficiently different in camera distance
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The placement of Lecter turns the tables on Clarice, as Lecter is not at all surprised by her arrival, however she in turn is surprised by Lecter standing at attention waiting for her. This instantly puts Clarice on her back foot and Lecter in the power position. The upright posture that Hannibal awaits Calrice with indicates to the audience a certain air of sophistication. This stance that the camera captures is one that could resemble a soldier at attention, indicating to the audience that Hannibal is unlike any of the other prisoner?s and in a sense is ?superior,? once again giving off a vibe of his prevalence throughout the film.
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This paper is mainly a comparison of Sigmund Freuds Mourning and Melancholia and Lars Von Trier's movie Melancholia
A puzzling feature of depression, it is that the worst is in the morning, around the time of awakening, during the evening, the depression tends to subside. The material is limited; apart from the impressions in which each observer is at their command, to a small number of cases whose psychogenic was no doubt. Melancholy is awarded emotionally by a deeply painful indigestion, a repeal of the interest in the outside world, through the inhibition of each performance and the reduction of self-esteem, which manifests itself in self-blame and self-abuse and to delusional expectation of punishment increases.
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The song instantly sparks flashbacks. This slow song can almost put us into the seat of the characters, because we instantly feel the dismal setting just listening to it, and our emotions our instantly sucked in. The song being played is heard by both the viewers, and the characters in the movie, and therefore is considered to be diegenic sound. With the setting remaining in Rick’s café, the viewers witness the scene when Rick and IIsa meet up again for the first time since Paris.
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It is important to note that contrary to popular belief, this does not necessarily mean that they eat flesh or that zombiism (the state of being a zombie) is a contagious disease, as commonly depicted in modern movies. The way zombies have been interpreted has evolved over the years. The word zombie, also spelt zombi, is most likely derived from the word nzombi, which is the Kongo word for ?spirit of a dead person? (Keegan). This produces an interesting dilemma; is a zombie the body or soul of a dead person?
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What It Means to be Civilized and Human: The Discussion of Civilization, Human Nature and their Relationship through the Film "Lord of the Flies"
is able to offer us deep insight into the discussion. As mentioned within the title, this paper aims to explore and discuss the complex relationship between the two concepts through Lord of the Flies, and in turn comes to reexamine and redefine what humanity and civilization truly is. Lord of the Flies mainly depicts the conflict between good and evil and civilization and savagery and can give us a comprehensive view on the topics of humanity and civilization. In order to carry this out, we will first examine how the film presents the interdependence between human nature and civilization, and then go on to investigate how the film portrays these two concepts as fundamentally at war.
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In the body part, I will divide it into three paragraphs. In the first paragraph, I will focus on figure?s expression and movement (performance). Here, according to Richard Dyer, figure movement includes every kind of movement from the action of the whole body to the movement of eyebrows, wrinkles and lips. Also, figure not only means human beings but also other objects or animals. After defining the meaning of figure movement, I will analyze the movements in my self-chosen scene in the film.(which is from 17:40 to 23:40) I will analyze the scene like the following way.
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To further explain, Feuer (1980) said that musicals are not solely entertainment, but they are also frequently about the production of entertainment as well. The audiences are shown the mechanics of backstage musical as well as the actors? private life. For instance, how Don was being frantically chased by his fans and eventually ?bumped? into Kathy. It is not to the exclusion of how the actors? perform, on screen or on stage. Since it is understood that self-reflexivity basically means a film within a film, what does the term ?genre? and ?affect? then mean?
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Although in Paris, Texas and Two-Lane Blacktop mainly diegetic sounds are used, these sounds (in Two- Lane Blacktop especially) play a vital role in our understanding of the films narrative as well as their overall message.
? the intentions and success of the character?s journey would lose direction and purpose without the input of their chosen sounds. Hence, the viewer?s perception of sound and his perception of movement (be it physical or ideological movement) is interlinked in both of the films discussed in this essay, where the focus shall lie mainly on the question of character development and their movement within the frame. The inter-relationship between sound and movement is crucial already in the opening moments of both TLBT and Paris, Texas.
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The circumstances constrained them to assume a gender bivalence and accomplish chores which were regarded as ?masculine?. However, Americans' love for films was not affected by war. On the contrary, the movies started to portray the dark new reality, including the mutation of gender roles. One of the films which gets to the chore of this voguish topic is Mildred Pierce (Michael Curtiz, 1945), building the central female character according to the revolutionary premises and dealing with matters like divorce, relationship between mother and daughter, betrayal and crime in 1940s America.
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Compare the portrayal of Cleopatra in the 1963 film with the representations of her in the late twentieth and early twenty-first century
Romance is one of the main themes that run throughout any Cleopatra adaptation. The 1963 film concentrates on her relationships with the two greatest Romans of the time. The film poster shows Cleopatra sitting in between Caesar and Mark Antony. Again the modern versions include and emphasise her relationships with both men. All adaptations portray her being an intellectual who could hold her own with any man. Cleopatra throughout history has been accused of using her sexual prowess to manipulate and overpower men.
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Stark angular shadows. The isolated feeling of modern cities. Conflicted anti-heroes and terse dialogue. Determined, Beautiful scheming women. When placed together, these created a unique body of films that continues to be discussed and emulated even today. Many Film Noir characteristics were the result of an interaction between filmmakers, new techniques and a tension and uncertainty that lay underneath the patriotism and optimism of the 1940?s. Classic Noir?s Hallmark is a distinctive visual style it?s emphasized plot and character type ? The low-key lighting of many classical film noirs are associated with stark light/dark contrasts and dynamic shadow pattering, known as Chiaroscuro (adopted from Renaissance painting).
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The operation of biopolitics and its relation to race can be observed in Alfonso Cuarns Children of Men. The film represents the production of racialized subjects and the materialization of race through structuring visibility
It is possible to observe how biopolitics works to make human beings understand “the body” and how it materializes the race, its correlation with race, in Alfonso Cuarón’s Children of Men. Walter Benjamin opens his great essay “The Work of Art in the Age of Mechanical Reproduction” by touching upon the contradictory nature of the capitalism. “Going back to the basic conditions of capitalist production, he [Marx] presented them in a way which showed what could be expected of capitalism in the future.
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Film Script. In the following documentary script, the portrayal of angels in three films and cultures are explored.
and 1987 (Wings of Desire) As seen before in ?Angels in the Outfield?? (Cut in audio from clip) (Fade out audio from clip) VO:?and ?Constantine?,? (Cut in audio from clip) (Fade out audio from clip) VO:?angels on-screen seem to be majorly portrayed as a physical being with wings. VO: ?Looking at ?Dogma? released in 1999, the same rule applies. When we, and Bethany first meet Metatron, the voice of God, he shows her his wings to prove he is an Angel.
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Media Analysis - "Cast Away". Using the six perspectives, this paper will analyze these visual cues used by the creators of this movie that evoke an emotional response of sympathy for the main character.
One visual cue that really spoke to me was Chuck?s transformation from a slightly overweight man to a weathered-tattered, tanned and slender character with matted hair. Visually, the movie producers show viewers how four years changed an experienced professional into a fierce island survivor. He becomes experienced with learned survival techniques and this is visually shown with his hardened and rough appearance. The end of the movie was most profound to me. I was at a crossroads in my own life so I connected with the ending immediately.
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Men are shown only in their natural functions of trying to attract women and making the world a comfortable place for women. Imagine that countless films show men as simple-minded little sex objects, and you despair of finding a strong role-model for your little boy (for whom you see other futures than slut, bitch or house-husband). Imagine that the women in charge of the film industry use their power to ridicule the men's liberation movement, presenting them in films as a bunch of frustrated studs, deluded into thinking they can be women, burning their jockstraps and waving signs but always ending up in the boudoir of a condescending woman, always giving up the struggle and being happily subservient to her.
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The close camera work that is used immediately gives a sense of cramped and claustrophobic living condition. Close-ups of people?s bare feet and ragged clothes as well as the make-shift roofs and terraces of the favela emphasis peoples struggle to find such basic things as proper clothing and shelter, and help to convey the theme of poverty in the film. The fact that they are killing and plucking their own chicken also somehow conveys a sense of an impoverished society. It could be seen as symbolic of the fact that people in the favelas are never far from death.
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