The story of Gook, written and directed by Justin Chon, follows the story of two Korean brothers, Eli and Daniel, and their struggle to maintain their father’s shoe business. They live in Paramount, a city characterized heavily by poverty and diversity. Eli and Daniel work at a shoe store where a young African American girl, Kamilla, frequently visits. Eli and Daniel eventually become Kamilla’s mentor and cares for her. Kamilla’s connection to the two brothers conflicts with her brother, Keith, and his negative view of Asian Americans.
When most people feel like they are close to God; they usually make good moral decisions. In Doubt by John Patrick Shanley; Sister Aloysius tells Sister James that “In the pursuit of wrongdoing, one steps away from God. Of course, there’s a price.” When stepping away from God someone is committing sins and they are doing things that are usually not accepted. As the main characters stepped away from God, they had to pay the price of making wrong choices and the price of being pressured by those choices.
O Brother Where Art Thou? is a film that will take you on a perilous journey with Ulysses Everett McGill and his simpleminded cohorts. This film may be set amidst the early 1930’s Great Depression era, but it still has a Homer’s Odyssey feel to it. Down in the dusty and highly racial south, Everett recruits a couple of dimwitted convicts, Pete Hogwallop and Delmar O’Donnell, to help him retrieve his lost treasure and make it back home before his wife marries another suitor.
This reinforces the theme that a white man has more freedom than a black man and is seen at the top of the social hierarchy. This theme is important to the plot because it to the message of the movie to treat each race equally and to not believe that one race is better than the other and to end the social hierarchy of races. This message is seen candidly when each character from each race was stating racial stereotypes facing the camera as though they are looking at the audience and at the end of the scene
The scene also illustrates how racism can cause one to feel displaced from oneself because he felt like he betrayed his friend in some way. As a result, his conflicting emotions led him to lose control of his actions and become alienated from himself. Because he felt as if he did not know who he is or where he belongs anymore, he resents white society for racially discriminating him and causing him to feel anger towards
Fritz Lang’s M is a combination of a social film and a murder mystery—directed in 1931, in the midst of the Nazi movement’s takeover of German goverment, the film chronicles the public’s congregation to catch an infamous serial killer. Beckert, the child murder himself is presented to the audience several times throughout the film; he is shown to be involved with a constant internal struggle between allowing the darkest parts of his mind to overcome him and remaining sane. However, this film is, in some respects, making a statement less about murder and more about society at the time in which the film was released. More specifically, the film warns against and even mocks the competency and ability of the police to perform their jobs. There is a scene within the film involving an organization of beggars with the common goal of catching the child murderer.
The documentary, Merchants of cool, describes an evolving relationship between the vast teenage population and corporate America. The film provides an in-depth look at the marketing strategies and communication between these groups. Adolescents are shown as learners and adapters of the fast-paced world; they’re constantly exposed to fashions and trends. These young adults have a lot of disposable income and are willing to spend it, in order to gain social popularity. In other words, they are chasing ‘cool’.
The Babadook, directed by Jennifer Kent, is a film representing a person's life when they deny their past and do not face grief. One of the most important scenes in the movie is the basement scene when Samuel ties his mother up and forces her to face the Babadook. This scene shows that eventually a person will be forced to face grief, even if they do not want to. The scene takes place in the basement of Amelia and Samuels home because it was the forbidden room of the home. Down in the basement is where the husband's belongings were kept, therefore the basement represented how deep down they had to face the root of the problem.
The Life of Farmworks The movie, The Harvest, reveals the hardships that farm workers go through in the perspective of three teenagers. The main characters of this movie is the three teenagers, whose names are Zulema, Perla, and Victor. Within this movie, we get to see an insight of what is their day to day life, their struggles, and what they want to do. Even though, they are all similar in a way they are also different from one another.
The story of The Haunting of Hill House is a horror classic. The book and movie depict this terrifying story in vastly different ways. The movie uses cinematic techniques that a book can not portray: music, acting, and props. The book uses imagery, internal monologue, and suspense to peak fear in the readers. Movies are a different way of portraying a story, but movies aren’t always able to depict everything in the book.
The film ‘Good Will Hunting’ directed by Gus Van Sant is a movie which follows the life of Will Hunting who is gifted with astonishing skills for maths but whom suffered with a fear of abandonment. He developed a defense mechanism which affected his ability to create long lasting relationships. An important extract from the movie is the scene ‘ It’s not your fault’. This scene conveyed the impact of childhood traumas, the effects of suppressed emotions and the idea of soulmates. These ideas were manifested through the use of various film techniques, such as camera shots and movements, music and dialogue.
Kylie Mawn Professor Rodais CINE 121 Midterm 4 March 2018 Question 1: Citizen Kane (Orson Welles, 1941) is a film that is well known for pushing cinematic boundaries in many ways. One commonly recognized technique in Welles’ film is deep focus photography. Deep focus photography is used in films to allow everything in a shot to be in focus at once. Typical, only specific characters or objects are in focus in any given frame in order to guide the audience’s attention in a scene, but deep focus can bring a new level of sophistication to a shot.
Even though it may be just a stereotype, the Scottish people are not generally known for their joyful nature and friendliness. No wonder, considering the geographical location of the country, the weather and the scarce population in the wild landscape. Kilts, mysterious countryside full of lochs and ruined castles, back pipes, whiskey and Brave Heart is what usually comes to people’s minds when Scotland is mentioned, but legends and nature are not exactly what the contemporary Scottish films usually focus on. Once a person gets himself into the modern Scottish cinematography, what they encounter are not huge historical and probably not even real battles taking place in the romanticised landscape of Sir Walter Scott. The movies focus rather
Vicky has recently moved from Keelung to Taipei, where she works doing PR in a nightclub. She has an overly jealous boyfriend, Hao Hao, who tracks her every movement, including her bank accounts, her telephone bills, even her smell. Her days pass by working, taking drugs and constantly fighting with him, at least when they do not have sex. However, she is tired of her situation and finds solace in Jack, a kind-hearted gangster, who also owns a bar. Gradually, she gets more and more comfortable with him while he is in serious trouble, due to his tendency to offer help to whoever needs it.
Baz Luhrmann’s films are known their ability to make a watcher feel as if they are part of the show. Between his use of camera angles, shots and the use of a narrator, it’s no wonder he is able to keep viewers on the edge of their seat. But how does Baz Luhrmann pull off this spectacular feat of his? This is probably explained best by referring to Baz Luhrmann’s films and how he himself has evolved as a director.
