“Imaginary Witness” Hollywood and the Holocaust “Imaginary Witness” Hollywood and the Holocaust is a documentary directed by Daniel Anker that explore the treatment of the Holocaust in Hollywood film and how it dealt with the holocaust. The documentary starts with the 1920s talking about the lack for portrayal in Hollywood movies about the rising Nazi threat back and the uneasy relationship between the Hollywood studios, also to explore the history of the holocaust in Hollywood films. Moreover, there were some compelling portrayal of life under the Nazis and how it affected the Jews. It determinately split into two parts: how the Nazi Germany was presented on Hollywood screens before the war and how the Holocaust was depicted on Hollywood screen after the war.
Passchendaele takes place 3 years into World War 1, the Great War. Sgt. Michael Dunne is sent back to Calgary, Alberta after being diagnosed with neurasthenia due to the trauma he suffered during a fierce battle in the war. He meets Sarah Mann the nurse who is helping him recover. In the meantime, David Mann, Sarah’s brother, is desperately trying to get Cassie Walker’s father to accept his relationship with his daughter.
Bad Day at Black Rock Kathryn Abbott October 29 2015 DRAMA 3030 The unexpected arrival of a stranger to a small, Midwestern town creates a feeling of scepticism and suspicion, and through this the explicit meaning is revealed: Fear of the unknown and the moral and physical deterioration of a town left to its own devices. The film exemplifies these concepts through the use of mise-en-scène, and vivid cinematographic elements. The blood red coloured train stands out against a muted background.
Released September 29, 1950, Sunset Boulevard is a film noir of a forgotten silent film star, Norma Desmond, that dreams of a comeback and an unsuccessful screenwriter, Joe Gillis, working together. Ultimately an uncomfortable relationship evolves between Norma and Joe that Joe does not want a part of. Sunset Boulevard starts off with an establishing shot from a high angle shot with a narrative leading to a crime scene shot in long shot (a dead body is found floating in a pool). The narrative throughout the film established a formalist film. Cinematography John F. Seitz used lighting and camera angles in such a way to create a loneliness and hopefulness atmosphere.
In “Ferris Bueller’s Day Off”, the director, John Hughes, uses various angles, close up shots, and mise-en-scene, to argue that people strive for independence, but are always reliant on other people. Ferris Bueller is a rebellious high school senior but still relies on manipulating people to ensure he does not get caught. Ferris, unlike Cameron, has unconditional love from his parents, yet still chooses to defy his parents rules. Cameron on the other hand lives in fear of his parents. They have an authoritarian and cold relationship with him.
Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.
The Cold War is often seen as a dark time in American history, not just because of the international conflict, but because of the strife it caused within the United States itself. During the Cold War, the general culture in America was fearful and paranoid about the rise and spread of Communism within their society. One example of how this hysteria manifested is illustrated in the movie, Trumbo, which tells the story of when the Hollywood industry blacklisted famous writer Dalton Trumbo, along with other workers in the industry, who were connected to Communism. Dalton Trumbo and his associates faced bigotry and were effectively attacked for standing by their ideals, which was a reflection of how American culture had changed at that time. By
Throughout the human history, people always help each other, as it is a part of a human nature. In pre-civilized world, any migrant tribe look after of the older and physically weaker members of their group by sharing food. The Ancient Greeks, Romans, Egyptians, Chinese, and the Islamic cultures developed a more sophisticated assistance for their impoverished citizens. Charities along with governmental relief came in forms of food, clothing, monetary allowances, hospitals, and housing for the elderly and orphans.
City of Thieves – David Benioff How has David Benioff explored the dehumanising aspects of war in his novel? City of Thieves is historical fiction set in the besieged Russian city of Leningrad during World War Two. Lev Beniov, a Jewish seventeen year old, details his story as the protagonist through his first person narrative perspective of the siege. Benioff’s focus is the desensitized attitudes and behaviour shared by characters throughout the novel as they contend with dehumanising situations which would appear horrifying under circumstances that have been unaffected by war. Through the utilisation of techniques such as characterisation, plot and first person narrative, Benioff explores the dehumanising aspects of war in his novel.
The style of Bicycle Thieves (1948) by Vittorio De Sica is a prime example of Italian Neorealism which is significantly different from Classical Hollywood Cinema. Italian Neorealism is a form of cinema different from Classical Hollywood Cinema in the sense that it focuses more on the lives of average people, there is no narrative economy and everything is shot on location for the most realistic portrayal. The opening scene is a great example of how Italian Neorealism is different from Classical Hollywood Cinema. The opening scene starts with a bus pulling up on a curb in a deep focus shot and a group of people get out and all start walking toward the same building.
The filmmaker Stanley Nelson has a stunning accomplishment in “Freedom Riders,” a documentary that chronicles a crucial, devastating episode of the civil rights movement, an episode whose gruesome visuals impinged on the perception of American liberty around the world. Commemorating the 50th anniversary of the freedom rides, the film (to be shown Monday on PBS) is a story of ennobled youth and noxious hatred, of decided courage and inexplicable brutality. In May 1961 the Congress of Racial Equality sought to challenge the segregation of interstate travel on public transport and sent forth activists, both black and white, and many of them students, on a bus journey through the South, where they were received with violence that law enforcers
The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters
They encountered a man on the road that had been struck by lightning and was also suffering from starvation. The boy wanted to turn back and help the wounded stranger, but the man had to explain to the boy that they did not have enough of anything to share with him (McCarthy 49-52). They barely had enough to take care of themselves, and if they gave away anything that they had, they would be more likely to starve. It was a decision between their own lives and others’. There was also another occasion where the man and boy were on the beach and were robbed of most of their belongings (McCarthy).
The film Bicycle Thieves (1949) directed by Vittorio De Sica, is an Italian Neo-Realistic film set in post-war Italy. The film follows Antonio Ricci and his son Bruno on a quest to retrieve his stolen bike in an attempt to remove himself and his family from the cycle of poverty. Bicycle Thieves (1949) discusses themes of struggle and desperation causing one to sacrifice their morality and become the evil they initially fought. De Sica expresses such themes to the viewer through the culture of poverty and the continuous pain that poverty is capable of inflicting. De Sica also employs simplistic narrative, dramatic sound, and mise-en-scene that highlights the depressing nature of poverty.
II. Summary In the film The Circle, the main discussion is on privacy and how having every aspect of your life on camera disrupts your right to privacy. In the film, each citizen can be found anywhere in the world, by either cameras planted by the company or other citizens that have the Circle’s products. The movie mention that the company has the ability to track anyone, in where they present it as a good tool that could stop criminals and those who are to do harm.
