BBBBBOOOOOOKKKKK The relationship between film and society continue in the 1930’s. With the start of the great depression came the start of the Breen Office. The Breen Office regulated films in the mid 1930’s and the movie makers decided to embrace the American Values the Breen Office was trying to stand for. Sklar states that this new sense of American Values in film helped to “boost the morale of a confused and anxious people by fostering a spirit of patriotism, unity and commitment to national values,” (3597).
This sense of hostility springs forth from the misconstrued view of literature being the superior art form among the two, extending to the apparent artistic inferiority of cinematic adaptations, which seemingly “betrays” its source material. But the idea of cinema as a potent and dynamic art
Adolf Hitler used censorship to control how the Jewish people were perceived. Along with spreading propaganda, Nazis also burned books (Lewy). Markus Zusak’s novel The Book Thief explores the idea of censorship and the power of words during Nazi Germany. The censored material the protagonist Liesel Meminger read is perhaps one of the books that influenced her the most.
In response to the declining numbers of moviegoers, the films essentially had to become edgier and reach previously untapped markets. These new films, when compared to classical Hollywood films, explore
In every generation an individual can discover his or her own particular hero, regardless of whether in art, politics, or history. In the film business, however, is that truly the case? The pioneer who molded the work of art are the ones yet claiming the most impact on movie makers today. Influence is characterized as that abstract power which can influence an individual, thing or course of occasions. Many trust that movies, more than some other work of art in the previous century, have a keen impact on modern film.
The Cultural Influences in Japanese Horror Film and Its American Remake (A case study of Ju-On: The Grudge (2002) and The Grudge (2004)) Abstract: Hollywood has produced a number of remakes of Asian horror films, especially Japanese horror films. As the remake is embodies the cultural aspects or American point of view, this research is conducted to see the cultural differences between Japanese horror film and its Hollywood’s remake. Using Joseph Champoux 's observational model and David Edelstein’s Hollywood adaptation rules, this research will identify the specific cultural elements in both movies. The result is separated into two subdivision where the cultural aspects of both country is depicted in both films; the clear explanation of the cause of
Film noir came into the public gaze in the post-war 1940’s. The American film industry continued to make and produce films during World War II and because the German’s where occupying France, they stopped all American films from being screened in the French theaters. When World War II had ended and the Nazi regime had collapsed in 1945 the France audience where greeted with a back log of American films. American films that reflected the anxieties of the American nation at that time and of the years that came before.
Films and the actors that were casted in them changed the face of film
The Inter-Korean Conflict & South Korean Film: 1950-Present By the 1940s, film propaganda was a widespread and popular method for both North Korean and South Korean forces to effectively relay their messages to the masses. While most war propaganda typically does not continue into the post-war era, the Koreas were unique in this regard. Even after the Korean War, their respective national film industries continued to reflect state ideology and send political messages to the audience. The aim was to reinforce the civilian populations that Korea would remain divided along the the 38th parallel and that both states would not give into the other’s ideology.
The film industry in Hollywood was no more immune from the Great Depression’s hit than any other industry. The film industry, founded on several economic and social institutions, hid the real world difficulties behind the on-screen glitz and glamour. These efforts to disguise the country’s hardships were essentially what kept American’s coming back to view motion pictures time and time again. At movie theatres, individuals were able to escape from their worries for a few hours. No other “medium has contributed more greatly than the film to the maintenance of the national morale during a period featured by revolution, riot and political turmoil in other countries”.
Two films, although created years apart yet have a lot in common, including their content of it’s narrative techniques. Both films, even though black and white with strokes of genius of cinema offer a vast stretch for study. I will be looking at Sir Orson Welles “Citizen Kane” (1941) and Akira Kurosawa’s “Rashomon” (1950). We see in Citizen Kane he values for the American life. The three abstract themes that constantly follow through Citizen Kane are Wealth, Power and Love.
This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday
Although the main conflict of the film lies within the Japanese culture, it encompasses the loss of cultural identity, and how some Japanese choose to embrace a more modern, western culture. By doing so, it pushes the cultural differences to the
In 1990 at the age of eighty, Japan’s most widely admired film director, Akira Kurosawa, was awarded a honourary Oscar at the Academy Awards in Hollywood. From the latter half of the 1940s until his death in 1998, Kurosawa had directed over thirty films including, Rashomon (1950), Seven Samurai (1954), Throne of Blood (1957), and Ran (1976). He directed samurai epics, crime thrillers, literary adaptations, and films of social realism. One film, Seven Samurai, set during the sengoku jidai, is thought by many to be the greatest Japanese film of all time. His work was a huge influence on directors like George Lucas and Steven Spielberg who revered him as “Master of the
Family connections have dependably been an obvious point in Japanese film from its very beginnings. Through the microcosms of family structures, Japanese movie producers have mirrored the first social clashes that have influenced their nation in their works. For instance, of the movies we have watched in class, three of them explore how family connections is a matter that affects the society today. They are: Tokyo Story, (Yasujiro Ozu, 1953), I Was Born, But… (Yasujiro Ozu, 1932), and There Was a Father (Yasujiro Ozu, 1930s)
