That little orphan boy, that one family member who made an unforgivable mistake, or even that shy girl who sits in the corner of the room all endure isolation; although all of the situations vary, the people affected suffer the same harsh effects of isolation. Isolation does not only affect a person’s feelings it affects their view on the world, society and their interpretations of illusion and reality. For example in William Golding’s Lord of the Flies, Ken Kesey’s One Flew over the Cuckoo’s Nest, and J.D. Salinger’s The Catcher in the Rye, multiple characters suffer various different forms of isolation ranging in severity. Although self inflicted and forced isolation possibly could motivate distant and abnormal personalities, social isolation
having unexperienced sexualized actors and a simplified script. The strangeness of both films attracts audience, and allows the directors to convey their criticisms about society without the audience being bored. The genre of cult films has this reoccurring theme of films being purposefully “weird” and breaking the conventions of cinema to attract and audience. This “weirdness” allows cult films to play on societal taboos without judgement, because the breaking of taboos just contributes to the “weirdness” of the films. However, I think that this “weirdness” also allows directors to make social commentary without ridicule from others.
Moreover, Kubrick’s reliance on unconventional camera angles and his cryptic employment of literary and mythic allusions have enriched the layered intricacies of A Clockwork Orange, hence preventing it’s evolution into a “work too didactic to be artistic”.1 Figs 1.7-1.19. A seventeen year old Alexander Delarge exercises violent delinquency along with his “droogs” by indulging in physical and sexual violence. Figs 1.10-1.12 Alex’s love for Beethoven is used against him when he is subjected to the Ludovico reform treatment, the failure of which leads to attempted suicide. In the end, Alex ironically muses, “I was cured after
“Never shall I forget that night, the first night in camp, that turned my life into one long night seven times sealed” (Wiesel 34). The eternal night claims those who are victims of the holocaust and continues to haunt them. The holocaust’s devastating effects echo throughout history and serve as a model of humanity at its worst. No form of media can truly convey the horrors of the holocaust, but through the years, films and literature about the holocaust bring the emotional experience to the general public. Two influential pieces of media about the holocaust are Night, by Elie Wiesel and Life is Beautiful, directed by Roberto Benigni.
Between dry humor and the exaggeration made by the leading actresses, all of the humor portrayed is extremely overdone. All of the humor is mainly derived from farce which is a faction of low comedy. In essence, this comedy appeals to the dim minded that find humor in
The audience already knows that Blanche is mentally unstable, however in this scene Tennessee Williams uses different techniques to demonstrate how the tension aggravates her case. The scene starts with Blanche dressed in a “somewhat soiled and crumpled white satin evening gown (...) placing the rhinestone tiara on her head”. Blanche is drunk and is trying to persuade herself that she is still young and beautiful by wearing a beautiful gown, however even dressed up she cannot hide her true self; the dress in itself is crumpled and soiled, exactly the way Blanche feels about herself and the reason why she tries to purify herself all the time. The audience perceives Blanche’s mental instability when she sees herself in the mirror. “She catches her breath and slams the mirror”, the mirror represents the reality, it contrasts with Blanche’s mind, in which she lives in a fantasy world where she is still young and unsoiled, the fact that she slams down the mirror shows that Blanche is surprised and repelled by her image and therefore has a mental issue with accepting reality and who she has become.
What is the role of women and crime? A majority of criminology theories do not heavily place women’s stance of crime and, as the emphasis of lawbreaking is focused mainly on men, Feminist theory of crime on the other hand attempts to justify crime and the part of women in society. In the book Criminology Goes to the Movies: Crime Theory and Popular Culture by Nicole Rafter explains crime using multiple alternatives of feminist theory to explain how women in society consider crime based on the societal role of women. in the movie Thelma and Louise, it portrays the struggle of women, as the men in their world overwhelming show their power keeping both the main characters Thelma and Louise under control exhibiting dominance over them. The conflict
Limited for most of the time to two sets, the film 's great strength is the interplay between the two leads, who play former spouses having a tough time remaining apart. It also boasts one of the blackest comedy situations ever, as a small-time loser finds himself up against city corruption and imminent execution. Clever, witty and extremely satisfying, this marvelous film is still achingly funny
Sleeping with Buddy would not count, though, because he would still be one person ahead of me, I would have to be someone else.” (p.74, The Bell Jar, Sylvia Plath) Hence, it can be said that at some instances , it is the character ’s (Esther) own melancholic and depressed nature that makes the situation comical for the reader and
When it comes to mystery films in this generation, there are a wide variety of effect that can be used to enhance the effectiveness of a mystery films. One useful tactic that film-writers often use is that they allow their characters to know vital pieces of information. While doing this the audience is often times left in the dark. The purpose of this tactic is that it allows the suspense in the audience to build so that they can experience first-hand what it like to be a detective. A great example of this is the film called Mystery Team since it allows viewers to join alongside the characters and experience life as a teenage detective.
Going to the universities’ library earlier this month to rent three films, - 500 days of Summer, Annie Hall and High Fidelity- was the first step to my critical writing and analysing process. I spent some time at home, to watch these three completely different movies. Although there is one theme that captures the common motif in these three movies, the theme Romance. The standard model suggests that a film wherein the plot revolves around the love feelings and love between two protagonists can be defined as a romance film. It is a well-known fact that love makes people do strange things, Shakespeare himself even said: “Love makes blind”.
Communication is an important element in video analysis. Ideally, a careful analysis of the different characters in the scene and their role in enhancing interpersonal communication is much more important. In consideration of this concept the underlying principles of interpersonal communication, there is a need to assess its applicability in the movie; Goodfellas. The three-minute scene titled, "I 'm funny how, I mean funny like I 'm a clown" is a reflection of how self-concept, perception, and non-verbal communication work together in the context of dyadic communication.
One of the most valuable aspects of personality is humor – we value one’s sense of humor and make friends often based on finding certain things funny. But how and why do we consider things to be funny at all? Human beings have strived to uncover fundamental truths about human nature for centuries – even millennia – but humor itself is still yet to be pinpointed. Henri Bergson is only one of many who has attempted this feat, and his essay Laughter: an essay on the meaning of the comic from 1911 breaks down comedy into what he believes to be its essential forms and origins. While Bergson makes many valid points, Charlie Chaplin’s film Modern Times that was brought to screens only twenty years later seems to contradict many of Bergson’s theories, while Bergson seems to contradict even himself over the course of his essay.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
208).” Both films they use psychodynamic therapy by questioning the depth of this small fragments of memories. The purpose is to understand how certain memories affected the patient’s ability to emotionally respond. For example, in the film Sybil confesses that her true loved challenged her to fall in the hay inside the barn. She said kindly said no and Dr. Wilbur asked if they were close, she responded no.
