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David Cronenberg Maps To The Stars Film Analysis

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David Cronenberg has always kept his distance from Hollywood. The well-renowned director began his career while exploring his passion for psychological indie genre films and revolutionizing sexual horror in his movies such as “The Brood”. Yet, staying away from the glitz and glamor of Hollywood and producing unique movies on a small budget did not prevent him to grow in success. Rather than moving to Los Angeles, he preferred his native Toronto where he could remain shooting his own kind of movies. He quickly gained the reputation of being ‘the Master of Horror’, with movies even more weird and disturbing that only a selected crowd would watch and truly appreciate. Even when breaking his tradition by putting a foot into Hollywood, Cronenberg …show more content…

It is a satirical drama that criticises the contemporary Hollywood culture by uncovering its deficiencies with incredible performances of its cast. The characters of the movie are a group of psychologically damaged superstars that all rose to fame in one way or the other and try to forget and supress their emotional wounds through Hollywood’s superficiality. Julianne Moore plays one of these characters, Hanna Segrand, who is a middle-aged fading actress, whose career is about to fall apart. In constant career panic, she even auditions for a remake of a movie, starring her mother Clarice, taking her self-esteem to a new low. Then there is the weird celebrity massage therapist Staffort (John Cusack), who helps Hanna Segrand to recover from her psychological wounds. His son, Benjie (Evan Bird), a Justin Bieber like child star who has made a fortune with movies, is being let down by his parents who rather focus on his success than his chemical addiction. Between Havana Segrand and Benjie stands Agatha (Mia Wasikowska), a young troubled woman with a secret connection to Benji, who returns to Hollywood and becomes Havana’s personal assistant and close friend of Jerome (Robert Pattinson). The movie begins with Agatha’s arrival into the city, first making the impression of being an outsider but soon to reveal that she has a history in the

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The Crazies to Say the Least “David leans on the sideline fence, sipping his coffee, watching the game. No one has yet noticed the dark figure walking out of the shadowy woods beyond the outfield. Weaving like a drunkard, he walks right onto the playing field, oblivious to the game. He is carrying a shotgun. Heads turn, mouths falling open in the bleachers and dugouts, everybody staring in collective disbelief.

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In the introduction to Kendall Phillips’ book, “Projected Fears,” he discusses “horror films that made such an impression on American culture that they became instantly recognizable and, indeed, redefined the notion of what a horror film is.” (Phillips 3). This list of movies includes many favorites, such as Halloween, Texas Chainsaw Massacre, and Scream. Phillips later states his thesis, “...my argument in this book is that these [movies] are the most ‘successful’ and ‘influential’ in American history and that their level of success and influence can be correlated to broader cultural anxieties into which they somehow tapped” (Phillips 3).

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Chinque Thompson Professor Rai WRT 102.75 14 April 2016 The Past’s effect on the Present Lone Star directed by John Sayles is a film which follows a man’s journey trying to search for the truth in his mysterious town. Through the movie, Sayles intertwines many different backstories of various character’s lives, each of whom are dealing with their own issues of history.

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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.

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Numerous screenwriters and directors have often dealt in their films with the theme of borders, whether literal and officially recognised, like military ranks or state frontiers, or abstract and metaphorical, like those of morality, justice, race, and gender, along with several others. As a consequence, as John Gibbs points out, one could assemble these movies, especially those taking place on the confines between Mexico and United States, under the label of ‘border films’ (2002: 27); thus contextualising them in a very specific tradition, which includes pictures such as Touch of Evil (Orson Welles 1958) or The Three Burials of Melquiades Estrada (Tommy Lee Jones 2005). Accordingly, another notable movie belonging to the ‘border film tradition’ is Lone Star: an acclaimed 1996 hybrid of western and mystery film conventions, directed and written by independent filmmaker John Sayles. The picture recounts the story of a murder investigation, which leads the main character, Sheriff Sam

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Much like the first two examples this last one is a about the appearance of an character. It about the appearance of the ballerina that Harrison danced with. They say that she is beautiful but on the film she isn’t really the “model”

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Certain members of the Hispanic population perceive challenges as surmountable tasks that should include the input of family members and that is to include extended family (Falicov, 2014). When it comes to problems such as substance abuse, acculturation, and mental illnesses, family members of those suffering from the aforementioned issues may conquer it by attending therapy or by using methods of self-efficacy such as prayer, seeing a spiritualist, or consulting a priest/or member of the clergy (Falicov, 2014). The primary factors used by Latino families to combat the beforementioned challenges whether through a formal or informal method would be to do so as a collective unit. To combat the language and cultural barriers that may be present when Hispanics consult the assistance of a member outside of their ethnic group, it would be beneficial to work with an individual familiar with their cultural norms and expectations.

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Imagine being a teenager in the 90's and getting sucked into a black and white T.V. show. That would have to be a worst nightmare convievable or one's sweetest dream come true, that is if you're a nerd. That is the movie Pleasantville. But, there is more to the film, than just a simple lesson at the end.

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This scene is a formalist style of editing. It starts off with Nicky Santoro played by Joe Pesci, a Mafia underboss as he begins to talk about his life being a robber as he continuously introduces the team behind their crimes as the rhythm of the blues music starts to play. Same goes with "Ace" Rothstein, played by Robert De Niro, a bookmaking wizard who describes Nicky’s exceptional skill in robbery and reveals how careful and detail-oriented he is. Another character is Ginger McKenna played by Sharon Stone, a leggy ex-prostitute with a fondness for jewelry and a penchant for playing the field. The blues music used in the scene sets the tonal montage aspect because it expresses the characters’ laid-back personalities despite their unlawful way of living.

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The concept of time has always been known to assist people in healing. After all, “Time heals all wounds”. That is not the case in the sci-fi film “Interstellar” by Christopher Nolan. Time dilation is used as a negative element throughout the film which essentially puts the audience on edge. The film shows us a future where there is scares food supply, a collapsed economy and dust storms are the new norm.

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