The Film Beaumarchais Directed By Edouard Molinaro
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(.) [intending] to illustrate the value of criticism through a close reading of a film’s style and content.” , (Forsyth et al.). Not only is Constantineau an academic, deeming her a reliable source, CineAction is also credible, as all academic submissions sent into their journal are reviewed and edited by their team of revered Canadian film professors and critics; namely: Scott Forsyth — hailing from the University of Toronto, as well as Florence Jabobwitz and Richard Lippe — who currently teach at York University. Moreover, Constantineau’s analysis aligns with pre-existing scholarly debates on the topic, hence the author’s semi-recent works are both reliable and credible, providing an extremely useful approach to understanding the narrative’s significance as a work of Canadian national
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“Sir Launcelot du Lake” and “First Knight” share several similarities in archetypical elements, however, they are also different. Mistaken identity and idealized noble characters are two aspects that hold both likeness and unlikeness. Comparatively, “Sir Launcelot du Lake” and “First Knight” are similar in the aspect of noble characters. Both the story and the film express their idealized characters by showing achievement and nobility.
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This film also has a great aesthetic way of presenting characteristics of the movie as a whole, for example when filming Brenton Butler, they made sure that almost throughout the movie entirely he did not speak to put more emphasis on the first impression of Lestrade and Poncet’s of Butler as a completely detached individual; showing how Butler’s voice was denied by the injustice of the Florida legal
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Band of Outsiders is an intoxicating interplay between romance and criminality. The three lead characters – Odile, Franz and Arthur – plan to rob the house Odile is lodging in. Like any film of the French New Wave, there is a sense of honesty in Band of Outsiders; it’s so honest about what it is – a film. For example, the voice-over throughout the film is spoken by Godard himself: the director speaks over the film, even explaining parts of it!
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For example, Westley demonstrates his superior mental power while imposing his courage, during the event in which he intimidates the major antagonist of the story, Prince Humperdinck, by exhibiting his dominance, and immense confidence, as he vigorously commands him to “drop [his] sword! “ (Goldman 352). Westley clearly strives to defeat Prince Humperdinck, regardless of the vast effort required as he indicates his overwhelming confidence and courage. In addition, Westley displays his optimism and astounding certainty over his plans, while enduring the grand fight with the lethal Inigo, as he even adds touches of humor, while revealing to the experienced swordsman that he was “not left-handed” (151). Westley evidently illustrates his powerful insight and positive outlook over his boundless fencing capabilities, which are put into effect in order to eventually save his true
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No one expected Casablanca (1942) to be a hit. This film was raved about and still is, by viewers all around. Warner Brothers was more than convinced that it would crash and fail, yet it ended up becoming popular soon after. The main theme is that being in love will make you sacrifice for it. This is why it stuck with so many, especially during the war effort, and even with me.
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Federico Fellini’s 8½ is a formal/Avant-Garde style of films. The film opens with a spectacular scene of a dream sequence where we see a man who is trapped inside of a car, a close up shot was used to make us feel his melancholy, sympathize with his situation and clearly see what the character is trying to do. It was hard to see or recognize his face because the character was back to camera which made it hard to see what is he thinking of or feeling. The doors and windows are locked and there is no way to escape which gives us the feel of being trapped, moreover, the frame was tight in which he couldn’t move or do anything that would help him and that means that the director is clearly doing it in purpose so that we sympathize more with his
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This shows his confidence in himself, respect, and belief in the code of honor as these lines depict his need to fight the monster on ‘equal terms.’ The code of honor is another way of showing victory but through fair
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One of history’s most eccentric and powerful figures is brought to screen in this compelling historical biopic directed by Bernardo Bertolucci. Anthony Hopkins stars as King Louis XIV, the longest reigning monarch of France, ruling from 1643 to his death in 1715. Barely five years old when he inherits the rule of 19 million subjects and an unstable government, Louis is placed under the care of his regent, Queen Anne of Austria (Helen Mirren). Together these two enjoy an intense bond, uncommon for the time, in which they share a love for the arts and food. During his childhood, Louis is primed for leadership by his godfather, Chief Minister Cardinal Jules Mazarin, played by Daniel Day-Lewis.
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World War II brought emphasis to idea of abandoning ones lifestyle and starting fresh. Many Europeans vacated their homes and looked upon America as an escape. However, America was more than a stone’s throw away and many European citizens did not have the money for travel. Cities along the coastal areas of Western Europe and Northern Africa became vacant as the war proceeded. Refugees were forced to take treacherous paths and avoid militia at all costs to arrive safely at their new destinations.
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This paper will consider the role that each of the film ‘arts’ play in “La Haine” and an explanation of why it’s my all-time favourite film. Mise-en-scene & Narrative: “La Haine” opens with grainy footage of young men protesting and rioting against police in the poor 1990s Parisian estates. We are immediately introduced to
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S. Porter in 1920, and serves as a perfect illustration for Gunning’s examples on Aesthetic of astonishment. This movie retells what happened during that period of time, when movie is first introduced. The naive reactions of early audience are shown here when people were shown clips of movies with no narrative-- purely “cinema of attraction” where the film main function is to attract audience as an attraction without narrative. Uncle Josh is a representative of how the audience should not have reacted; his reactions to the clips are exaggerated, but clearly demonstrate how early cinema audiences reacted to films when they first watched them. The beginning of the film is showing uncle Josh watching Parisian Dance, a dancing
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Overall, Kazan’s cinematography and his technique of bringing excerpts from the play to the main screen is exceptional. There is undoubtedly some of the greatest acting of all time displayed by one of Hollywood’s greats, Marlon Brando. The general themes are clearly presented for the viewers, along with the characteristics and motifs of the characters. If you haven’t already, mare sure to grab some popcorn and watch this prodigious
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It is a story with a long and intricate plot, of the heroic life of a simple and good man in the person of Jean Valjean. He is a very memorable character who is morally upright but guilty of certain thefts for which he feels remorse. To avoid capture and life sentence, he assumes the identity of Monsieur Madeliene, soon becoming the mayor of the small town he has adopted. It is a very beautiful story packed with excitement.
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The film gives an overview of the relationship between the viewer and the person being viewed, the relationship of power and dominance. It is a performance in which the artist has symbolically tried to give his audience the taste of reality, through the dual roles he had
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