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History of film from beginning to present paper
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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).
History vs. Hollywood Semester Film Analysis E.C. Assignment Up to 5 Extra Credit Points – Due 1/22/18 Question 1: Summarize the story in the film (not the actual history). Born to Austrian nobility, Marie Antoinette who is only 14 years old , is said to marry Louis XVI, the king of France, in an alliance that has everything to do with politics and nothing to do with love. Sent to France and literally stripped of her former life, including all clothes she wore that were from Austria, Marie weds Louis, but to the consternation of the royal court, he seems either unwilling to accept the marriage while their advisors clamor for an heir to the throne. Young and more than a bit out of step with the new life that she is living, Marie gives herself
The concentration is on comparing and finding the changes that history made to this movie genre, especially considering the gender roles. Results will clearly explain the psyche of society in two different periods, which confirms that people reflect the movies as movies have an impact on people. The Introduction It is often said that the element of surprise makes the movie more interesting and leads the plot. There are many masters of storytelling
Social differences can play a huge role in Hollywood with the development of films that are being produced. These differences was also spark the production of a film remake. Ocean 's 11 (1960) and Ocean 's Eleven (2001) is an example that falls into this category. Both films share an underlying social problem that was shown to be a reoccurring issue that can be related to the time it is made and reproduced. Diving into Ocean 's 11 (1960), we are introduced to Danny Ocean.
Today’s film industry lacks imagination. Instead of creating an original film directors turn to older movies, and for better or worse, do remakes. The reason for remakes are simple, expand the audience at low budge. It all started with Philip K. Dick’s short story, “We Can Remember It for You Wholesale”. Philips short story was first published in the Magazine of Fantasy and Science Fiction in April 1966.
The goal is to always catch everyone’s attention; do something that has yet to be done. This is how one’s legacy will influence an entire industry. When a person has the ability to change the game, to improve the experience, that is when brilliance is seen in the making. This was the exact approach Orson Welles took when presenting the world with Citizen Kane. His innovation in turn challenged all elements of classic Hollywood cinema—most of all the films plot structure, sound and deep-focus cinematography.
The cinema influenced the mother persona in a way that as an adolescent she, drifted away from her own roots, that is the “black culture”. This is the ‘cinema mind’ which she refers to as the influence that cinema had on her made her dislike ‘black skin’, ‘kinky-curly hair’ and ‘black children’ along with all things associated with the blacks. So strong was the influence that her ideal man had to be ‘cinema type’, that is ‘white- skinned,’ a super ‘dandy hero,’ and to attain that she, “would take care not to get sun burnt” so that she could lighten her complexion . Under the influence of the cinema she and her flare for light-skinned men, she ignored all the other, qualities that men should possess to be loving and caring partners. So strong
Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to deny
Every now and then the art world is struck by a wave of change that leaves a strong impression, which can last for a long time. Visual arts saw the rise of impressionism and cubism, surrealism and realism took literature to an opposite direction, and film has evolved over the years through cultural and artistic development such as expressionism, auteurism and film noir (House, p.61). The 1940s and post World War II gave rise to a new style of American film, these films appeared pessimistic and dark in mood, theme, and subject. The world created within these films were portrayed as corrupt, hopeless, lacked human sympathy, and “a world where women with a past and men with no future spent eternal nights in one-room walk-ups surrounded by the
The Italian “neorealist” movement began at the end of World War II and the films typically dealt with the working class, used non-professional actors, and were shot on location. The films attempted to describe the difficult economic and moral conditions of postwar Italy and the changes in public mentality in everyday life. After the Italian neorealist wave ended, the French New Wave began in the late 1950s. The French New Wave directors gave birth to the auteur theory, which held that the director is the “author” of his movies, with a personal signature visible from film to film. They were reacting against the “tradition of quality” of cinema in France, or the mainstream French films.
History Vs. Hollywood: The Untouchables The Untouchables is an action packed movie, set in Chicago, 1920s. Crime controls the city, the system has gone corrupt, and people are dying.
High concept films are generally known to be characterized by succinct storylines and mass audience appeal. Steven Spielberg’s 1975 thriller Jaws was historically pivotal in establishing the elements that constitute the framework of Hollywood high-concept cinema. With high box-office returns and heavy advertising, Toy Story 3 by Lee Unkrich (2008) also constitutes the same elements and worked along some of the same premises that constitute high-concept cinema. This essay will explore the notions and theories surrounding high-concept cinema in relation to these films. High-concept on its most basic level is the result of tension between economics and aesthetics in commercial studio filmmaking.
However, the ending have soon become predictable with its usual “happily ever after” ending. At the end of his career, Akira Kurosawa, an important influential filmmaker, once mentioned that, ”One reason why we had so many good directors is that Japanese studios gave talented people the freedom to make the movies they wanted. Now, however, the people in the marketing department are in charge – all they think about is the box office. [So] they keep remaking the same kinds of pictures. If a movie about a cat does well, they make one about a
Case Question 1: Most aspects of foreign culture, like languages, religion, gender roles, and problem solving strategies, are hard for a casual observer to understand. In what ways do do Hollywood movies affect national culture outside the United States? What aspect of U.S culture do Hollywood films promote around the world ? Can you observe any positive effects of Hollywood movies on world culture?
Throughout the years, the auteur theory slowly ensconced itself as an essential key to film analysis, providing a specific guideline to evaluate a director’s film. One of the most