In the movie "La misma luna," multiple themes are presented. The film revolves around a young boy, Carlitos, trying to travel from Mexico to Los Angeles to find his mother, Rosaria. Two of the main themes that are shown in the movie are courage and determination. Throughout the film, the theme of courage is displayed in multiple instances.
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
The films “The other conquest”, “Jerico”, and “I the Worst of All” are all a depiction of what life would be like during the Spanish Conquest. These films give different point of views during the Spanish Conquest. The films give a person a well-rounded view of how the world really changed for different people during a historical movement. After watching these films, one is able to assess and determine their own truth about what exactly happened to Amerindians and Spaniards during this time.
Film "Arizona Mexican Heritage: An American Story" The creation of the video stared with Pete Dimas personal experience upon his childhood, family and Mexicans in Arizona. Dimas notice in school that there were a small number of Chicanos, there wasn’t hardly any, not even in books there where unviable. With his knowledge he gave life to Chicanos and gave a brief introduction of the transformation of the United Sated of America by making this film "Arizona Mexican Heritage: An American Story" proving that Chicanos exist in the pass, now and future in the territory of what’s now America.
“En Donde Estan” is a documentary film directed by Charlie Minn that I was honored to go watch. first I wasn’t so interested in watching the movie but once I finish seeing it, it brought to me anger, frustration, disappointment into how low and corrupted people can get and how they rather not make justice for those who suffer. Charlie Minn did a great Production where he was able to translate to the audience the pain and worries of women and family. The film was a general idea of what family go through when a female member of a family goes missing and are either never found or found dead, especially in Mexico.
During the 1920s and 1930s, it was not uncommon for directors to assign roles that were inconsistent with del Rio’s Latinx identity. Exotic storylines often told the common stories that are reminiscent of the colonization of countries inhabited by people of color. Although these films exemplified her “foreignness” to American culture, none portrayed del Rio as more “exotic” as when she starred in Bird of Paradise, a romantic drama directed by King Vidor (1932), as the “savage princess, Luana” (18). The Bird of Paradise portrays a native princess, Luana, who meets Johnny Baker, a South Seas American man who jumps in a ship and arrives on her island before the two fall in love with each other. Described as having an “alien beauty [that] fits in so effectively with her role” by the New York Herald Tribune, Dolores del Rio is represented as a “foreign” woman who is saved by a white man in the film and is ultimately viewed as the “white [male] hero’s desire” (18).
The purposes of Jason C. Johansen’s ideas behind Chicano Cinema are that they are reflected into the roots, origins, and culture genre on Chicano films'. They can be into a group of categories such as “film BY Chicanos, films FOR Chicanos, and films ABOUT Chicanos”. Referring to the “Notes on Chicano Cinema (1979) by Jason C. Johansen”. We also can see that Johansen’s ideas are based on the types of musicals that are created by Chicanos. The type that connects to the futuristic science-fiction length film is based on the first category, style that links Johansen ideas and Chicano films'.
Dolores del Rio was frequently casted for movie roles that embodied the “exotic” and “foreign” appeal popular in the 1920s. In the silent drama film The Loves of Carmen directed by Raoul Walsh in 1927, del Rio is depicted as a Spanish gypsy, Carmen, who has the power to seduce any man. She has her heart set on Don Jose, played by Don Alvarado, and plans to win him over. Their relationship begins to take a downfall, and Carmen falls for another man--a bullfighter named Escamillo. Saddened but determined, Don Jose embarks on a journey to make Carmen his true love again.
The film “Raging Bull” made in 1980 by Martin Scorsese was based on a self destructive, highly emotional boxer named Jake La Motta as he battles through life. As his fierce attitude and violent temper takes him to the top of ring it ruins his family and life outside of boxing. Throughout the film we discussed the importance of the cinematography through out the film and why it played such an important role in developing “Raging bull”. Also the theme of anger and violence is displayed throughout the film. Jake never changes, from start to finish he is an emotional wreck, isolated and quick tempered.
Don Pedro recognizes this, so he promptly creates a plan
Topic Disclosure Today I will be talking about legends in Mexico, and what they tell us about Mexican culture itself and the tradition as well as the importance behind them. Audience Link Some people Don’t see much importance of being informed about these legends, because many will see them as a made up fantasy in ones head. Nevertheless you may never know for sure when you might come across with something similar to it. Preview During this speech I am going to share with you; what legends are along with a commonly told legend that has survived many decades.
This was the start of a sparked interest in comic books, radio, tourism and film. And by the mid-twentieth century, during the time of World War II, United States Hollywood leant a lot of its talent and equipment to Mexico and that was about the time Mexican history really started to build up and become a formidable force to reckon with. Mexicans began to invest heavily in television and movie’s during this time and witnessed an economic boom in the visual arts movement; especially in the areas of tourism, journalism and electronic media (Sacket). As domestic manufacturing and consumption grew Mexican’s start to identify with this time period as the Golden Age of Mexican National Cinema. Through this golden age marked a sense of patriotism and unity through their culture.
Student’s Name Professor’s Name Course Date Lost in Translation Lost in Translation is a romantic comedy-drama film directed by Sofia Coppola. The main actor in the film is Bill Murray portrayed as Bob Harris who makes friendship with Charlotte in a hotel in Tokyo. The story revolves around a love circle of two strangers that met in a hotel. This paper will be discussing the themes and styles in relation to moods, attitudes and conditions that existed during the recording of the film.
The Other Conquest, La Otra Conquista The film The Other Conquest is a drama about the aftermath of the 1520’s Spanish Conquest of Mexico told from the perspective of the indigenous Aztec people. It explores social, religious, and psychological changes that brought the historical process of colonization that both defined the South American continent and highly reminds us of today’s neocolonialism. In the film created by Salvador Carrasco, he tells us the story of the oppressed Aztecs by the Spanish conquistadors.
Kiarostami’s Ten (2002) is quintessentially an experimental film which has the form of a collection of conversations. This paper intends to analyse the film Ten in the light of third cinema which is originally a Latin American movement presently flourished all over the world. The film focuses on various
