5. Comparing and Contrasting 2001: a Space Odyssey and “the...
Comparing and Contrasting 2001: A Space Odyssey and "The Sentinel" Tracy Goldman HUMN425:
Science Fiction Georgia State University Comparing and Contrasting 2001: A Space Odyssey and
"The Sentinel" 2001: A Space Odyssey is a film based on Arthur Clarke's short story, "The
Sentinel." The purpose of this paper is to explain the similarities and differences between "The
Sentinel" and 2001: A Space Odyssey. There are many similarities and differences between "The
Sentinel" and 2001: A Space Odyssey. The obvious similarity is the crystal pyramid in the story and
the monolith in the film. According to Dictionary.com a sentinel is described as a) a person or thing
that watches or stands as if watching and, b) a character used to indicate ... Show more content on
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The narrator in "The Sentinel" identified earth as "our cradle," saying that they (creators of the
crystal pyramid) wished to help our infant civilization. Whereas in 2001, the consistency of the food
served in space is much like that of an infant's considering they have to eat by sipping from a straw.
The lack of gravity in space makes it that humankind has to learn how to walk again as a baby that
is now beginning to toddle. This demonstrates humankind is evolving from infancy on Earth into
toddlers of Space. This leads me to an important similarity found in the story as well as in the film
and that is humankinds dependency on technology. "The Sentinel" depicts the narrators and his
crews' strenuous use and need of technology while on the Moon in variously. Caterpillar pressurized
tractors are need to travel on the moon. On page 748, the narrators says "Inside our suits it was
comfortably cool, for the refrigeration units were fighting the fierce sun and carrying away the body
heat of our exertions". This shows that without the suits and technology, mankind would not stand a
chance on the Moon or in space for that matter. This can be seen in 2001 when the apes discover that
the bones from the pigs can be used as a tool to crush the other bones which leads to the use of the
bone as a weapon to kill the pigs. This shows the nature of technology or tools in this matter can
lead to humans to succeed when faced with dire circumstances,
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6.
7.
8.
9. Man's Evolution In The Film, 2001: A Space Odyssey
"Evolution is fascinating to watch. To me it is the most interesting when one can observe the
evolution of a single man" Shana Alexander. Winston Ryder, head of the sound and editorial
department, won best soundtrack in 1969, and rightfully so. The use of sound, or no sound, and the
editing was used incredibly to show the evolution of man over billions of years. 2001: A Space
Odyssey has a realistic, yet theatrical, use of sound and editing to convey the evolution of man. The
'monolith' is one of the main ideas in 2001: A Space Odyssey. The tall, looming, black structure in
this movie is the main component of man's evolution. There are three main instances in the movie
when man's evolution is launched forward due to the influence of the strange monolith. Also, there
are specific songs which are affiliated with the monolith scenes or when man's evolution is launched
forward. The first appearance of the peculiar monolith was in the beginning of the movie during the
"Dawn of Man." The man–like apes are first shown, unevolved and somewhat savage. Overnight,
the looming monolith appears, and the non–diegetic sound of Ligeti: Requiem: II Kyrie plays,
shown in Figure 1. The long take of these apes, at first being ... Show more content on
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The classic 2001: A Space Odyssey theme song plays, also called Also sprach Zarathustra:
Einleitung, oder Sonnenaufgang. This song is the well–known song of the movie, when this song is
heard the majority of people imagine all the classic scenes of 2001: A Space Odyssey. Although it
was not written as the theme song, it has over the years become what Also sprach Zarathustra:
Einleitung, oder Sonnenaufgang is affiliated with. This song, throughout the movie, is played in
association when the monolith influences the evolution of man. This scene speficially when the apes
discover using a bone as a weapon to eat better food, then for killing to obtain the watering
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10.
11.
12.
13. Review Of Stanley Kubrick 's ' 2001 : A Space Odyssey '
ESSAY
Drawing on the work of Chion, Eisenstein or others, assess how effective the film soundtrack is in
either Forbidden Planet, Points in Space or 2001.
Stanley Kubrick's legendary film "2001 : A Space Odyssey" (1968) is an epic of space exploration
and meditation on the possibility of extraterrestrial influence on the process of human evolution. The
film is set in the near future at a time when the moon is colonised and space travel, at least around
the planetary system, is quite usual.
Kubrick said "2001 aspired not to the condition of a science fiction novel but to that of music" (
Baxter,1997 :215)
Kubrick gave this description of "2001": "It is a scientifically based yet dramatic attempt to explore
the infinite possibilities ... Show more content on Helpwriting.net ...
The Richard Strauss' "Thus Spake Zarathustra", Johann Strauss' "Blue Danube Waltz" and Ligeti's
"Requiem" act as recurrent themes in the film's story. The C–G–C chords of "Zarathustra" is first
heard playing triumphantly like a fan fare in the opening title which juxtaposes the Sun, Earth and
Moon. "Zarathustra" acts as bookends for the beginning and end of the film and indicates the
importance of the moments of the evolutionary transformation first from ape to man to Star Child.
"Zarathustra" is heard near the end of the film as Bowman is transformed into the Star Child which
moves earthwards through space, its glowing eyes look back at us. The grandeur of "Zarathustra's"
timpani pounds across space supporting this image of human transcendence. "Zarathustra" gives it's
visual component immense power.
The "Blue Danube" is used during the space station docking and lunar landing sequences turning a
spacecraft's orbit into a ballet. It's also used for the closing credits. The particular recording used is
important. Kubrick chose a sumptuous and expansive recording by the Berlin Philharmonic. The
"Blue Danube" serves many functions. The Waltz acts as musak – happy music for space travellers.
According to Michel Chion (Chion 2001), a shock, both pleasant and intoxicating, was produced by
this choice .
Kubrick said "It's hard to find anything much
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14.
15.
16.
17. Film Industry : Creative Industry
Film Industry
CREATIVE INDUSTRY REPORT
Mickey Brestakova | HND 3D Animation | 26/09/17
Background and History of
Creative Industry
The British's creative industries have never been stronger. British creators are behind some of the
world's successful video games, UK architectural corporations lead on high–profile projects across
the world, while British films are taking the most wanted of international industry awards.
It's a way to describe a lot of different activities which have creativity at their heart – for example
computer games, design, music, publishing, architecture, film and video, crafts, visual arts, fashion,
TV and radio, advertising, literature, and the performing arts. What describing them in this way
does, is that it ... Show more content on Helpwriting.net ...
This compared to around 4.2% of all goods and services exported. Exports for the creative industries
raised at around 15% per annum over the period of 1997–2001. In June 2002, creative employment
made 1.9 million occupations and there were around 122,000 businesses in the Creative Industry
sectors on the Inter–Departmental Business Register (IDBR) in 2002. According to the Financial
Times, "a report from the British Government's Strategy Unit has concluded that the creative
industries in London are now more important than financial services to the economy. Employment
in the creative industries (including fashion, software design, publishing, architecture and antique
dealing) has topped 525,000 and is still rising, compared to a mere 322,000 and falling in financial
services."
Film Industry
The creation and showing of motion films became a source of income almost as soon as the process
was created. The Britain has had a significant film industry for over a century. While film
production reached an all–time high in 1936, the "golden age" of British cinema is usually thought
to have happened in the 1940s.
The identity of the British industry, and its relationship with the Cinema of the United States, has
been the subject of discussion. The history of film production in Britain has often been affected by
attempts to compete with the American industry. The career of the producer
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18.
19.
20.
21. People Like Us: Social Class In America
People Like Us: Social Class in America Film Review
Introduction
America is a complex and diverse web of individuals marked by social stratification, a system by
which a society ranks categories of people in a hierarchy (Macionis, 2011, p.204). The film People
Like Us: Social Class in America discusses the class system, social stratification based on both birth
and individual achievement, which the American people use to define others (Macionis, 2011,
p.206). It explores the many variables that contribute to the determination of a person's class; such
as, ancestry, education, and money. Ancestry will be a main focus because it has such a strong
influence on the class system of today. The film provided an informative and entertaining ... Show
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Analysis
Ancestry and its Effect on Class Family ancestry is an important factor in determining social class.
Both rich and poor are influenced by their family's income, occupation, and education. This concept
is illustrated in the film through speaking with members of the WASPS and in Tammy's Story. It
affectively shows how the family that one is born into can greatly influence their life that they are
living.
WASPS.
The WASPS represent a group of individuals who are established high in society's social hierarchy
based on money, family name, and attitude (Alvarez & Kolker, 2001). These White Anglo–Saxon
Protestants are part of the upper–upper class, which is less than 1 percent of the U.S. population
(Macionis, 2011, p.223). Membership into this prestigious class can only be achieved through birth.
The film depicted a man describing what a person in this class looks like and how they think. He
said these people have a reputation to uphold and therefore act in a certain way based on the
knowledge they have acquired throughout their lives. He said, "WASPS stand better, are nicer, more
attractive, and more cultured" (Alvarez & Kolker, 2001). This idea shows he believes that the people
within this social class are all around better people.
The WASPS have privileges unlike any other class in America. In the film,
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22.
23.
24.
25. The Annealing Of Lead Zirconium Titanate Thin Films
Introduction
This paper will focus on how the annealing of lead zirconium titanate thin films affects its various
properties, including its microstructure and electrical properties. This includes examining factors
such as the annealing methods, environment, temperature, hold time and heating rate. Lead
zirconium titanate is important because improvements in its production will allow for major
improvements the next generation of electronic sensors and storage systems.
Background
Piezoelectric materials are a class of materials that exhibit gaining or changing polarization when a
stress is applied to the material. Polarization is the separation of charges when a material is exposed
to an electric field. This ability to polarize allows ... Show more content on Helpwriting.net ...
Figure 1: Perovskite Structure of PZT (Structure of PZT)
PZT is mostly used in thin film formations and is known for its high dielectric constant, meaning
that PZT can store a large amount of electric charge in an electric field. This dielectric constant
depends on the film's composition, with the highest value measured around the morphotropic phase
boundary. The morphotropic phase boundary is where a ferroelectric material transitions from its
tetragonal and rhombohedral phases, which for PZT is around an atomic ratio of 1.00 Pb:0.52
Zr:0.48 Ti (Chen et al., 1992). PZT is made via a number of processes where a film of the desired
composition is deposited on a substrate and annealed to crystallize. The film deposition can take
place in different ways, including sol–gel spin coating, molecular beam epitaxy, chemical vapor
deposition, pulsed laser deposition and sputtering (Chang, 1999). While these factors have an impact
on the final properties of the PZT, the final annealing determines the majority of the properties.
The annealing of lead zirconate titanate is similar to annealing any other material where heating the
material improves the crystallinity of the material and removes defects. For PZT this is especially
important since the amorphous phase must transform into another phase before finally transforming
into the desired perovskite phase. This intermediate phase is the pyrochlore phase, which
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26.
27.
28.
29. Of Stanley Kubrick�s 2001 : A Space Odyssey And Alfred...
Stanley Kubrick's 2001: A Space Odyssey and Alfred Hitchcock's Psycho share a variety of
suspense–building cinematic techniques. These directors, both of whom are highly aware of the
audience experience, pay close attention to sound, pacing, point of view, and transitions in order to
convey a thrilling sense of uncertainty. Additionally, the suspense created in both films can be
described using categories of suspense discussed in class, as well as those laid out by Susan Smith in
Hitchcock: Suspense, Humour, and Tone. While Kubrick's suspenseful techniques in 2001 can be
categorized as more contemplative and atmospheric than those characteristic of Hitchcock, both
understand the importance of exercising a rigorous level of control over the information revealed–or
not revealed–to their audiences. Each of these two works exhibits a masterful control of suspense,
but largely due to his celebrity and filmmaking reputation, Hitchcock relies more than Kubrick on
these techniques. Taken as loosely representative of Kubrick and Hitchcock's respective bodies of
work, 2001 and Psycho illustrate the differing consumer, studio, and artistic expectations placed on
each director–and more importantly, the opportunities and limitations that these expectations created
for the two filmmakers.
Both Kubrick and Hitchcock were widely regarded as virtuoso filmmakers in their era, and both put
great effort and intentionality into creating a meaningful audience experience. Much of this work is
done
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30.
31.
32.
33. Therapeutic Communication In The Movie Wit
At the beginning of the film, Wit, Susie was a bit distant and impersonal. She did not maintain much
eye contact with Professor Bearing, nor did she initiate the use of broad openings to engage with her
about any possible underlying concerns or needs she may have. Her facial expressions demonstrated
disinterest, and her tone was very flat when she did speak to Professor Bearing. Such is the case
after Professor Bearing's emesis. When Susie walked into the room, she did not address or even
acknowledge Professor Bearing; instead, she simply drained out the basin while insensitively
pointing out that Professor Bearing was not getting many visitors, and that she expected her not to
(Edson et al., 2001, 27:59). When Professor Bearing did not want to have an ultrasound done at the
time that Susie requested, Susie dismissed her strong reluctance and forced her to come with her.
(Edson et al., 2001, 45:40) Towards the end of the film, Susie's behavior demonstrated empathy and
warmth. She took the initiative to ask Professor Bearing what was wrong when she could clearly see
the distress and turmoil on her face, leading to her receiving a heartfelt and emotional response from
the latter who was expressing her fear of dying (Edson et al., 2001, 1:01:00). This is an example of
therapeutic communication that positively impacts their nurse–patient relationship; by making
observations, Susie was able to engage in a tender moment with Professor Bearing and ease her
worries through
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34.
35.
36.
37. Symbolism Of The Monolith And Re Red By Stanley Kubrick
Human made structures in this film are curved and spherical. However, before our main characters
are presented with the monolith for the first time the rooms and spaces they inhabit are square and
sharp in nature. The meeting room on the Clavius, HAL's core on the Discovery. This impending
doom is a subtly hint by Kubrick, an indication that the monolith is about to appear, the sharp lines
and dark interiors replace smooth curves and white walls. All this gives a sense of dread and
powerlessness from the onset of the monolith. Humans are simply pawns, running about. White is a
predominant color in Kubrick films. From the costumes, liquids and phallic sculptures of A
Clockwork Orange (Stanley Kubrick, US/UK, 1971) to almost every set in 2001. White is safe in
2001, comforting and non–threatening. This is juxtaposed with red. ... Show more content on
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Introduced first by the apes at the beginning and then used throughout to emphasize the notion of
humanity and other intelligence i.e. the monolith. The moon base interior looks like a vascular
system and HAL's core looks like a brain. Kubrick gives life to spaces through the use of red in
2001. Making the audience feel and subconsciously know and feel different upon the introduction of
red from the offset when one ape kills another. Black is used for the absence of knowledge. The
intro to the film is a black screen. The monolith is black. Space is black. The scene where Poole
floats off through space and is subsequently devoured by it is dimly lit by the stars in space, he
becomes a speck in the vastness of uncertainty. Black is used as fear in this film, the unknown, we
begin with black and end with it, the monolith leads us through time in a sequence filled with and
color and only then do we know of its intention to be brought right back to the beginning of the
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38.
39.
40.
41. Stanley Kubrick's 2001: A Space Odyssey?
How can a film with fewer than forty minutes of dialog, the first word spoken nearly half an hour
into the film, be considered one of the greatest of all times? 2001: A Space Odyssey (1968) is a
symphony of sight and sound, rich and compelling, exploring the gritty innermost workings of space
exploration and displaying the final frontier in all its wonder and mystery.
Director Stanley Kubrick's masterpiece is a visual and auditory sensation, the likes of which had
never been seen before its creation. The plotline, if such a straightforward word could be used as a
description, spans millions of years, and the first word of dialogue is spoken twenty–five minutes
into the film. Arthur C. Clarke, the film's screenwriter, said "If you understand
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42.
43.
44.
45. Essay about 2001 A Space Odyssey Analysis
2001: A Space Odyssey
The following paper will analyze the movie, "2001: A Space Odyssey" by Stanley Kubrick" and
"The Centinel" by Arthur C. Clarke. Although there are many themes present between the story and
the film, the following are the most dominant. I will be discussing Scientific themes, Religious and
Moral Themes, and Clarke's development of the short story into a full–length film.
The first issue, I will be discussing the scientific themes of the movie. The movie, "2001: A Space
Odyssey," has a one of a kind vision of science and technology. The movie "2001" brings a great
new style of reality and realism to space technology and travel. Since there was no great ... Show
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Therefore, even though HAL 9000 is a computer, he possesses many humanlike characteristics.
The discussion about science leads into the second point of monoliths and technology.
www.dictionary.com defines a monolith as something, such as a column or monument, made from
one large block of stone. This is first portrayed in the first couple of scenes in the movie. As the
gorilla finds the monolith, picks it up and uses it as a weapon to kill prey. Next, when the gorilla
throws the bone up in to the air, it becomes a space ship over Earth. As I researched, this was the
longest time change in history of all the movies. Considering the bone became the spaceship just
shows that even though technologically people have progressed, the minds still stayed relatively the
same with the same goals. As a saying my mother once told me, Men are like children, but when
they get older they change their toys. I find this to be relevant in "2001" as the time change only
portrays a different time period but more or less the same content. Because the movie is very slow
paced, in my opinion, it gives the viewer a lot of time to question everything that is happening and
make sure to understand everything. There is not much conversation there either which is not
serving as another distraction. Makes the theme of the movie very clear. Stanley Kubrick also
includes the
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46.
47.
48.
49. The Films of Stanley Kubrick Essay
The Films of Stanley Kubrick The films of director Stanley Kubrick divert from any categorized
genre upon analysis. Instead they use themes that also expand into cinematic concepts due to certain
construction processes used in the making of his films. This distinguishes Stanley Kubrick as a film
maker and also places his films in their own genre. Analysing the two films 2001: A Space Odyssey
(1968) and A Clockwork Orange (1971) the production processes will be examined to determine
how they bring about the construction of ... Show more content on Helpwriting.net ...
2001 bases itself on the idea that superior intelligence watched over man since ape hood, and leaps
ahead to the year 2001 showing the advances of technology and the link between man and machine.
Machines begin to assert themselves where astronauts Dave Bowman and Frank Poole are at the
mercy of computer HAL 9000 controlling the space ship. This highlights a conflict between man
and machine and later ends with Bowman reclaiming the ship and ending with Bowman being
reborn as an enhanced being.
The shooting and filming stage took four and a half months. After the opening of 2001 the first
scene is titled "The Dawn of Man". A series of four fades mark the different phases of the Dawn of
man. These fades describe a cycle, beginning with signs of the ape men near extinction on a dry
landscape, followed by territorial conflicts around a waterhole, unknown terrors sounding at night
and finally the sudden appearance of an alien monolith marking the evolution. Low angle shots are
used here showing the monolith with the moon and the sun. Visually this has an effect on showing
the monolith assuming a status equal to the planets and locates the cosmic intelligence within the
film for the impending
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50.
51.
52.
53. The 2001 Film Amélie Directed By Jean-Pierre Jeunet
The 2001 movie Amélie, directed by Jean–Pierre Jeunet, is a significant movie that demonstrates the
unique characteristics of French movies. Two important ways that Amélie differs from the
conventional movies, like Hollywood movies, is by the use of the camera and the mise–en–scène.
The scene of the movie Amélie that is important to have in the movie is when Amélie is helping the
blind man. This is important because it is where the actual movie starts. In the beginning, the
director gave the audience background information about Amélie and it introduces the main plot.
Amélie starts by making a change and taking control of her life. It starts with this scene, where she
helps the blind man by describing the surrounding and making him feel like ... Show more content
on Helpwriting.net ...
The camera follows Amélie as she navigates through the city. The angles are slightly slanted, which
what makes this scene very unique and also distinctive from other important scenes in this movie. In
this scene, the camera follows Amélie and the blind man down the sidewalk. This happens quick and
the camera movement moves along with them. Also during this scene, there is a lot of different
camera angles and camera positions. It doesn't focus on the the surrounding, but the main thing that
the audience gets out of this is the way Amélie is helping the blind man and most importantly, is the
blind man's reaction. His faces is amazed and also pleased by the way that Amélie is helping him.
Mise–en–scène is the setting of the scene and how it is set. The mise–en–scène is set in a particular
way to make this scene work. During this scene, Amélie and the blind man are outside on the streets.
As Amélie tells him what is going on around, they make there way down the sidewalk. The sidewalk
is clear for them to walk to and the director made this happen so they transition easily to one point to
another. Also the setting is set by having vendors on the street. Amélie describe what they are selling
and also other things that one would see as he/she would be passing down the
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54.
55.
56.
57. My Favourite Movie My Favorite Movie
Released in 1968, 2001: A Space Odyssey was produced and directed by Stanley Kubrick, and
written by Stanley Kubrick and Arthur C. Clarke. 2001: A Space Odyssey is my favorite film
because I discovered the film at the age of twelve years old after I came home from middle school
on a Tuesday and 2001: A Space Odyssey was playing on the Turner Classic Movies channel on TV.
I did not quite understand what was going on during the film, but I was so mesmerized by the film
that I decided to keep watching. 2001: A Space Odyssey is about an imposing black structure that
provides a connection between the past and the future. Dr. Dave Bowman and other astronauts are
sent on a mission, their ship's computer HAL–9000, begins to display strange behavior, leading up
to a tense showdown between man and machine. 2001: A Space Odyssey is my favorite film for
several reasons. One reason 2001: A Space Odyssey is my favorite film is because the film
introduced me to a new genre of cinema and opened a new world of different types of films to me. I
first discovered the film at the age of twelve while coming home from middle school and 2001: A
Space Odyssey happened to be playing on TV. I remember walking into my house, and the TV was
playing so loud that I naturally walked into the living room to see the cause of the noise. I came
upon a scene of this character, Dr. Dave Bowman, traveling through space heading home and as he
is heading towards earth, bright neon, colors are rapidly passing him
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58.
59.
60.
61. A Comparison Of The Film And Arthur Clarke's 2001 : A...
Literature can, at times, have a fascinating connection with film. Whether it is a film or a piece of
literature, both are written by someone that wants to leave an impact on an audience. However,
movies and books have different roles. They each have different strong points wherein books give
better characterization, stronger revelations, and inner conflict, but movies create a better mood with
music and visuals, showing much more emotion. It's a totally different kind of experience, of course,
and there are a number of differences between the book and the movie. The novel of 2001: A Space
Odyssey by Arthur C. Clarke, for example, attempts to explain things much more explicitly than the
film does, which is inevitable in a verbal medium. The movie version of 2001: A Space Odyssey,
directed by Stanley Kubrick, on the other hand, is essentially a visual, nonverbal experience. It
avoids intellectual verbalization and reaches the viewer's subconscious in a way that is essentially
poetic and philosophic. The film thus becomes a subjective experience, which hits the viewer at an
inner level of consciousness, just as music does, or painting. Utilizing its verbal medium, Clarke is
able to explain his narrative, whereas Kubrick creates a visual and audial experience, through means
of ambiguity, in which the viewer sees everything, is told nothing, and in which one cannot detect
the presence of the film as one at all. In Kubrick's edition of 2001: A Space Odyssey, ambiguity is an
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62.
63.
64.
65. Spake Zarathustra In 2001: A Space Odyssey
In 2001: A Space Odyssey, music is used to help keep the audience involved and to enrich the plot.
In fact, this film is meant to be a nonverbal experience; it is roughly two and a half hours long and
there are actually less than forty minutes of dialogue in the entire thing. The opening song in 2001:
A Space Odyssey is Thus Spake Zarathustra which is more fitting in more ways than one. This piece
was actually written for Friedrich Nietzsche's literary work of the same name. The novel is about the
step stones that mankind makes from ape to proto–man to the god–like overman. This is also one of
the main themes of the film. Thus Spake Zarathustra can be heard at various times in the film when
the hominids are considered to have evolved. The Gayane
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66.
67.
68.
69. Analysis Of 2001 A Space Odyssey
In 1968, reputable director/producer Stanley Kubrick revolutionized the art of film with his Arthur
C. Clark collaboration, 2001: A Space Odyssey. The MGM film is known for it's striking imagery
mostly because, upon an audience member's first viewing, it is the only thing that actually makes
sense. After the second or third viewing, though, one realizes that the story is something larger than
life. Or at least it is larger than the human race. 2001 tells the story of evolution and the future that
humans might eventually encounter. The plot of 2001: A Space Odyssey is complex. The basic plot
takes place after the human race finds a mysterious monolith buried on the moon. A crew of
astronauts, the main of which are Dr. Dave Bowman, played by Keir Dullea, and Dr. Frank Poole,
played by Gary Lockwood, set out on a mission to the outer moons of Jupiter. With them is the
artificial intelligence computer, H.A.L. 9000, which controls all of the functions of the ship,
including the life support systems holding part of the still–hibernating crew. After a series of events
that lead Dr. Bowman and Dr. Poole to believe Hal is malfunctioning, relations between human and
computer become hostile. The function of this film is not to portray computers as evil beings. 2001
serves as a science fiction thought piece on what the next step of evolution might be. The film starts
by showing the dawn of man four million years ago. The actions of the apes are primal. They are
mostly herbivores
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70.
71.
72.
73. Disco Pig Romanticism
The Tragic Irish Romance: A Film Review of Disco Pigs (2001)
The film, Disco Pigs (2001), by director Kirsten Sheridan presents the tragic romance of two
teenagers living in Cork, Ireland. The plot of the film revolves around the friendship of Darren
(Cillian Murphy) aka. "Pig" and Sinéad (Elaine Cassidy) aka. "Runt" as they grow up together in a
small town. The friendship, however, begins to take on a more romantic "twist" when Pig becomes
jealous of Runt's burgeoning relationship with Marky (Darren Healy) in their teenage years. More
so, Runt wants the relationship with Pig to remain platonic, but he adamantly refuses. After being
separated by family by having Runt sent to a boarding school, Pig continues to pursue her. More so,
Pig finds ... Show more content on Helpwriting.net ...
). In this film, IRA member, Fergus (Stephen Rea), inadvertently falls in love with Dil (Jaye
Davidson). In an unusual romantic twist, Dil turns out to be transgender, which challenges Fergus'
heterosexual identity. Ironically, Fergus eventually falls in love with Dil, which is not unlike the
transformation of Pig's platonic relationships into a romantic interest in Runt. Although The Crying
Game deals primarily with transgender relationships, it is apparent tht both films define romantic
love within the context of Irish culture. These films present the calamitous nature of tragic love,
which defines the death of Pig and the imprisonment of Fergus for taking the blame for a murder
committed by Dil. Disco Pigs (2001) deals with the grave circumstances of romantic love, which
typically deal with the undercurrent of violence tht stems from conflicts within Irish culture, such as
The Troubles. However, the overarching theme of Disco Pigs (2001) and The Crying Game (1992)
represents an Irish perspective on tragic romantic love that can only consummated through death
and dysfunctional relationships. Disco Pigs (2001) is exceptional film that defines the evolution of
platonic love into the tragic downfall of Pig and Runt in the romantic calamity of teenage
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74.
75.
76.
77. Stanley Kubrick's Monolith: The Sixties
Dennis Dorrell
American Pop Culture of the 1960's
Prof. Wilson
12 November 2014
Stanley Kubrick's Monolith: The Sixties To this day, Stanley Kubrick remains one of the most
influential and even notorious directors of American cinematography. Beginning in the 1950's, his
work spans five decades and is responsible for collecting the attention of audiences to this day.
However, it was in the 1960's that Kubrick substantiated and crafted his abilities as a director and a
creative mind. During this decade, the United States underwent a generational revolution that
influenced many of its cultural facets––in particular, motion pictures. Kubrick's two epics, Spartacus
and 2001: A Space Odyssey, frame the beginning and end of this decade and thusly ... Show more
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In the former, Kubrick uses long, slow–moving tracking shots to span a montage of large training
scenes, each depicting complicated scene–work involving intricate choreography in both the
foreground and background of the film. In the climactic battle scene of Spartacus, the Roman army
is shown performing a series of complex marches across a vast, expansive landscape. Each cut is
long and visually complex, splashed with the red of the Roman cloaks against the blue sky. In each
of these scenes, the camera moves slowly if at all, allowing the intricacy of the scene–work to be
soaked up by the audience. This style of cinematography, while it had yet to bear any symbolic
weight, was a primitive start for Kubrick's cinematic style. That being said, Spartacus does represent
certain aspects of Kubrick's theme regarding man controlling
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78.
79.
80.
81. Stanley Kubrick's Film, 2001: A Space Odyssey
Although Stanley Kubrick's film, 2001: A Space Odyssey, was first shown in theaters in 1968, it is
still thought to be one of the single most phenomenal films ever released. For this reason, the film is
shown in schools throughout the country, providing an example of exclusive style and visual
breakthroughs. Kubrick avoids the use of dialogue throughout most of the film, displaying to people
the importance of pure visuals and music. 2001: A Space Odyssey is paced at a slow and meticulous
manner, something unique to films produced both before and after its time. Kubrick's film is perhaps
most well known for its revolutionary visual sequences, continually astounding people throughout
the world almost five decades after the release.
As soon as viewers hear the suspenseful, and somewhat familiar, beating of the drums as the credits
roll by, they are met with feelings of anticipation. The film then begins with a long silence, where
only discrete sounds of undeveloped man–apes and leopards are heard. When Moon–Watcher, the
leading man–ape of one tribe, reaches out to touch the mysterious monolith that has landed on Earth,
the anticipation returns. The familiar hypnotic beating of the drums provides viewers with a sense of
suspense, which seems to accompany each breakthrough into the unknown. The reappearance of the
fast–paced drumming occurs yet again when Dr. Heywood Floyd, a scientific specialist, mirrors
Moon–Watchers actions, and places his hand on the monolith ... Show more content on
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This is taking a different route from what people know as the 'traditional' film style of fast–paced
action and heroic characters. The ambiguity of the film allows the viewers to form their own
impressions with the visuals and music given. Much like when one beholds a painting or listens to a
music piece, written explanations are not needed. Each viewer perceives the film differently than the
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82.
83.
84.
85. Essay On Scientific Aspects Of 2001: A Space Odyssey
Scientific Aspects of 2001: A Space Odyssey By Ferdinand Stirling 2001: A Space Odyssey was
released 1968; a year before Neil Armstrong was the first man on the moon in 1969. While fictional
astronaut, David Bowman drank peas through a straw, Neil Armstrong ate freeze–dried peaches.
With some science accurate and some false, how much science did Stanley Kubrick's 11th film get
right? We can look at the areas of, spaceship design, communication, food, and sound to compare
the science in 2001: A Space Odyssey to actual science. In the film we see some spaceships
designed like airplanes. They have longer wings and sleek bodies; this is inaccurate in comparison
to today's bulky spaceships. The intention behind the bulky design of real–life spaceships is to
provide the maximum amount of fuel possible to the astronauts in contrast Astronauts in the film
don't mention fuel. The Space station's body in the film is circular; this may look visually appealing
but would be impossible to actually launch into space, along with the thin spacecrafts.Kubrick
predicted that over the years spaceships would slim down but the designs of today's space–shuttles
have remained relatively similar to ... Show more content on Helpwriting.net ...
In the film astronauts drink their food out of a straw or sometimes eat it as a pâté. Food in the film
wasn't freeze dried or wrapped in air–tight packaging even though the astronauts were in space for
many months. This is not true to actual science because food that isn't preserved will spoil within a
month.Today's space food needs to be freeze dried because voyages may last more than a year. The
food in the film also doesn't seem to come in airtight packages which is standard procedure for
modern astronauts. However, one area that the film did reflect accurately is that space travelers
today can heat up their food in convection ovens; similar to 2001: A Space Odyssey where
astronauts can heat up their food in on board
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86.
87.
88.
89. Early Life And Education : Zarah Leander Essay
Early Life and Education Zarah Leander was born as Zarah Stina Hedberg in Karlstad, Sweden on
March 15, 1907 (Koepnick, 2002). Leander was a famous actress and singer of Nazi Germany
during the Third Reich (Ascheid, 1999). Early on, Leander began her career in Sweden as an actress
in both films and staged acts (Lunde, 2011). According to Ascheid (2003), Leander also was a
recording artist that had songs in many different languages such as in French and in her native
language, Swedish. Although Leander was in the film and music industry, she was not very well
known beyond the proxemics of her homeland in Sweden (Ascheid, 1999). In 1936, Leander was
first discovered by the German film industry for her staged musical role in Axel an der Himmerlstür,
which took place in Vienna (Ascheid, 1999). This was Leander's first German language role
(Acheid, 1999). The German film industry was in search for a female icon that could replace
Marlene Dietrich for her lack of role as a diva (Ascheid, 1999). Leander was viewed as a remarkable
woman, who had the capacity to appear dangerously seductive while still remaining pure and
innocent (Ascheid, 1999). Although Leander was not German, her double–image persona aligned
with Nazi ideologies. In 1936, Leander was then signed off for a contract of three films by the
German film industry, Ufa (Ascheid, 1999). She was also offered a reward of 200,000 Reichsmark
(Ascheid, 1999). Leander's first project with Ufa was for a film called Zu Neuen
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90.
91.
92.
93. Technology and Human Evolution in the Film, 2001: A Space...
In the science fiction film, 2001: A Space Odyssey. The director, Stanley Kubrick, portray his
masterpiece in an ambiguous understanding where he examines topics such as extraterrestrial life,
the dealings with technology and the human evolution. Throughout the movie, Kubrick depicts the
facade, monolith as an instrument in awakening intelligence. Moreover, the protagonists go through
a drastic change of struggle to explore on the idea of technology and extraterrestrial life.
In the opening scene, a mysterious black monolith is bestowed upon the prehistoric apes. It appears
in the cool desert dawn as the sun rises with blinding light. Prior to the rising of the monolith, the
apes lived in a very peaceful manner. Once, the apes reached in ... Show more content on
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Nevertheless, the appearing of the monolith is an indication of apes advancement in higher orders
and knowledge, with the ability to hunt and search for food in a much more efficient fashion. Which
resulted in their first murder.
Not only does Kubrick, focuses the monolith with the apes. He further depicted the monolith in
outer space with the contacts by humans. The setting of the monolith is not too different from the
prehistoric setting. As the sun rises over the top of the monolith, just like in the previous setting of
the monolith. Reactions by the humans were not that far different from the reaction by the apes. As
both species, reacts in a confusing manner by such an unknown object. All the same, the appearing
of the monolith in both scenes is a sign of advancement in society and the minds of people
Even in space, the encounter with the monolith opens up another part to evolution, represented by
Dave as he experiences the evolution. Kubrick uses the monolith in each part as a sign of a new
chapter in life. Overall, the successes of human achievement are consistent by the appearance of a
façade structure known as "the monolith" which adds on to the evolution of exposing new spices
and exposing the avant–garde generation.
Every scene with the showing of the monolith, all exposes a experience that changes the society.
Starting with the Moonwatcher, the invention of tools and technology comes into play, by
transforming the apes to uses
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94.
95.
96.
97. A Project Review : Cometic View Of Society
I have taken many steps towards complete this project. My working title is Cometic View of
Society. I've picked this title because I have picked two controversial comedic movies to do my
media analyst on. The two movies I've chosen are Poultrygeist: Night of the Chicken Dead and Ted.
I have watched both movies and are rewatching them while taking notes. This step will help me
answer the research questions. I have prepared for this project by reading all of the requirements for
each part of this project. I have also done some research on what a media analysis really is, as it
pertains to film and written text. At this point in time have only completed the beginning of this
project. I still need to do more research on each film. This ... Show more content on Helpwriting.net
...
How news station covers an issue also allow us to see different perspectives from different sources.
When looking a film, we can see what political issue what prevalent at the time. We can also see an
evolution of social change when viewing films from 1920 to 2017 (Kellner, 2001). The 3
components of critical cultural studies are " discusses production and political economy, engages in
textual analysis, and studies the reception and use of cultural texts" (Kellner, 2001, p. 4). What
Kellner means when he referring to production and political economy is that we must study text
within a culture (Kellner, 2001, p. 4). " Inserting texts into the system of culture within which they
are produced and distributed can help elucidate features and effects of the texts that textual analysis
alone might miss or downplay" (Kellner, 2001). When Kellner refers to engages in textual analysis,
he is saying that we should look further than what is being said. To do this you use semiotics, which
finds meaning behind text and nonverbal codes. A combination of a formalist and a semiotic
analysis would allow for an in–depth view and the meaning of text, film, and nonverbal
communication within a culture. Reception and use of cultural text means that people of different
backgrounds will all read a text differently. When Kellner mentions media culture he's talking about
how people use media to create their own identities and deal with society (Kellner, 2001). Kellner's
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98.
99.
100.
101. Dreamwork's 2001 Film Shrek: Ready For A Make-Ogre
A Shrek–tastic TaleA swamp and an Ogre isn't your everyday
The traditional fairytale is ready for a 'Make–Ogre' in Dreamwork's 2001 film Shrek, explains
Charlotte McClintock fairytale beginning, but Shrek isn't your traditional Cinderella story. Today I
interview Vicky Jensen about how Dreamwork's 2001 film changed the way we all look at fairytales
and happily ever afters.
From the moment the green ogre Shrek enters the scene bathing in a swamp, we realise this isn't a
fairytale full of ball gowns and magical elements. Why did you decide to subvert the fairytale genre
and how did you do this?
We wanted to produce a fairytale that was 'fractured' by making you believe that you were about to
watch another traditional fairytale.
In the opening scene, a ... Show more content on Helpwriting.net ...
Upon Lord Farquaad entering the movie, we used different camera angles to initially make us all
believe he will be the strong noble prince stereotype that is expected in fairytales.
The following long distance shots with the opening of the dungeon door and the lowering of the
castle bench to accommodate Lord Farquaad's height which shows the audience that he is in fact
very small. As the film progresses, the viewer learns more about Farquaad's short–tempered and evil
nature, opposing the prince stereotype. This is displayed through various film techniques including
camera angles, as he feels the need to be seen as a dominating and demanding character to
compensate for his small stature.
He tortures the Gingerbread man by snapping off his legs and attempts to get rid of all the fairytale
creatures as he believes they are ruining his 'perfect world'
Through the use of different film techniques focusing on Lord Farquaad's facial expressions, loud
condescending voice, background music and dim lighting helps to add to the effect that Lord
Farquaad is opposing his stereotype of a prince by being the villain of the
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102.
103.
104.
105. The Film The Others ( 2001 ) By Alejandro Amenabar
The film The Others (2001) by Alejandro Amenábar is a ghost story based around a family that
believes they are being haunted by spirits in their home but come to realize they have already died
and are haunting the new family that moved to the house. The title of the film refers to servants that
abandoned the house and is used constantly throughout the film to reference the intruders and other
spirits the original family believe are residing there. The main lesson to be learned from the film is
that things are never as they appear which is proven when we find out that the mother, Grace, killed
her own children and is a ghost along with her children. Since Grace is a ghost attempting to live in
a world where her children are alive, she is living in the past which we find out leads to her
breakdown when she finds out she is already dead. This theme of living in the past can also be found
in Our Town, which is another ghost story.
Our Town (1938) by Thornton Wilder is a play centered around the American lifestyle in 1901 that
follows two people as they grow up together, get married and eventually pass away. Each of the
three acts showcase a different period in Emily's and George's life until Emily dies during childbirth
at the beginning of the third act. Then the play shifts to Emily's life as a ghost as she reflects back on
life and learns that you cannot repeat the past. This play, like The Others, features invisible people
but they do not appear to be a threat as they were in
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106.
107.
108.
109. To Live With Herds Summary
Steven Dawson
Dr. Dowell
ANT4930
16 October 2017
Participatory Cinema and Filmmaker Relationship in "To Live With Herds"
In filming and editing "To Live With Herds," David MacDougall used a blend of observational and
participatory approaches to the ethnographic film making process. Through this, MacDougall
indexed his encounter with the Jie people, having them work with him by participating in the film
making and editing process. He also incorporated an unprivileged camera style, acting as a fly on
the wall and catching overheard conversations, all the while moving at a relatively unhurried pace.
This approach that MacDougall took with his cinematic ethnography was based on humility and
respect for his subjects, which was expressive of his ... Show more content on Helpwriting.net ...
This to me served as a form of participatory observation, and helped me draw some conclusions
between the relationships between the filmmaker and the people in the film. An example of this can
be seen in Part IV of the film, where MacDougall captures some members of the tribe selling cattle,
which they do solely out of necessity. Here, we not only learn how central cattle are to the identity
of the Jie, but we are also informed of the political and economic hardships occurring amongst their
people. "As the film reveals, the Jie exist precariously at the margins, their integrity and autonomy
undercut by conflicting currents of history and contemporary society (Grimshaw 2001: 125)." The
film subjects were able to push the interactions in MacDougall's film in the direction that they
wanted, therefore answering the social and political questions that they wished to have addressed
and discussed so that we as viewers could better understand their society. I found this to be contrary
to Rouch's cinematic style of provocation. Whereas Rouch used an active camera style, guiding the
conversations with certain questions, MacDougall allowed the recorded conversations to flow
naturally, often placing us as viewers in the position in which we were simply overhearing
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110.
111.
112.
113. Planetary Archetypes In The Film 2001: A Space Odyssey
Many of the space themed science fiction movies contain underlying planetary archetypes within the
plots that add to the movie such as Jupiter, the Moon, Saturn, Mars, and Mercury. Specifically, in
this paper the planetary archetypes will be assessed in the films of 2001: A Space Odyssey (1968),
Interstellar (2014), and The Martian (2015).
The film 2001: A Space Odyssey (1968) incorporates both the moon and Jupiter through the film. At
the beginning ape like creatures habit the earth and feed on plants and interact with hog like animals.
Soon shows up an object called monolith and this creates a shift in evolution. This is where the
moon also associated with Artemis is displayed. Artemis is the goddess of hunting and lunar
incarnation. The ... Show more content on Helpwriting.net ...
The planetary archetype involved in this film is the planets Mars and Mercury. From the very
beginning the planet Mercury is mentioned in its Greek God's name which is Hermes. Hermes is the
spaceship that the astronauts use as transportation between Earth and Mars. Mercury or Hermes is
the God of messengers and travel, which is fitting for a space mission. The space mission involved
in this film are Ares lll and Ares lV. Mar's Greek God equivalent is named Ares, hence the reasoning
for the Ares mission. Mars in mythology is an agricultural guardian or guardian of farmers.
Astronaut Mark Watney is struck by an object during a strong storm while walking to the spaceship
to abandon mission. He is presumed to be dead because his suit was punctured and his
communications were dead. He was left on Mars and only had a limited supply of food. Mark, a
botanist, was being guarded by Mars in a way. Mark was able to grow potatoes on a planet that
couldn't grow plants. He had the guardian of agriculture and farmers on his side. Thanks to these
potatoes and finally being able to communicate with NASA he was able to be saved. It is amazing
how planetary archetypes do play roles in these
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114.
115.
116.
117. Summary Of Stanley Kubrick's 2001 : A Space Odyssey
Stanley Kubrick's "2001: A Space Odyssey" is largely considered to be one of the greatest and most
influential films ever made, especially when it comes to the science–fiction genre. It is Kubrick's
intriguing and unique take on the human life when it comes into conflict with many things like
human behavior, social orders, and technology. Even though many films revolve around the idea of
humanity, Kubrick takes it to a completely other level, by exploring the outer limits in which human
beings reside in to tell his story. Kubrick brings some extremely interesting questions to the table in
this film when it comes to humanity and how it has evolved over the years, and how will it continue
to potentially evolve. In this critique I'll talk about all of the film's ambitious ideals and what it all
means, as well as deciphering how the film changed the science–fiction genre when it comes to
special effects and cinematography. When watching "2001: A Space Odyssey," you will find that it's
not so much of a film as it is an experience. Because instead of focusing on things like plot and
character development, it instead focuses on the journey in space and time, as well as focusing on
the film's complex themes that are very often hard to make sense of. By the time the film ends, it
feels like you hardly knew any of the characters at all, mainly due to the beautiful and gigantic
setting of time and space. It says a lot about the film when it's most memorable character isn't even a
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118.
119.
120.
121. Pixar Case Study Essay
In 1975, Ed Catmull put together a team of people who formed the basis of what Pixar has become
today. The group was hired in 1979 by Hollywood director George W. Lucas and developed as a
graphics division for LucasFilms (Shamsie, 2001). This continued until 1985, when Catmull finally
turned to Steve Jobs with the view to making full length feature films using computer animation.
After more than a year of negotiations, Steve Jobs then purchased the graphics division and renamed
it Pixar Animation Studios (Shamsie, 2001). A three year film contract with Disney was negotiated
in 1991 which resulted in the movie Toy Story being released in 1995 (Shamsie, 2001). Toy Story
became the top grossing movie of the year and won an Oscar, after ... Show more content on
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Despite these actions, there is still concern about the pace of production and how far the company
can grow without sacrificing quality for quantity (Shamsie, 2001). It has also been stated that the
company relies on particular talent, such as Catmull and Lasseter, to create such highly regarded
films, and that increasing production cannot continue with a finite amount of talent (Bary, 2003).
Analyses
Despite its top position in the market, Pixar still needs to assess its future strategies based on the
external opportunities and threats, and the strengths and weaknesses of the company. In its current
position, Pixar has many opportunities to innovate, update and create new technologies to improve
their development process (Rafi, 2011). Current technologies being used include the animation
software "Marionette", the production management software "Ringmaster" and the rendering
software system "Renderman" (Dess, 2012). Other opportunities include the production of more
sequels and short stories, and global expansion. The major threat to the company is the rising
competitors, DreamWorks and Sony (Shamsie, 2001). Pixar needs to keep up with technological
advancements in the industry in order to stay competitive, and it also needs to increase production
without sacrificing the quality that has put it in its current position (Rafi, 2011).
The company currently has many strengths that it can use to its advantage, particularly after its
merger with Disney in 1996.
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122.
123.
124.
125. Analysis Of The Movie ' 2001 : A Space Odyssey '
The Dawn of Man. Four simple words introduced what is remarked as one of the greatest films of
all time. There is no spoken dialogue within the first 25 minutes and the last 23 minutes of the film.
"2001: A Space Odyssey" is an ambiguous film. The broad range of audience captures various
interpretations of the film. The main theme seems to be about the evolutionary process of mankind
interwoven with elements of a higher or extraterrestrial entity guiding this evolution. There are some
film theories that suggest this movie was all propaganda used in conjunction with the space race that
occurred during World War 2. Some even go as far as to say that the same set used in "2001: A
Space Odyssey" was used to fake the moon landing of 1969. However, theories with more evidence
suggest that the iconic monolith doesn't represent aliens or "God", but instead represents the cinema
screen of which we are viewing. The artistic importance of "2001: A Space Odyssey" is derived
from its ability procure various conclusions. The story begins at the dawn of time. The setting seems
to be a location in Africa. Apes surround the setting in a pack. This pack represents the beginning of
civilization. As is commonly known, mankind has always had a sense of greed. This first act of
greed is displayed when one group of apes take a source of water from another group. The morning
after the instance of greed, a monolith appears. Confused with this perfectly geometrical object, the
apes begin to examine.
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126.
127.
128.
129. In the 2001 biographical drama film A Beautiful Mind, John...
In the 2001 biographical drama film A Beautiful Mind, John Nash is an American mathematician
who suffers from a mental illness. At the beginning of the film, Nash arrives at Princeton University
as a co–recipient of the prestigious Carnegie Scholarship for mathematics. Nash is an arrogant,
socially awkward graduate student, who devotes most of his time trying to discover a revolutionary
equation in mathematics. About halfway through the film, we discover that a certain number of
people and events that occur are actually hallucinations and delusions created within Nash's mind.
At this point, it becomes apparent to the audience that Nash is suffering from a severe mental
disorder.
According to the National Institute of Mental Health, ... Show more content on Helpwriting.net ...
He acts out this internal struggle with a physical and verbal confrontation against Charles (however
in reality, Charles does not exist and therefore Nash is fighting with himself). Charles provokes
Nash to kill himself, telling him to "go on, bust your head, kill yourself..." which demonstrates that
Nash is having suicidal thoughts. His behavior also includes diminished impulse control as he
throws a desk out the window of his dorm room. Nash attributes these thoughts and actions to
Charles rather than himself since he believes Charles is a real person. John Nash suffers from
paranoid schizophrenia and the most prominent symptom of paranoid schizophrenia is "absurd or
suspicious ideas and beliefs" (Smith & Segal, 2013). Over the course of the film, Nash demonstrates
these symptoms. The ideas of delusions of persecution are the most frequent beliefs thought of by
the individual and typically revolve around a centralized theme that remains consistent over time
(Smith & Segal, 2013). People with paranoid schizophrenia tend to have mistaken beliefs that one or
more persons are plotting against them and putting their loved ones in harm's way (Berger, 2012).
With this condition, they end up spending a lot of time thinking about how to protect themselves
from the person or people they believe are trying to hurt them (Berger, 2012). People with paranoid
schizophrenia show a history of increasing paranoia and difficulties
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130.
131.
132.
133. Sexism In The Film Lagaan
"Lagaan" (2001) is written and directed by Ashutosh Gowariker, and produced by Aamir Khan who
is also the main character of the film, Bhuvan. The film is based on the Indian villagers under
British raj, and during Victorian period, the late nineteenth century. The story happened in 1893,
when the whole Indian village was suffered by drought and high taxes. Then under the lead of
Bhuvan, the villagers won the cricket game, and forced the British to revoke the taxation and
withdraw the village. The film strongly expresses the nationalist sentiment, by how Indians as an
united nation against British's unfair treatment. Most of the Indian knowledge I know are "people
without power are silenced and those with power are able to speak" (Getz and Clarke, p. 78), it is all
about authority. There are too many examples and historical events reveal how people discriminate
female and lower class people. The film has clearly showed the situation, the unfair treatment of
racism is not only happened between upper class and lower class, such as British and Indian. The
Indian villagers are also prejudice a disabled Indian man by refuse him to join the team. However,
the gender issue is totally different. All the men and women are live pleasantly together, no sexism
neither in Indian village nor British government. We can see that through the day before the end of
the game, all the women from villagers start to sing, they use their powerful voice to encourage and
inspire their discouraged
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134.
135.
136.
137. “Disney Constructs Childhood so as to Make It Entirely...
"Disney constructs childhood so as to make it entirely compatible with consumerism" (Smoodin
cited in Giroux, 2002; 105). Discuss this statement in relation to TWO animated films from the
Disney canon. The Walt Disney Company is a diversified international entertainment company
(Disney, 2010) with ownership of many media outlets including radio, cinema, television and
literature as well as consumer products such as stationary and toys. The Disney brand has huge
recognition globally especially in the category of children's entertainment with over 80 years of
productions in this sector. With an obvious predominance and market leadership in children's
entertainment and consumerism, The Disney Company has an unparalleled capability to reach ...
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Disney 's 1997 film Hercules is an example of Disney 's use of its films to create a media spectacle
to increase awareness of its products through the media and also to use the film contents itself to
promote consumerist behaviours to children. Disney 's release of the film in 1997 amidst a
"promotional blitz" (Giroux, 2001, 160) that included advertising not only the film itself but also
toys, clothing, accessories and electronics all with the Disney branded Hercules featured on them.
The purpose of this was that every child who was exposed to the media hype would also be exposed
to the advertisements for the products that surrounded the film. "Disney was in full force...making
sure that every child...knew that along with the film[Hercules] came stuffed animals, figurines,
backpacks, lunchboxes, tapes, videos and a host of other gadgets." (Giroux, 2001, 161) By doing
this Disney created a direct correlation between the film excitement and the commercial goods that
is undistinguishable for children and therefore pushes them to participate in the spectacle by buying
the Hercules products advertised as well as seeing the film. Disney also shows consumerism within
the film and emphasises the excitement of buying products relating to Hercules. During the song
within the film "from zero to hero" The people of ancient Greece are seen buying
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138.
139.
140.
141. Representation Of The Working Class
Discuss the representation of the working class in Italian cinema from the silent era up to the
neorealist period, using the movies presented in class or mentioned in the assigned readings From
the silent era until the neorealist period, the depiction of the working–class in Italian cinema has
provided an unparalleled insight into the shifting socio–political landscape of pre and post–war Italy.
From Pastrone's depiction of Maciste, the immortal strongman, born to use his 'working class brawn
against evil' (Flanagan 2001: 91) to De Sica's portrayal of the Ricci family's financial post–war
despair in Ladri di Biciclette (1948), the representation of the working–class in Italian cinema
changed considerably during the three decades since ... Show more content on Helpwriting.net ...
The silent era is predominantly famous for its historical, literary and melodramatic productions.
However, films, which depicted the 'reversal of class roles, that is, the slave who falls in love with
the nobleman, the freedman who saves the day' (Brunetta 2009: 37) also became favourites amongst
film audiences. The slave, Maciste in Pastrone's Cabiria, therefore, presents the audience with one of
the first depictions of the working–class on film. His character 'combined super–human strength and
bravery with a gentleness of manner and an easy–going acceptance of life's vicissitudes' (Mallach
2007: 360) which appealed so greatly to the Italian working–class, that he became a star, whose
character would continue to be depicted well into the 1960s. Notably, the contemporary audience
would have been acutely aware of the fact that Maciste was Bartolomeo Pagano, a longshoreman
from Genoa with no acting experience (Mallach 2007: 360). As a result, his popularity amongst the
working–class is understandable, since this was the first example of a character, who 'was so clearly
one of their own, and with whom they could so readily identify' (Mallach 2007: 360). Arguably,
therefore, Cabiria's success can be attributed to the way in which Maciste was so relatable.
Moreover, his astonishing physical prowess further endeared him to the working–class, given that
'the strongman image was rooted in the cultural
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142.
143.
144.
145. Analysis Of Y Tu Mama Tambien
The dominant feature that the films share is the use of narration to guide the viewer through each
plot. They are the same in how they are used to describe settings and some situations. In Amelie, this
manifests at one point as the narrator describing the activities of the local nuns on a warm and
humid day. In Y Tu Mama Tambien, there are many examples of the narrator describing the political
and economic climates that Mexicans exist in and must deal with. The use of narration is different in
several ways as well. In Amelie, the narration is very descriptive, as the narrator's description of
each of the characters and their likes and dislikes are how we are introduced to each of them for the
first time. We learn about Amelie and her ... Show more content on Helpwriting.net ...
Raymond Dufayel, a painter known by others as "The Glass Man" for his brittle bones, plays the
role of a sage who guides Amelie in her pursuit of love. Another character who plays only one role
is Mr. Collignon, the mean grocer who verbally abuses his mentally–disabled employee Lucien.
Unlike the characters of Amelie, those in Y Tu Mama Tambien are realistic and complex, so much
so that the film can be considered to be a character study. A character that is especially complex is
Luisa. From the very beginning she had been hiding her true feelings and intentions from the boys,
both in regard to how she had plans to sleep with them and in how she hides her sadness over her
husband's infidelity and, as the viewer finds out at the end of the film, the cancer that will kill her
very soon. Of course, Julio and Tenoch are also very complex, and they mature together through the
adventure with Luisa. They start out being boastful about their sexual exploits while rather sexually
inexperienced, and, through both conversation in the car rides and sexual encounters with Luisa,
begin to learn more about sex, themselves, and each other. Unfortunately, while they allowed for
personal development, the experiences the two went through together ended up destroying their
relationship.
The cultures of each movie's origin play a role in shaping certain aspects of the films. Pieces of
Mexican life and
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146.
147.
148.
149. Examples Of Sexism In Metropolis
Science fiction's presence in film is nearly as old as film itself. With humble beginnings, film
pioneers such as the French George Méliès set the genre in motion. At first, simple pastiches to Jules
Verne pervaded, whether it be adventurous astronauts on a trip to the moon or the maiden voyage of
a (then) futuristic airship. Then, come the German avant–garde, the expressionist masterpiece
Metropolis proved that the science fiction film could go beyond the trivial and occupy a place of
legitimate artistic worth. Metropolis also marks the first feature length film to feature a robot––
though the word is never used. Instead, Maria is a Maschinenmensch, a machine–human, a being
capable of labor and beauty, even of sexual enticement, but devoid ... Show more content on
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She has breasts, sex–appeal, she dances, she winks her smoky eye. Other robots in film, like the
Terminator, portray what are perceived as definitively masculine characteristics. Roy Schwartzman,
in writing for Studies in Popular Culture, calls this trend of sexualizing what should be sex–less
robots "engenderneering." (75) In reality, robots, defined as machines that operate autonomously,
have no need for sexual characteristics. Real robots have no gender characteristics because, as of
now, unlike in film, the robot's existence is limited to strictly industrial and scientific applications.
Should robots hit the mainstream and enter our homes as maids or nannies (à la Rosie in The
Jetsons), their designs may incorporate more markedly human qualities. In order for consumers to
feel more comfortable around their new robot friends, they may give them names and choose to
gender the personality that is programmed into them. (Schwartzman 83) Maria in Metropolis has no
need for gender; she is only a simulated "she" and, within her mechanical core, lacks desire, spirit,
empathy, love, malice, etc. Maria tells us that in the 1920s, robots were still being seen as
"mechanical humans" that require a personality and gender identity, despite robots in reality having
nothing at all with their human creators. But the more autonomous machines become, the greater the
need for talking about them in anthropological terms. Jump forward 40 years in film history to 1968
to look at another film featuring artificial intelligence. 2001: A Space Odyssey, after all, is about
evolution. Filmmaker Stanley Kubrick and famous science–fiction author Arthur C. Clarke wrote
the screenplay to 2001 jointly (as well as the novelization) with human evolution in mind and,
naturally, artifical intelligence comes into
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150.
151.
152.
153. The Sentinel and 2001: a Space Odyssey
Abstract Within the pages of a book, authors are able to create great visual images of locations and
landscapes by using elaborate and descriptive words. Sometimes these images are transferred into an
actual visual by the subsequent creation of films based upon these great works. "2001: A Space
Odyssey" by Stanley Kubrick is an example of such as it is based upon the literary short story, "The
Sentinel" by Arthur C. Clarke. Kubrick has done an astounding job at developing the original short
story by combining music with visual images way before it's time. The film allows its viewers to see
the original short story told by Clarke, creatively expanded and elaborated upon in comparison with
great detail.
Table of Contents
Introduction ... Show more content on Helpwriting.net ...
2001: A Space Odyssey by Stanley Kubrick, 1968 "2001: A Space Odyssey" is a film loosely based
on the short story "The Sentinel". It is based on an alien species that has placed monoliths on
different planets in order to evaluate the evolution of mankind. After a space exploration to the
moon, the explorers discover the second monolith on the moon. When the sunlight hits the monolith
for the first time it sends a piecing signal towards the planet Jupiter. The United States then send
another spaceship to the distant planet. The spaceship is equipped with an artificial intelligence
computer named Hal. On board the spaceship are astronauts David Bowman, Frank Poole, and three
others frozen in cryogenic pods. Hal, the super computer who is in control of the ship, informs the
crew that there has been a component failure on one of the antennas. Poole is sent out to replace the
component when Hal severs his lifeline. Bowman ventures out to rescue Poole but Hal closes the
entry doors and then terminates the lives of the three others on board the ship. Bowman is forced to
abandon Poole and go in through the emergency hatch to terminate Hal. He manually shuts down
the computer's memory and logic circuits and continues his journey for Jupiter. Bowman then
discovers a third monolith and is sent plunging into a new dimension of time and space. He then
stops in a green room, aged
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