«During the first half of the twentieth-century, a movement known as “classical Hollywood cinema” thrived; this was the dawn of truly “mainstream” films. The movies created during this time operated largely within metanarratives; all-embracing laws...» Document abstract
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film studies
presentation
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19/11/2007
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SummaryDuring the first half of the twentieth-century, a movement known as “classical Hollywood cinema” thrived; this was the dawn of truly “mainstream” films. The movies created during this time operated largely within metanarratives; all-embracing laws which governed human behavior. These films utilized well-known plot structures and familiar characters to tell their stories. There was almost always a hero and a villain, and, in the end, the hero would inevitably get the girl. This was a decidedly modernist period in the realm of film. In the latter half of the century, the metanarratives of mainstream, modernist cinema began to face subversion at the hands of a new generation of filmmakers. One filmmaker who has lead the way in this fundamental shift in cinema is David Lynch. Lynch has, for nearly thirty years, stood out as a remarkably postmodern, independent filmmaker. He is largely responsible for ushering in a new breed of independent film, in which the simultaneous subversion and celebration of mainstream metanarratives creates endless cinematic possibilities. His films, most notably Blue Velvet (1986), Wild at Heart (1990), and Mulholland Drive (2001) have generated extreme controversy, dozens of awards, and a reputation as one of America’s most brilliant, offbeat directors. The stories these films tell are elaborately interesting, but what sets Lynch apart as a writer/director is the way he tells his stories. Lynch’s work is categorically postmodern, extremely controversial, and undeniably independent.
Table of Contents- The world that David Lynch portrays in his films is both utterly fantastic and strangely familiar.
- David Lynch's first successful film to showcase his uncompromising, unrivaled talent for storytelling was 1986's Blue Velvet.
- The innovative storytelling behind Blue Velvet works largely do to its acceptance of modernist genre themes.
- Many film critics took issue with the brutal violence and perversion in Blue Velvet; largely seen in the sadistic, psychotic character of Frank Booth (Dennis Hopper).
- Lynch's world is simultaneously beautiful and disgusting, intoxicating and repelling.
- What most critics of Wild at Heart failed to recognize was measure of parody that Lynch utilizes in the film.
- Wild at Heart could be described as a shock-laden, intangible road movie with an under-the-surface love story, but nothing substantial on the surface.
- While there is little violence in the Mulholland Drive, and the sex scenes are almost jarringly romantic, Lynch still relentlessly subverts the metanarratives of mainstream cinema.
- Kenneth C. Kaleta surmises that, 'quite simply, the cinematic vision of Lynch is the landscape of the twenty-fist-century film?
«Since the dawn of cinema, there have been numerous film directors who have garnered the reputation of innovator, auteur, even genius of the medium. Only three directors, however, have created such unmistakably identifiable styles as to warrant film...» Document abstract
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Language : english
film studies
term papers
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19/11/2007
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SummarySince the dawn of cinema, there have been numerous film directors who have garnered the reputation of innovator, auteur, even genius of the medium. Only three directors, however, have created such unmistakably identifiable styles as to warrant film terminologies based on their very names. Alfred Hitchcock, with his unparalleled techniques of suspense and intrigue gave birth to the term Hitchcockian. In recent years, the phrase Spielbergian has found its way into the film-language lexicon, referring to Steven Spielberg’s ability to weave stirring, emotional themes into massive-budget, blockbuster films. Perhaps the most-coined phrase taken from a filmmaker’s name, however, is Felliniesque; based on the work of Italian director Federico Fellini. Felliniesque applies to the way Fellini masterfully blends fantasy and reality in many of his films; most notably in his revolutionary Otto e mezzo (1963). Upon its release, Otto e mezzo, which translates to 8 ½, garnered massive critical acclaim and won numerous prestigious awards, including the Academy Award for Best Foreign Film. Acclaim for the film has only grown over the years, and Otto e mezzo has, today, become routinely known as one of the greatest films ever made. While Federico Fellini’s career is full of landmark films, Otto e mezzo, stands out as one of his most undeniably intriguing films, as well as his first and clearest foray into the style that would later lead to the term Felliniesque. That Otto e mezzo would, in part, lead to such an often-coined phrase in film terminology is ironic, as the film itself is, among other things, the single greatest movie ever made about making a movie.
Table of Contents- Otto e mezzo deals with the internal and external pressures placed on a film director named Guido Anselmi (Marcello Mastoianni) to repeat the success of his last project.
- At times when Guido feels most pressured, most at conflict with himself or others, he slips into daydreams and recollections
- In what is perhaps the film's most somber daydream sequence, Guido imagines having a conversation with his dead father.
- The way Fellini presents the artistic process of an unsure film director is one of the reasons Otto e mezzo is regarded as the greatest film ever made about filmmaking.
- The film's longest fantasy scene is the famous sequence in which all the women of Guido's life, past and present, occupy a Harem together.
- Specific themes and images repeat themselves in Otto e mezzo, and the more the audience sees something in the film
- The result of the pressures placed on Fellini was a truly postmodern; Otto e mezzo is, in essence, a film about Fellini struggling to come up with an idea for a film.
- This brings about a very important, and sometimes overlooked aspect of Otto e mezzo.
- The way Fellini uses imagery and dreams in Otto e mezzo is hypnotically beautiful, and part of the reason the film works so well is the score by Nino Rota.
- Federico Fellini was a filmmaker of the highest order. He truly understood the magical possibilities of the medium.
«Distinguishing a film as “campy” is, arguably, as difficult as determining whether or not a film is “good.” The definition of “camp” is utterly malleable and, moreover, exists almost purely in the eyes of the beholder. Similarly, a film is rarely...» Document abstract
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film studies
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SummaryDistinguishing a film as “campy” is, arguably, as difficult as determining whether or not a film is “good.” The definition of “camp” is utterly malleable and, moreover, exists almost purely in the eyes of the beholder. Similarly, a film is rarely definably solely as “good” or “bad”; these are merely opinions. It is oddly fitting, and quite unfortunate, that films which become marked as “campy” are rarely described as “good”. This can be partly explained by the fact that the majority of movies known as “camp films” are largely unintentional camp; put simply, camp films with a “so-bad-they’re-good” quality receive the most attention. The films of Edward D. Wood Jr. are examples of classic, unintentional camp; movies made famous by the degree to which they do not “work.” While unintentional camp is certainly an important part of cinema history, intentional camp often goes unnoticed, or at least underappreciated. Many intentionally campy films are quite noteworthy, and, moreover, are simply good films. John Carpenter’s They Live (1988) is an example of a camp film that not only “works,” it has something meaningful to say. It is, in fact, a campy film, a socially parodic film, and a good film. Upon its initial release, They Live was dismissed as a campy sci-fi/horror movie with dreadful special effects and poor acting.
Table of Contents- When They Live was released in 1988, film critics were, to say the least, unimpressed.
- There is no real depth to 'Nada,' nor should there be, for he exists only as a supremely campy avenue for the audience to access the weighty undertones of They Live.
- They Live uses camp, largely, as a method of permeating intelligent and important social satire into the minds of the audience.
- While They Live fell flat with many critics, others were able to embrace the film's campy exterior while appreciating its thought provoking social commentary.
- The weighty issues They Live deals with may, in fact, have been too much for mainstream audiences and critics to accept.
- They Live is not a perfect film, but it is a good film. Not only does it provide still-pertinent social commentary/satire, it also works as an enjoyable, campy film.
- The essence of intentional camp, arguably, lies within its ability to make fun of itself before it can be made fun of by others.
«The United States of America is often referred as “the great melting pot”; a place where people of all ethnicities, backgrounds, and plights exist under a single title “American”. The title is simple; those living in The United States are, by...» Document abstract
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Language : english
film studies
school essay
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19/11/2007
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SummaryThe United States of America is often referred as “the great melting pot”; a place where people of all ethnicities, backgrounds, and plights exist under a single title “American”. The title is simple; those living in The United States are, by definition, American. And yet, there is lot more to the term “American”. The word brings about a great deal of sentiment; ardor for some, pride for others, some consider themselves patriots, while some would say the simply live here. American culture is one of singular poignancy and countless connotations.
Table of Contents- A picture is often said to be worth one thousand words; when dealing with American culture, this phrase is an understatement.
- In the photograph, a mass of people fill the top of the frame.
- The composition of the photograph is stark, yet energized. At first glance, the photograph seems to be asymmetrical, for there is a lot going on, throughout the frame, and not all of it is balanced
- The camera placement in this photograph works hand-in-hand with the framing to create a wonderful effect.
- The aesthetic effects created by Robert Frank are, seemingly, quite simplistic. However, they all serve very important and detailed purposes.
«As is the case with many art forms, the exact origin of Cinema is tainted with controversy. While numerous innovators played important roles in the dawn of the medium, the Lumière brothers (Louis and Auguste) of France are most directly accredited...» Document abstract
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Language : english
film studies
school essay
date published
19/11/2007
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level : Advanced
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SummaryAs is the case with many art forms, the exact origin of Cinema is tainted with controversy. While numerous innovators played important roles in the dawn of the medium, the Lumière brothers (Louis and Auguste) of France are most directly accredited with creating the first “films”. Credited with inventing the Cinématographe, a device that could record, print, and project film, in 1895, the Lumière brothers were at the forefront of filmmaking as a technical innovation. Film’s transformation from technical achievement into valid art form, however, came at the hands of a different type of French innovator, Georges Méliès (1861-1938). Cinema, in fact, can literally be divided into two categories; pre and post-Georges Méliès. More so than any other filmmaker in the history of the medium, the roots of narrative filmmaking can be traced directly to Georges Méliès. His infusion of magic and fantasy into fledgling medium paved the way for the now-limitless possibilities of Cinema.
Table of Contents- After the creation of the Cinématographe, Louis and Auguste Lumière invested themselves fully in investigating the most basic technical possibilities film had to offer.
- Georges Méliès, like the Lumière brothers, grew up in a well-to-do bourgeois family.
- While it is unclear how Méliès first came to possess film equipment, it is known, as Alan Williams points out, that 'by March 1896 he had a camera, and in April he presented the first film programs in his theater.
- While the visual tricks in Méliès films are certainly what stand out at first, it is vital to understand that at the heart of his work was a focus on fantastic narratives;
- Méliès' La Voyage dans la lune represents the beginning of what could be described as 'modern cinema?.
- After his film A la conquete du pole (Conquest of the Pole) (1912), Méliès gave up film production for good.
- Georges Méliès is responsible for numerous innovations in the realm of cinema.
«The nomenclature of “disaster movie” is as difficult a classification to place upon a film as any; for its definition is extremely malleable. Many movies incorporate a disaster, or even numerous disasters, and are still not known as “disaster...» Document abstract
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Language : english
film studies
school essay
date published
19/11/2007
review : not yet assessed
level : Advanced
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SummaryThe nomenclature of “disaster movie” is as difficult a classification to place upon a film as any; for its definition is extremely malleable. Many movies incorporate a disaster, or even numerous disasters, and are still not known as “disaster movies”; the definition is not that simple. A disaster movie is usually declared as such when, and only when, the entire essence of the film revolves around disaster. Characters, and the realities which they inhabit, seem to exist only in order to be affected by the disaster(s). Disaster movies of all types (from alien invasions to in-peril travel movies), operate within the same formulaic realm; the death toll is large, the disasters horrific, and hero(s) nearly always saves the day. The allure of the disaster movie is that of “danger at a distance”; the audience can live (and nearly die) vicariously through the characters facing the disaster, while remaining safe in the knowledge that it’s only a movie. The thrill is the heart of the disaster movie. However, there is more to the average disaster film than meets the eye; these films have a way of acutely reflecting the times in which they are created. Disaster movies are often capable of analogizing the fears and concerns of contemporary society in particularly inspired and insightful ways.
Table of Contents- In the 1950's and 1960's, disaster movies based in the realm of science fiction reigned supreme.
- What set these sci-fi disaster movies apart, other than their enhanced visuals and massive scales of destruction, was the fact that they were not based in a tangible reality.
- One of the largest fears during this time period was the use/misuse of nuclear weaponry.
- Within all the sub-genres of sci-fi disaster movies (nuclear monsters, space invaders, etc.) at least one similarity universally existed.
- Another prime example of this form of disaster movie is 1972's The Poseidon Adventure.
- Whether watching the Earth under attack from flying saucers in The War of the Worlds (1953), or rooting for Gene Hackman to save the day in The Poseidon Adventure (1972), audiences have always flocked to disaster movies.
«Concerning the use of musical rhythm as a sadhana, a path to liberation, one preliminary distinction to make is between the tantric means of rasa and the yogic means of bhakti; The mythological tradition inherited by Hindustani music distinguishes...» Document abstract
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Language : english
arts and art history
school essay
date published
04/11/2007
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level : Advanced
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SummaryConcerning the use of musical rhythm as a sadhana, a path to liberation, one preliminary distinction to make is between the tantric means of rasa and the yogic means of bhakti; The mythological tradition inherited by Hindustani music distinguishes between gana (music for pleasure) and gandharva (music for devotional ritual). While the former does not accrue to the performer the spiritual merit (adrsta) of ritual offering, it does create the occasion for the rasa that is explained by the tantra of Abhinavagupta to be a means to the ‘taste of the divine’ (brahmasvada).
Table of Contents- The Indian Aesthetic tradition was canonized by the Natyasastra, dating from the 7th century C.E.. Its author, Bharatamuni, begins this text with an interior myth to authenticate his writings:
- In the Hindustani genealogy of celestial music, Lord Brahma himself is born from the Nada, primordial sound.
- The musical traditions of India are noteworthy as inheritors of canonical texts that guide their theory, practice, and performance.
- Gandharva-Sangeet is defined in the Natyasastra as 'the embodiment of tone, rhythmic cycle, and verbal structure.
- The music of the tabla is construed in terms of language. In the Natyasastra, a chapter on Avanaddha instruments details the aksaras (syllables) and their corresponding hand positions (mudras).
- The musical range of the tabla is due, as the Natyasastra describes, to the range of distinct pitches available and to the combination of the tones of the tabla's two drums.
- The differentiation of time in Hindustani music progresses in a hierarchy from pulse, to count, to grouping, to tala, and then to a theka.
- One symbolic relationship between cosmic time and musical tala is found in the Puranic cosmology of the world-ages, which describes 'cycles of manifestation that devolve through time.
- The mythological leader of the Gandharvas is Tumburu, 'a great devotee of Siva.?
«To a certain degree, the actions of individuals have an effect on their environment. However, our surroundings more dramatically influence our everyday experiences and shape our personalities. Two of the most popular cultural mediums, film and...» Document abstract
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journalism
school essay
date published
22/10/2007
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level : General public
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SummaryTo a certain degree, the actions of individuals have an effect on their environment. However, our surroundings more dramatically influence our everyday experiences and shape our personalities. Two of the most popular cultural mediums, film and television, extend to mass audiences who eagerly absorb all the messages they have to offer, especially the appealing topics of social taboo and political controversy. John Fiske and Adorno examine both the obvious and subtle effects of visual media, providing some similar and other contrasting theories on its portrayal of reality. Fiske argues a theory that more accurately relates to modern times. Fiske depicts a visual media defined by content deliberately chosen by conscious directors that is manipulated into the message they wish the public to receive. After comparing viewpoints, one might appreciate the amusing coincidence of today’s most popular form of American television: Reality Television.
Table of Contents- To a certain degree, the actions of individuals have an effect on their environment.
- Adorno describes the art of a mime: the subject assimilates itself to its objects.
- TV programs such as The Real World have a 'fish-bowl' aura as practically addicted audiences monitor the progression of relationships between people confronting everyday conflicts.
- Both Fiske and Adorno disagree that our reality is reflected back to us through the mirror of television and explain that the product is more a distorted reflection.
- Living vicariously through actors in a fantasy world attracts many people, which can have both positive and negative influences on the audience.
- The messages Hollywood conveys are strong ones, summarized by actors' pearly whites, flawless skin, expensive clothes and luxurious sets that are noticeably more vivid and exciting.
«The room is silent, black, yet complete in its created emptiness. You cannot see the person sitting next to you, the face that looks back in the darkness. Suddenly, from nowhere, a few shaky piano notes fill the air. A melody so simple yet so...» Document abstract
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Language : english
arts and art history
school essay
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SummaryThe room is silent, black, yet complete in its created emptiness. You cannot see the person sitting next to you, the face that looks back in the darkness. Suddenly, from nowhere, a few shaky piano notes fill the air. A melody so simple yet so memorable, it pulls you away from your metal seat and thrusts you into another existence. You float around in this reverie, content, happy, until all is shattered by a fatal wrong chord. And you fall back to earth, back to your chair, back to the not always so wonderful world of student run drama.
It is said that theatre is best appreciated for the first time as the first time. Prior knowledge and conceptions hinder the experience and can alter any perception of the play itself. However, sometimes a point of comparison can be helpful when analyzing the production elements themselves. We were able to combine this familiarity with first time impression to completely break down the mechanics of Buffy the Vampire Slayer: Once More with Feeling and honestly question when and when not the musical delivered its message. The purpose of the play is to serve as a rude awakening, an almost moral reminder. No matter how hard one tries to prevent it, the truth will always show through, and in the end, the unsuccessful lies hurt more. This is a common theme, but the surprising twist is to have the truth forced through song via a spell cast on the characters. A unique idea, and more entertaining than simply spoken word, but it is also the source for most, if not all of the problems that lead to this point not being communicated to the audience.
It is said that theatre is best appreciated for the first time as the first time. Prior knowledge and conceptions hinder the experience and can alter any perception of the play itself. However, sometimes a point of comparison can be helpful when analyzing the production elements themselves. We were able to combine this familiarity with first time impression to completely break down the mechanics of Buffy the Vampire Slayer: Once More with Feeling and honestly question when and when not the musical delivered its message. The purpose of the play is to serve as a rude awakening, an almost moral reminder. No matter how hard one tries to prevent it, the truth will always show through, and in the end, the unsuccessful lies hurt more. This is a common theme, but the surprising twist is to have the truth forced through song via a spell cast on the characters. A unique idea, and more entertaining than simply spoken word, but it is also the source for most, if not all of the problems that lead to this point not being communicated to the audience.
Table of Contents- The room is silent, black, yet complete in its created emptiness.
- It is said that theatre is best appreciated for the first time as the first time.
- This is where earlier contact with the production proves very helpful.
- Beyond the music, the few portions of the play that are spoken dialogue are somewhat satisfactory.
- Where a lot of plays will develop a complicated idea and come short, not because of amateur mistakes, but due to the heavy weight of the message, The Buffy Musical
«Humanity is nostalgic. There is no other way in which to explain the strips of antique malls in the Midwest or the string of collector shows on the shop-at-home networks. Like the sightseers searching for the Grand Canyon pictured on the poster in a...» Document abstract
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5 word format
Language : english
arts and art history
school essay
date published
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level : Advanced
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Summary Humanity is nostalgic. There is no other way in which to explain the strips of antique malls in the Midwest or the string of collector shows on the shop-at-home networks. Like the sightseers searching for the Grand Canyon pictured on the poster in a local travel agency, humans are such experts on past experiences and expectations that they cannot help but attribute perfection to recreation of the old (Percy 589). Therefore, the easiest route to fame for a musician is to remind the audience of a musician who already found his or her route to fame. But where there is an easy route, there is also a hard route, a route that many bands, like Sonata Arctica, choose to follow. And when it comes to establishing sovereignty through authenticity, this band succeeds where others fail. Nothing modern can ever perfectly replicate something old. Sonata Arctica does not try to attain authenticity by imitating the bands that have come before them; instead, the band produces a voice that remains authentic to itself, a voice that generates its own sovereignty instead of borrowing from the past. A voice is only truly authentic when it seeks its authenticity through creation instead of through emulation.
Table of Contents- Humanity is nostalgic. There is no other way in which to explain the strips of antique malls in the Midwest or the string of collector shows on the shop-at-home networks.
- The essence of music is embedded in voice.
- Even the simplest form of compact disc marketing forms a dichotomy.
- Sonata Arctica is a Finnish band, and any time something foreign is mixed with native flavor, any ground for comparison is lost.
- Sonata Arctica may impact their listeners more through their mistakes and narrow vocabulary than they would by being grammatically correct or verbose.
- And this is where Sonata Arctica blends the genres; this is where Sonata Arctica earns their authenticity.
- This exercise in character development and the authenticity derived from it is best understood by looking at Sonata Arctica's use of covers.
- Over the years, a large percentage of songs on each album have been dedicated to a man's pursuit of a girl named Dana.
- Like all musicians, Sonata Arctica is thrust into numerous exercises of categorization.
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