However, in the movie Rear Window directed by Alfred Hitchcock, an adaptation of the short story, It had to be Murder by Cornell Woolrich, characters and plot lines are added not condensed or removed. By providing visual pleasure to the audience and the spectators, providing motivation for the action of the male protagonist and other female characters, and introducing a love story to the film, the introduction of female characters in the film Rear Window helped the adaptation move beyond fidelity and helped the film accomplish cultural translation. A key transmutation between the movie Rear Window and the short story It Had to be Murder is the addition of the female characters Lisa and Ms. Torso. Along with the addition of characters, was also the introduction of a love story. In the short story, It had to be Murder, Mr. Jefferies watches his neighbors from his window and believes one of
He ends the Ode writing that he has given up on love. The two main characters of the poem are Horace and Pyrrha; both of whom change. Horace’s Ode 1.5 shows that a person can change as a result of his or her relationship with someone else, or independent of that, but the change inflicted by another person is stronger. Pyrrha’s first change is physical, as she is “tying up [her] blonde hair” (Horace, Odes, 1.5.4). This is a change because hair naturally flows down, but she is changing her appearance by tying it up.
We argue that this period had defining influence on the portrayal of queer characters in the following decades and up to recent times and served to create particular tenacious tropes. The paper takes a chronological look at the queer representation in the Hollywood movies from the beginning of the 20th century onwards and their historical context. The paper employs both the original movies and a number of scholarly works, in particular The Celluloid Closet: Homosexuality in the Movies by Vito Russo, which upon its release was revolutionary in its analysis of queer characters throughout Hollywood film history, and Monsters in the Closet by Harry M. Benshoff, which deconstructs Hollywood’s perception of homosexuality exemplified in the horror movie genre. Terminology Before divulging into the main
Commentary writing in contrasting “Trifles” by Susan Glaspell with “Legally Blonde” film by Robert Lucketic This is brief commentary writing in contrasting “Trifles” drama by Susan Glaspell with film, Legally Blonde, by Robert Lucketic. In this commentary writing, the focus is to find out the answer from the understanding the drama and film and it is gathered on the question, 1) what are trifles to which the title refers? 2) What are connotations of the word trifles? 3) What are some of symbols in the play and film? What does each of them represent?
Hollywood has been depicting Arabs from quite a while back, by utilizing anecdotal pictures and a generalization, for example, deserts, palm trees, castles, and belly dance lovers. Stereotyping is seen in motion pictures, for example, Aladdin where they again depict Arabs as savage, for example, in the melody that they utilize " they cut off your ears on the off chance that they dislike your face.' Also they indicate Arabs as being uncouth and how Arabs have shortcomings for blondes. They contrast Arab lady with the Americans as of being less delightful, for instance in the motion picture
This paper posits that One Flew Over the Cuckoo’s Nest has challenged the traditional notions of mental institutions and psychiatric medication - this is exemplified with the filmic elements (cinematography, mise en scene, etcetera). In this paper, we will take a closer analysis on how these aspects have influenced the concept of madness and emasculation vis-à-vis self and institution. The cinematography of One Flew Over the Cuckoo’s Nest helped draw the line between reason and unreason. For instance, in the ending scene, Forman used extreme close-ups and different lightning to symbolize the transition from reason and unreason. The chief’s face starts out from being dimly lit and the light is concentrated on the windows, emphasizing that the hospital is a jail-like institution.
This broadly applies to different forms of art and fields of study, such as literature, theater, and film. In its essence and deriving its strategies and methodologies from feminist literary criticism and film criticism, feminist film criticism seeks to analyze, critique, and evaluate the ways in which film, and specifically classical Hollywood, reinforces a male domination by exploring political, social, psychological, and economic forces. According to Patricia Erens (year) feminist film criticism arises in conjunction with feminist film theory as a natural development, and concerns itself not only with stereotypical representation of gender, but also with the differences between race, class, ethnicity, and between women themselves (p.). Furthermore, what Mulvey (year) writes in Visual Pleasure and Narrative Cinema falls into the broad claims of feminist film criticism: “film reflects, reveals, and even plays on the straight, socially established interpretation of sexual difference which
Postmodernism is a self-reflexive vehicle of modernism that explores ideologies around concepts of popular culture, high and low art, and the state of the world after the modernist movement. In this essay I will explain how postmodernism, through review and re-conceptualizing, is able to celebrate modernist ideology by using the platform modernism has set up for postmodern techniques to create meaning in narrative. I will be discussing this address through the Shane Black film, Kiss Kiss Bang Bang (USA, 2005). Kiss Kiss Bang Bang (USA, 2005), is a hybrid crime-comedy film that uses the film noir detective narrative style in a postmodern mode. The film reflects a number of stylistic elements portrayed in the James Bond franchise, with a fusion of witty, neo-screwball, romantic comedy features that coincide with action-thriller traits (King, 2007: 54).
By doing so, the media now “glorifies the White standard of beauty in women, and demonizes dark skin for men, may essentially affect how not just blacks view themselves but how other group members, view African Americans based on their skin color” (Harrison). This paper will expand upon the ways that colorism hides in plain sight behind the guise of progressivism. In order to do this, I will analyze shows, actors and movies that were and are currently being hailed as large steps towards racial equality for African Americans and evaluate the effect colorism has on character’s physical appearance. The goal of this paper is to act as a catalyst for the conversations surrounding colorism, in the hopes of helping others understand the irony present when fighting for the advancement of people of color in racial hierarchies while destroying our youth from within, dividing ourselves into skin tone
INDRAPRASTHA COLLEGE FOR WOMEN, UNIVERSITY OF DELHI B.A HONS. MULTI MEDIA AND MASS COMMUNICATION FILM APPRECIATION (312) CONSTRUCTION OF MASCULINITY Submitted by: Aprajita Chauhan Semester 3 Section A 14/0469 CONSTRUCTION OF MASCULINITY INTRODUCTION Masculinity is certain behavioral aspects associated with the male sex. While discussing about the construction of masculinity in Bombay cinema, we’ll try to understand how a man reacts/responds to other people, how he reacts in certain situations. Since gender is a social and cultural construct, constructions of gender in films are also not absolute but complex. We’ll look at the way the male image is represented in Hindi films and chart the change in image of the heroes from 1970’s to the present.