The film itself brought the issue to people who would not have been likely to speak of it, had they not seen the movie (Howell, Listen to the lessons of The King's Speech, 2011). Therefore, the success was arguably the strongest benefactor in this situation, as reviewers couldn’t simply ignore the main focus of the film. This main focus caused the film to not just be a source of entertainment to the public, but also a strong message for people who face the same problems as King George VI once did. Furthermore, it gave people with a stammer a platform and made discussions regarding speech impediments more open and honest. Not only does public awareness grant a voice to the voiceless, and does it make the subject open for discussion, but it also helps people understand the difficulties that come with speech impediments (Fraser, The Stuttering Foundation: A Salute to The King's Speech, 2011).
From his early days as a director in the 1960’s, Ken Loach has applied a documentary style to the dramas and films he has made. His cinematic approach and handling of The Wind that Shakes the Barley, shows that 40 years on, this technique is still evident but honed. This film does not feel like a documentary as such, but the naturalistic handling of scenes draws the viewer into the drama and the realism employed is bruising. The lack of sentimentality in the director’s approach makes the harrowing scenes of execution and violence hard to watch. The film does not lack humanity though, the sense of injustice and loss experienced by the native Irish community and their stoicism in grief is sensitively depicted.
Some scenes were filmed in Ballymun, Co. dublin, but most of it was shot in Derry. This feature is giving the audience an exact setting for where the events of Bloody Sunday unfolded, recreating the scene for viewers. ‘Bloody Sunday’ involved those who had lost loved ones during the day, in the process of filmmaking. He incorporated the personal stories of those initially involved, in order to create emotionally authentic scenes. The community seems to be held together by those seen as authoritative figures, such as Ivan Cooper, who plays a key role in the film, played by James Nesbitt.
The representation of nationalism and the trope of blood sacrifice can be obviously seen in both The Wind That Shakes the Barley and The Plough and the Stars. Both the film and play have a strong sense of Irish pride running through them. The main characters in both plays are extremely nationalist and all they want is an Ireland free from British rule. In this essay I will compare and contrast the representation of nationalism and the trope of blood sacrifice in both plays. I will begin with The Wind That Shakes the Barley.
In his first two works, Gatlif showed a Romani community apart from the rest of the world, whereas in Gadjo Dilo he is trying to connect the bridge between our world and Romani world, between our culture and Romani culture. Tony Gatlif himself is partially of Romani descent. It was not easy for Gatlif to break into film industry. In 1981 he started filming movies about Romani people for which he became publicly acclaimed. In his films Gatlif focuses on details and issues that are relevant and important for the Western audience, he unveils the unknown and makes the audience enjoy every single bit of his creation.
The evolution of the director Baz Lurhmann Andrew Venter Topic two: “Lurhmann’s films are not so much adaptations as re-imaginings” Baz Lurhmann is a very distinctive director who is both loved and hated for his bold cinematic techniques. These techniques allow Lurhmann to recreate famous titles such as Romeo and Juliet in a way that very few people could have ever imagined. From Lurhmann’s first film Strictly Ballroom these techniques were very prevalent and instead of out growing these brash techniques he actually evolved and developed his techniques. And thus resulted, resulting in the creations of very successful films. In this essay I will be discussing how Lurhmann has evolved these cinematic techniques beginning in Strictly Ballroom, continuing in Romeo and Juliet and finally in The Great Gatsby.
Crash is without doubt a film worth seeing, especially because it is essential to be conscious of those ethnic and economic matters which are the focal points of the movie. Therefore, Crash is distinctive because instead of screening characters at their finest side, similar to most admired movies do constantly, the characters are outstandingly instead moved forward to their individual affecting realities in the United States of America
Joyce wrote the poem Gas from a Burner soon after making what would be his final trip to Ireland, having had problems with the publication of Dubliners (University at Buffalo Libraries, 2015). The quote reflects Joyce’s ability to love Dublin, not in a glazed, superficial way but in a way that understands and recognises its positive and negative aspects. This essay will attempt to examine the representation of Dublin in two recent Irish films: Adam and Paul, and What Richard Did by director Lenny Abrahamson. Eschewing the typical depictions of Dublin and Ireland seen in many postcards, advertisements and other visual media, these films over a stark and uncompromising view of Dublin. In doing so he creates an honest interpretation of the city avoiding sentimentality, which the American writer James Baldwin describes as “the ostentatious parading of excessive and spurious emotion” and is “the mark of dishonesty, the inability to feel...the mask of cruelty” (Berlant,1955, p.33).
There are advantages and disadvantages to PR-STV and they both effect the Irish Political system in different ways. Undeniably PR-STV can be very positive. The predominant focus of PR-STV is on the choice of individual representatives, consequently it is of the understanding that “PR-STV involves a concept of the connection between the individual representative and his or her constituency” (Sinnot, 2005, Pg.112) Therefore a more conscious decision is made as one will pick a candidate which they feel comfortable approaching with a query once the election is over. The fact that Irish political culture demands close links between politicians and their constituents is not necessarily a bad thing (Gallagher, 2005, pp. 526).
The cinema is a complex phenomenon and its true global importance is gradually being appreciated. The historical occurrences of the twentieth century has provided empirical evidence for the definition of cinema as an instrument of political power, despite Lumiere’s misguided proclamation that the future holds little potential for the new medium. Most significantly, cinema is recognized as a form of escapism during the harsh political, social and economic turmoil of the recent century. “Nowadays, in enlightened societies, there is a better appreciation of the need to ensure [cinema’s] proper development in the national interest both internally and in respect of a country’s relations with other countries and its place in the world” At the turn of the century, films provided a medium of education with the promotion of an awareness and mass-fascination by introducing occurrences and making closer the increasing