The film La Haine (1995) directed by Mathieu Kassovitzs is a French movie set in an inter-racial housing project Paris suburb. Against the backdrop of police high handedness , brutality and social inequality fuelled by hate and violence from restive youths, this drama in a new genre known as Benlieue films mirrors the social problems of migrant slum dwellers with disillussioned youths bedeviled with a bleak future and hopelessness. When considering the theoretical framework in which banlieue movie La Haine is set, it’s important to look at the French climate during 1995 as there were numerous happening which occurred that year allowing the feature itself to tap into the zeitgeist, and become extremely relevant through it’s depiction of the urban French ghetto, which is the aesthetic back drop to the film itself. As stated by Hayward in French National Cinema, “What originally appeared as the banlieue film’s strength — a genre that, through its focus on the disadvantaged urban periphery, would allow for an engagement with key socio-political debates of the period (exclusion, …show more content…
They see the French society as a failing system without much hope for their future and likened it to a guy falling from a fifty story building and reassuring himself by repeating 'so far so good, its not the fall that matters but it is the landing’. The story centers on three friends who are second generation migrants from three different racial backgrounds. They are Vinz a Jew, Said an Arab and Hubert an African black. A twenty four hours focus on the trio following the overnight opening violent riot scenes of the movie reveals the attitude that caused the riots and the hostile relationship between the youths and the
Jedda Colonialism and Assimilation in Australian Film In this essay I will be exploring the themes of colonialism and assimilation and how it was represented throughout the 1955 Australian film Jedda, by Charles Chauvel; being the first Australian film that Aboriginal actors had taken on a protagonist role, even so far as to have the Aboriginal actors name appear first in the credits. The film is about a young Aboriginal girl, Jedda, who was orphaned as an infant and raised by the station owner’s wife, Sarah McMann. The woman was wanting to ‘civilise’ Jedda, teaching her to read and write in English, and how to play the piano instead of letting her learn the way of her tribal people by going on walkabout; finding bush tucker, and learning
Mathieu Kassovitz’s film La Haine focuses on the lives of 3 friends-Vinz, Said and Hubert. Each of the young men come from immigrant backgrounds and are combating the struggles of poverty. After a well known youth in the community is tortured by the police, a violent riot breaks out leaving Paris in flames. In the midst of the riot, a cop's gun gets misplaced and falls into the hands of Vinz. While Vinz comes from a Jewish background he is still white-passing.
Fear occurs within everyone. Whether the fear be of something concrete like spiders or something intangible such as a fear of being alone. No matter the type, fear is something that everyone must learn to overcome. In the book All The Light We Cannot See by Anthony Doerr it is shown that one must confront their fears or risk being overcome by them. This is shown through a variety of characters in the use of literary devices.
The Bronze Screen introduced both positive and negative portrayals of Latinas and Latinos in film. While there are plenty of positive Latino roles in films, Latinos and Latinas should be included in more positive roles because the negative roles Latinos have in films cause negative stereotypes. Positive and negative representations of Latinos in films has always fluctuated throughout history, however the more negative ones seem to always overpower the good ones. The film, “The Bronze Screen”, gave many examples of the negative roles Latinos played in films throughout film history. Early films included Latino actors, however they did not always have a lead role or even a positive one.
La Haine is underlined by a ticking clock, and by Hubert’s story of a man falling (Kassovitz’s metaphor for the banlieue as social time bomb). Conflict in the working-class banlieue was a common occurrence before La Haine. The cités social problems include: run-down housing, a high populace of young people from immigrant backgrounds, drugs, and widespread unemployment. Just like in the film, they are regularly portrayed in the media as violent, dysfunctional areas. Vinz, Hubert, and Said’s isolation is representative of the social gap that separates the haves from the have-nots, the majority from the underclass, and the city center from the banlieue.
Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.
In the film Lalee’s Kin, the school superintendent Reggie Barnes, described Tallahatchie county schools as being the worse of worse because they were a level 1 school according to the ITBS. As he pointed out, the system was built to fail these children. He partly blamed the state for not taking responsibility to provide him with the funds needed to hire more qualified teachers and purchase school supplies need to teach their students. He advocated for adequate and identical educational opportunities for students within his school district as the rest of Delta school district had. The state threatened to take over the schools if there was no improvement.
Linsanity is a documentary film directed by Evan Jackson Leong that tackles numerous topics such as discrimination, stereotypes, racism, and being overlooked. The documentary is about Jeremy Lin, an Asian American basketball player who rose to fame in the National Basketball Association (NBA). The story follows the life of Lin from his childhood to his success in the New York Knicks in the NBA. The film shows how Lin achieved success despite of the racism and discrimination that he received while playing in his college and in the NBA. The director’s intention does not only inform the viewers about Jeremy Lin’s life, but it also offers viewers a new image of Asian Americans in basketball.
Cinematography is critical to the success of any movie. Cinematography uses composition, lighting, depth of field, and camera angles to determine what the audience sees. Casablanca’s cinematography directs the audience’s attention, shapes the audiences feelings, and reveals the theme of the movie. Cinematography directs the audience’s attention and acts as the viewer’s eyes. The cinematography highlights Casablanca as a dangerous place filled with deception.
1) Your review should summarize the plot, characters and themes of the movie. The film “La Mission” is about of Che Rivera one of the main protagonist, and he is a strong man respected throughout the mission barrio for his strength, that has always had to be tough to survive in this life. Also he loves to build low-rider cars with his friends. Che it was a rehabilitated inmate and recovering from being an alcoholic, he works as a bus driver that it needs to work hard to redeem his life and do the right by his only family and son “Jes Rivera”. Jes he is also one of the main protagonists in this film that his character plays a huge role in the story of the film.
At some point of your life you meet very special people that carry very similar interests. This creates bonds that can be a very powerful and important part of your life. Some may say that bonds are created between a series of negative events that leads up to friendship. However, this is not true because in The Way, the main characters come together to walk the same path. Each character motivates each other to achieve the overall reason of why they wanted to walk The Camino De Santiago.
The favelas in Brazil are crowded; in the film you really see how the people in these neighbourhood’s live. For example, they are shown to be “ scruffy, dirty ,scampering around on the dusty play-fields and squalid alleys, their body language expressing the weightlessness of their thin bones and scrawing chests, their clothes are ragged and old; some kids are seen running around without shoes on through the streets, pushing aside people and animals. The houses seem to have layers of dirt on them and dust from the constant commotion pervades the air. The film authentically portrays the squalor people actually live in. In one scene you see a boy riding his bike and in the background there are burnt cars and trash piled around
This eye opening and staggering film directed by Paul Haggis (Crash 2004) portrays the collisions between the people of different ethnicities, races and cultures. Haggis bases the film in a city where most people have cars where most people have cars, Los Angeles, and where people rarely brush against or interact with one another unless there’s a situation that forces them to do so. It gathers the lives of those with completely different backgrounds that intersect with each other in the span of 36 hours. Paul Haggis is to be applauded for taking audiences on a rollercoaster of emotions from the start of the film to the very end. The characters in the film are hidden behind metal and glass where no one in LA even touches or brushes past you.
1.0 INTRODUCTION The Help is an example of American drama film. It was released in August 9, 2011 and its length was 146 minutes and directed by Tate Taylor. The film was adapted to a novel, where there has been a long tradition of African- American women serving as “The Help” for upper-middle class white woman and their families. Descriptions of historical events of the early activities of thecivil rights movement are peppered throughout the novel, as are interactions between the maids and their white employers.
Baz Luhrmann’s films are known their ability to make a watcher feel as if they are part of the show. Between his use of camera angles, shots and the use of a narrator, it’s no wonder he is able to keep viewers on the edge of their seat. But how does Baz Luhrmann pull off this spectacular feat of his? This is probably explained best by referring to Baz Luhrmann’s films and how he himself has evolved as a director.