Introduction This paper deals with the interrelation between villainy and queerness in the Hollywood cinematic history. The paper postulates that queer characters and queerness have been ever-present in the mainstream American cinema since its advent. However, time periods differed as to the severity of censorship and moral evaluation of queer characters. Beginning of the 19th century with its relatively light censorship and heavily stereotypical comic and dramatic queer characters gave way to the period of the Motion Picture Production Code which officially lasted from 1930 to 1968 and put major limitations on the way film-makers could or could not portray queer characters. 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.
There is a precise distinction between the two concepts. Considering the criticism of American Underground, New German Cinema and New Wave, Dogma can be considered as a fake. However, considering from the perspective of its makers, Dogma is a dynamic movement. The movies of Steven Spielberg held over the cinema as an auteur kick and became an initiation of American Cinema movies that were driven by special effects. This was a nonstop success of Spielberg’s vision in terms of economic policy and gave rise to a novel mode of heightened cinema.
Why did Hollywood become the dominant film industry with audiences inside and outside America by the end of the 1930s? Hollywood became the dominant film industry with audiences inside and outside America by the end of the 1930’s due to the implications of World War II Hollywood rose to become the dominant film industry with audiences inside and outside America by the end of the 1930’s due to the implications caused by World War II. The Hollywood era of the 1930’s, which is also known as the Golden Age, was filled with great benefits for the film studios of Hollywood. The main factors that, enabled Hollywood to become the dominant film industry by the end of the 1930’s included a combination of factors including: the rise of the five
Prior, to the emergence of America entering World War I the era of Industrialization had finished and continuous conflicts between the ideals of the United States remaining in isolation were brought amongst by President Woodrow Wilson. However, this idea of Isolationism was challenged by the idea of expanding the nation 's borders, also known as Imperialism these two ideas conflicted greatly with each other. Towards the early 1900’s President Wilson was in office when Germany sank The Lusitania in which the United States had a decision to make by choosing to go into the war, around this time film was making an introduction into the world whether it being in the newly built film palaces or somewhere else. When the United States had announced that the nation was joining the “War To End All Wars” the film industry sought an opportunity to help out the cause. The introduction of film industry propaganda significantly contributed towards the continuation of the Isolationism state of mind among the American attitude, however as film propaganda began changing it greatly influenced the attitude of the American participation towards a more patriotic mentality in World War I from 1914-1918.
A fight for power, for the position of king is changed into a fight for the ownership of a small fast food shop in a small town. And the play is even changed from a tragedy to a comedy. The movie gives an “uneasy combination of "high" (Shakespeare) and "low" (popular consumer) culture”(Hoefer). However, this modernized version of Macbeth is practical when we consider the marketing purpose, the two similar time periods (the movie set in and the play set in), the seemed different but similar two special time in the history of capital development, and the effect that the social change in 1960s to 1970s on early twenty-first century. When we compare the original period which the play set, seventeenth century, and in which the movie is set, 1970s, there are similarities in elements or matters such as the capital expansion, social change and people’s desire.
The Romantic Comedy, the film genre held in the highest regard in the period known as the early 2000s. Although this genre has continued in recent years it has strayed from its original structure. Looking back on works like: How to Lose a Guy in 10 Days, The Wedding Planner, Sweet Home Alabama, Along Came Polly, 13 Going on 30, and 50 First Dates, there is a definitive formula to make the perfect romantic comedy. In relation to Aristotle’s The Poetics, which focuses on a refined art form, Romantic Comedies are commercial works designed to be universally appealing with the goal of making money. Aristotle stated, “that we must represent men either as better than in real life, or as worse, or as they are” (20).
For this essay, German cinema will be my primary focus. Hollywood on the other hand is the locale for mass productions of films that are solely based in the United States. These films do not discuss about any national or cultural issues but more for entertaining purposes, targeting a wide range of audiences from around the world. Hollywood is also ranked the first place in the global film market, thus influencing world cinema tremendously. Because it is first, it has the most influential qualities.
Sequel fatigue is a popular condition, for years now the highest grossing films have been either sequels or franchises, and the elitist spits out the word Hollywood as a metonymy for all that is wrong with the artless entertainment industry. They have point: Hollywood is an industry and the bloated gatekeepers are fiducially bound not artistically. Their primary concern is what sells, and that makes them rather conservative, banking on things that resemble things that sold before, hence the glut of sequels and franchises, but also more insidiously the torrent of passable “safe” films: demographic pandering by the numbers, relying on formula and cliché. These films can still be well crafted like Marvel3 instalment Guardians of the Galaxy Vol. 2, or they can be The Fate of the Furious , the Big Sick or Home Again, Despicable me 3 or Boss Baby.
The anti-Arab propaganda appears the most in Hollywood movies and productions. In a well-organized tactic, Hollywood tends to present the Arab as the desert people without addressing them directly, but with the use of smart connotations and those indirect offenses play an important role in forming the imperfect image of the Arab countries in the other side of the world. Hollywood seems to be a film industry with a specialization of adhering to all US policies which has been obviously portrayed in many of its productions. Hollywood or the cinema of the United States is the oldest film industry in the world, originated 121 years ago. It has the greatest number of audience and it is considered as the largest in terms of revenue.
1.4 INDIAN FILM India is the world’s largest producer of films—in the 1990s, the country made more than 800 films annually. It is the only country that has a bigger audience for indigenous films than imported ones. It also boasts one of the biggest international audiences. Indian films mean different things to different people. For the majority, they mean “Bollywood” (a conflation of Bombay, the old name for Mumbai, and Hollywood), and for others,they mean exquisite art movies as exemplified by the work of Satyajit Ray.