Wartime, as well as other ongoing themes of poverty and impoverishment in Lange 's photography, often lent itself to perfect opportunities to shine the light on the inner beauty of strength. As she traveled abroad throughout the 1950 's and '60 's, she found many subjects worthy of her time and talents. She used her camera to capture what caused her eyes to sting with tears and her heart to ache with a desire to help the oppressed, to tell the story on film that she could not say aloud for fear of reprisal due to the political climates in countries like Korea and Vietnam. One such photo is a female of unknown age, taken from behind, as she sits on the ground with a box of food. It is nearly palpable to the viewer how intense Lange felt when she found her subjects, how she wanted to reach out and help them all yet knew she must restrain from taking such actions lest she lose herself to them.
The lead, Takeyuki Higurashi, played by Takayuki Hamatsu, is a rather likeable presence. The tyrannical nature of his character during the movie-within-the-movie is downplayed in favor of a more laidback and thoughtful persona during the behind-the-scenes work. As we get the reasoning why with the backstory, the change is still fun to witness first-hand in a stellar performance. The other big standout performance here is Nao played by Harumi Syuhama as his retired-actress wife who now works as the makeup artist on the shoot who gets involved in the film through rather dubious means. The difference between her sweet motherly duties and the more tyrannical she becomes in the role allows for a nice change that gives her a rather impressive attribute here.
Who doesn’t enjoy watching a heartwarming film about love, family, and attachment? There 's something about watching a story about love and attachment formation that pulls at the heartstrings of humankind. Hollywood is very aware of this and has provided us with a steady stream of movies centering around these themes. One such film is the 1987 production Baby Boom. This film tells the story of J.C. Wiatt, a successful career woman living in the heart of New York city, who lives and breathes her job.
The cinematic feminism, denoting the challenge against patriarchal representation of feminine identity in an objective manner, must have been influenced by Varda’s stance in the French New Wave as a sole female filmmaker. All in all, Varda deserves the enduring prominence and reputation as an influential auteur-filmmaker in the history of cinema, with her profound authorial presence captivating the audience across time and
Catarina was the great, great, great, granddaughter of Domenico Teti & Caterina Urso. Her great, great grandparents were Antonio Teti and Lucrezia Borgia Teti. Antonio and Lucrezia had five children. Francesco, the oldest, married and lived in the Teti family home in Filogaso. (For five years, when Giuseppe was working in Brazil and then in America, his wife Catarina & his daughter Victoria lived in that home with Francesco and his wife.)
Often referred to as the “Chinese Garbo” and “generally regarded as the greatest actress China has produced”, Ruan Lingyu (1910-1935) is one of the icons of early Chinese cinema (Stokes and Hoover, 92). In addition to being recognized for her “soulful characterizations” of “tragic roles”, Ruan was also representative of a “new, modern woman” (Stokes and Hoover, 92; The Chinese Mirror, 2011). This essay will examine and show how the “Ruan Lingyu” that both the viewers of her own era and today know is ultimately just the constructed visual persona of her – a mythologized figure that transcends even her own life. Using The Goddess (1934) and Centre Stage (1992) as case studies, I argue that the multi-faceted onscreen and off-screen image of Ruan is transformed into a vehicle through which Chinese cinema engages with its society’s particular time and space in the films’ moments of production. An examination of Ruan Lingyu’s career would reveal that “in general, Ruan’s persona is not a “type” character” but rather a “fate persona” who “encounters tragedy in her life” regardless of “her social background or her age” (Kerlan, 2011).
This Epic movie has been directed by Ang Lee. This movie has been derived from the famous short story known as Same name. This movie has won prestigious awards like Golden Lion and Venice Film Festival. The American actress was hugely praised for her performance and also helped her to win a lot of fans. She also won the best supporting actress award and was nominated for Oscars.
Faced with an ultimatum, Eliza Sommers is blinded but what she perceives to be passionate love, yet her love demolishes as her journey reaches its end. Eliza, disguised as Elias, realizes that her passionate love was only that of the young and naïve woman she used to be. Though the purpose of the journey was made was not accomplished, Eliza achieved a greater purpose, and instead of finding her lover, she found herself. Moreover, Eliza made an significant acquaintance, Tao Chi’en, a Chinese physician and a dear companion. Thus, throughout the novel, Eliza makes significant decisions that heavily impact her as their outcomes are great, weather the decisions are right or wrong, and, additionally, the reader can easily relate to Eliza’s decision making as her reasoning and situation is an experience we have all been through.
Her emphasis on the culture and tradition of India brings out an individual’s sufferings which is responsible for the entire change in fate. Divakaruni accepts and respects the culture and tradition of India, but at the same time the cultural intolerance saddens her. Through this novel she proposes the new patterns of wisdom and compassion which provides new perspectives to the idea of marriage and love. She expertly portrayed the various facets of Korobi’s personality; how her instability in love made her to change, how she feels drawn towards Vic, her feelings for her fiancé, her failed attempts to find her father and finally her victory that made her to reach a balanced level of maturity in the process. She is aware of this fact: Actually though I think of my female protagonists having both strengths and weaknesses.
Bapsi Sidhwa has worked on the screenplay of Deepa Mehta’s film Water. Both are equally renowned women of our society who have shown a perfect artistic collaboration. My dissertation shows the collaborative work of Bapsi Sidhwa and Deepa Mehta where the novel compliments the film. Water by Deepa Mehta has always been a controversial film in India but it was appreciated by many viewers. Both the novel and movie are based upon similar themes and situations except some variations in the paragraphs, dialogues and cinematic effects.