A2. Midnight movies and trash Midnight or camp movies are movies exhibited at cinemas or air at the television screens after midnight. The reason for their late night screening is that midnight movies have sexual, violent content. According to Chute, even going in this event could be regarded as taboo, due to the fact that, midnight movies "appeal primarily to feelings of awkwardness and alienation” (p, 11). Their popularity is due to their "embrace (of) all those flagrant films, from splatter flicks to hardcore porn, whose crucial social function is to overstep the limits of established taste” (p,11). In addition, midnight cinema is closely connected with the camp style “the essence of Camp is its love of the unnatural: of artifice and exaggeration” …show more content…
Divine uses females clothing and beauty products in order to look like a woman; because in Pink Flamingos “(g)ender is made visible through the appropriation of highly gendered conventions for fashion and beauty” (Medock 213). In the film, Divine’s original gender is not revealed she is a female, a friend, and a mother, for this reason, the film “is thought to promote transgressive politics through the emergence of a humorous and provocative trash cinema which questions society’s gender roles” (Nunes 2).. According to Butler, There is no original sexual identity that men and women ought to perform: “we perform masculinity or femininity, heterosexuality or homosexuality according to a script already written as the cultural conventions of our society” (1993btlr 3). Furthermore, femininity and masculinity are associated with “certain bodies, dress codes, and behaviors”, but those are only “performances” learned from society and the reason they appear natural is because they have been repeated frequently, so they came to be seen as the norm. The aspect of gender performance is more apparent in drag shows because drug cannot be assigned to a “singular identity”, by displaying transgressive identities drag “reflects on the imitative structure of gender ” disclaiming and mocking heterosexuality´s views of “naturalness and originality” Butler, Bodies that Matter, 1993). The movie pink …show more content…
In order to highlight her diva- like traits, she uses wigs, jewelry, tight clothing and makeup. One of her most characteristic traits are her eyebrows, Divine needed to shave half of her head in order to make space for the make-up artist to draw her iconic eyebrows. But all those female traits she adopts are exaggerated to the extent that she looks like as a trashy cheap version of a woman. For example, she wears “a series of brightly colored, revealing outfits in order to draw attention and display her body” (Medock 210). Unlike Jane Mansfield that had a nice figure and could rock a tight dress, Divine is “an obese drag queen with huge breasts that dresses in a way that only highlights her fat body” (Hallam). For the purpose of mocking Mansfield’s bimbo performance, Waters uses the same soundtrack and appropriates a scene in Mansfield’s movie. In comparing the two scenes; Mansfield exudes an ideal femininity as she seen walking confidently on the streets and dressed elegantly. On the other hand “Divine’s overweight body and her discomfort as she keeps on holding her pair of Capri pants to prevent them from slipping turn her performance into a parodic, trashy version of female glamorous role models:”(Hallam). In addition, Pink Flamingos was filmed in public or houses rather than a studio, “instead of the stylized reactions seen in the Mansfield film where men are amazed by her beauty, Waters shows
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At the beginning of the novel, Jess identifies as a butch lesbian, which means that she presents as masculine and is attracted to women. She feels a strong sense of belonging within the butch/femme lesbian community, where she can express her gender identity and sexual orientation without fear of judgment or persecution. However, over time, Jess's gender and sexuality become more complicated. As she faces discrimination and violence for being a butch lesbian, she begins to question her identity and whether she wants to continue living as a woman. She explores the possibility of transitioning to male and starts to identify as transmasculine, which means that she presents as masculine but does not necessarily identify as male.
The article reveals the racism that gay men and women deal with within the black culture. It speaks on, an unspoken action that is ignored in the African American community. Lorde (1984) speaks about the African American women smuggles as a lesbian, Icard (1986) speaks no how the African American male is seen an inferior. Loiacano
Those that believe Casablanca is not film noir usually perceive Film Noir as a genre. Noir is not a genre; Noir transcends genres and behaves more accurately as a style of cinema. As styles go, there can be variations of them as we see now with Post-Noir and Neo Noir, noir elements in a different time period of film technology which makes these films slightly different than the style of classic film noir. Themes of cynicism, impending doom, loss, jeopardy of life accompanied by visuals dominated by shadows, strong lines, and overall darkness to the image make up film noir’s style. Noir is not absolute, the beauty of this style is its vulnerability to variation, which is why Michael Curtiz’s Classic Casablanca is film noir.
The movie “Sleepers” is about four young boys between the ages 13-14 who commit a serious crime by accident. In this paper I will argue why the boys should be dealt with under the Restorative Justice System, and not under the Retributive Justice System. I will also talk about how they would be dealt with under the Youth Criminal Justice Act (YCJA). The four boys are clearly very upset with themselves because they let what they thought would be just a fun prank turn into a violent crime.
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.
Good Night and Good Luck’ is a historical film based on the work of Edward Murrow and the television crew of ‘See It Now’, a programme broadcasted by CBS in the 1950s. Murrow and the crew are determined to confront the anti-communist command of the Republican Senator Joseph McCarthy. Throughout the film, the CBS team work in an effort to dismantle the views of McCarthy and prevent the spread of McCarthyism in the U.S. The film was written by George Clooney and Grant Heslov and was released in the U.S in October 2005. Clooney also directed the film, which is fitting to the subject matter of the film, given his background.
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.
The very act of cross-dressing itself was subversive, especially in Spain where costume was hugely important, not just on stage but in real life. Literary critic William Egginton notes in An Epistemology of the Stage, that when it came to costume the "Spanish public was extremely sensitive to such signifiers of class and could not, for example, tolerate or comprehend a scene in which the signs of social status presented by costume and speech would conflict". (402) With the audience so sensitive to costume details, what must they have thought about Rosaura 's male attire? Women dressing as men was a common device used by playwrights in the Golden Age (mujer vestida de hombre ) and one wonders was it merely because it was practical?
Consequently, as illustrated in chapter one, Butler proposes in “Imitation and Gender Insubordination” (1998), that “gender is a kind of imitation for which there is no original” (722). Therefore, Elaine demonstrates how playing with girls was not a natural for her instead it is something she had to learn to do. Elaine states that: “Playing with girls is different and at first I feel strange as I do it, self-conscious, as if I’m doing an imitation of a girl. But soon I get more used to it.” (CE 57).
Although this distinction in skin color may build on to Ursula’s villainous and dehumanizing appearance, it also explains the inspiration many Drag Queens draw from villains’ deviant spectacle, as they are famously glammed up dramatically with heavy eyeshadow, contour, glitter, and blush among other coats of makeup. “Drag Queens” are men who perform highly theatrical forms of femininity for the purpose of entertainment. Further evidence that villains inspire the queer community includes Todrick Hall, a well known Drag Queen and YouTube sensation who reimagines and pays tribute to Disney villains through his YouTube videos complete with flair and flamboyant arrangements. As Todrick Hall notes about his rendition of the “Spell Block Tango”, “I have always had a strange fascination with the Disney villains’ side of the classic fairy tales and now through the music of Chicago you’ll get to hear their stories.” No doubt, the diva and unapologetic attitudes of Disney cinema villains is a source of empowerment for queer femmes who are oftentimes ridiculed and ostracized for their flamboyant expression.
Released September 29, 1950, Sunset Boulevard is a film noir of a forgotten silent film star, Norma Desmond, that dreams of a comeback and an unsuccessful screenwriter, Joe Gillis, working together. Ultimately an uncomfortable relationship evolves between Norma and Joe that Joe does not want a part of. Sunset Boulevard starts off with an establishing shot from a high angle shot with a narrative leading to a crime scene shot in long shot (a dead body is found floating in a pool). The narrative throughout the film established a formalist film. Cinematography John F. Seitz used lighting and camera angles in such a way to create a loneliness and hopefulness atmosphere.
Thus, in doing gender, one does not move beyond this context, but instead gender identity is “performatively constituted by the very “expressions” that are said to be its result” (55). Gender, for Butler, is “the repeated stylization of the body, a set of repeated acts within a highly rigid regulatory frame,” it is something fluid that congeals over time “to produce the appearance of substance, of a natural sort of being” (63). In this sense, one can never become woman because there is no ontological ‘woman’; it is a “substantive appearance” (64). Butler uses the example of drag to illustrate how it disrupts the “very distinctions between the natural and the artificial, depth and surface, inner and outer through which discourse about genders almost always operates” (27). Drag is not an imitation of true gender, but an act that exposes foundational categories that create the notion of gender as an effect of a “specific formation of power” (27).
“The very thing that was meant to protect natural beauty has turned and threatened our very definition of beauty. A beautiful woman should strike you as different; as unique; as an individual. Her body can be attractive based on a number of things, but shouldn’t one of those criteria be that she is real?” (Curly) Martin’s play Beauty helps bring forth two different women living two different ways, one receiving all the attention of men and the other wanting to be receiving that attention.
The movie Spotlight, recounts the true events that occurred in Boston and were brought to light back in 2002. The movie talks about the massive cover-up scheme by the catholic church to conceals the fact that several priests were abusing and had abused hundreds of kids without any action from the Archdiocese. In this paper I will summarize the movie, discuss the type of victims shown in the movie, asses the risk level of the victims, and lastly relate the different theories of victimization and how each relates to the movie. The movie follows a group of journalists working at the Boston Globe, who are known as the spotlight team.
Laura Mulvey’s article Visual Pleasure and Narrative Cinema was published in 1975, has set out the concept of visual pleasure and explains it under a system looks in cinema. Her theory points out that men looked at women, men are the subjects of women, and to look at the object position; (women) accept their role of being looked at and creating visual pleasures for men as well as in the social reality. Her approaching is to use the same “political weapon” (“psychoanalytic theory”) that “the unconscious of patriarchal society has structured film form” (the way men used to oppress women) (Mulvey 483), with the hope to leave “the past behind without rejecting it” (Mulvey 485). To analyze that the main bias of cinema lies in the obsessive psychological