During the 1920s, American society began to adopt values that threatened the traditional values that remained from the 1800s. Many of these changes were a direct result of the youth culture of the time and how their uncertainty of who they were helped contribute to these changes in values. Throughout the decade, the struggle between modern and anti-modern values was exemplified in literature, drama and silent film of the American culture. “Sunrise: A Song of Two Humans” represents the conflicting modernist and anti-modernist sentiments of the time through its use of cinematography and characterization. “Sunrise: A Song of Two Humans”, the 1927 film by F.W. Murnau, is a shining example of the struggle between modern and anti-modern values that …show more content…
In the scene with the trip to the city, all these elements come together to form a crossover from city to country that was representative of the differences between urban and rural life, which directly reflects the dichotomy of modern and anti-modern views of the time. The most important aspect of Murnau’s direction is the direct contrast presented between city and country life. The trip to the city scene begins with a static shot of Indre running from Anses, and analyzing this shot reveals how the action, i.e., her running from her husband, is representative of the film’s main transition from country to city. The entirety of “Sunrise” is based around this concept of an escape to the city; in this sequence, Indre escapes from Anses by way of moving trolley, symbolizing the main border crossing of the film. Anses jumps onto the trolley in order to pursue his wife; the fast movement of the trolley and the frantic leap both represent fast-paced city life in opposition to the quiet, calm life of the country, creating a defined boundary of …show more content…
The use of visual cinematics allows F.W. Murnau to create a film that shows the main characters being lost, then eventually found, within the setting of a modern frontier. Murnau argues, through the use of the film, that the boundaries between love and lust, city and country, and even life and death are not as distinct as one may believe, and that they cannot be contained by defined
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America experienced a sudden disregard of Victorian values following World War I, causing the generation of the 1920s to dramatically contrast the previous. This severe degree of change produced three major manifestations of the contradictions in the twenties. There were massive conflicts to the Jazz Age, technological advancements, and Black Migration. The contradictions of the 1920s reflect America’s conflicted state between advancement and convention, as the cultural and technological developments of the era coincide with the inability of individuals to stray from traditional norms and racist attitudes.
Between World War I and the Great Depression, the 1920’s were unique and special years in American history. The best way to represent that time would be by historian Frederick Lewis Allen providing the historical account of America in the 20’s in Only Yesterday and F. Scott Fitzgerald’s famed novel, The Great Gatsby. Both of them reflect America in the Twenties by showing lifestyles and behaviors of people who lived in that time. We can follow their beliefs, actions, and morality through the works. While Allen was seeking to capture a decade, F. Scott Fitzgerald did a good job by pointing to the main issues during that time.
The dramatic and uplifting movie “Radio” starring Cuba Gooding JR. and Ed Harris, is based on the true life story of James Robert Kennedy, a k a Radio; a mentally retarded young African-American who spends his days pushing a shopping cart around the streets of Anderson, a small South Carolina town, collecting junk and old radios. The movie starts with the heartbreaking scene of Radio pushing his cart around the town, in his own little world; people are ignoring him, and a lady pulls her daughter out of the way, running towards the opposite sidewalk. Every day Radio walks by the school, watching the football team training.
The concentration is on comparing and finding the changes that history made to this movie genre, especially considering the gender roles. Results will clearly explain the psyche of society in two different periods, which confirms that people reflect the movies as movies have an impact on people. The Introduction It is often said that the element of surprise makes the movie more interesting and leads the plot. There are many masters of storytelling
“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).
Rear Window, a 1954 Hitchcock film is deceptively simple on the surface, but contains messages about marriage, class and privacy, to name a few. This essay will explore how attitudes to social standing in the 1950’s are expressed in the film. Lisa displays the attitude that class shouldn't be a factor in determining how she behaves or whom she should get married to. Jeffries is an example of the attitude that because of their material wealth and status, those in the upper echelons of society aren't entirely human and treats them as such. Stella portrays the attitude that class shouldn't be a major consideration in who to marry, but Jeffries would be foolish to not exercise social mobility and marry Lisa to improve his own social standing.
Madison Avenue advertising executive Roger Thornhill’s (Cary Grant) life changes drastically after he is kidnapped and mistaken for a spy named George Kaplan. After a successful escape from attempted murder by Phillip Vandamm (James Mason), Roger Thornhill begins a journey to search for George Kaplan. On his itinerary, he meets the beautiful Eve Kendall (Eva Marie Saint). A romantic relationship is started between the two, leaving Thornhill to believe that Even Kendall would cooperate and help him to meet Kaplan.
Two films, although created years apart yet have a lot in common, including their content of it’s narrative techniques. Both films, even though black and white with strokes of genius of cinema offer a vast stretch for study. I will be looking at Sir Orson Welles “Citizen Kane” (1941) and Akira Kurosawa’s “Rashomon” (1950). We see in Citizen Kane he values for the American life. The three abstract themes that constantly follow through Citizen Kane are Wealth, Power and Love.
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.
To summarize this essay, there are several points that highlight differences between the two films, yet the overall context of the film remains the same. One common theme that tends to drive the force between the reasoning in why the two films have varying aspects is because they were made for slightly different audiences at different times in society. Though both versions of the movie have small portions that vary from one another, the main emphasis is the same and both versions are loved by the
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.
In “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and
3.2 Film Analysis ‘It Happened One Night‘ 3.2.1 Story/Plot Frank Capra’s black and white movie “It Happened One Night” was released in 1934, starring Clark Gable as Peter Warne and Claudette Colbert as Ellen Andrews. The story of the film is based on Samuel Hopkins Adams’ short story ‘Night Bus’ and has a running time of 1:45:05 while the storytime is 3 days and 3 nights. The Film represents many topics and themes relevant for the 1930s’ such as social mobility, class, gender, and the pursuit of happiness.
Over the past century, film has served as a powerful means of communication to a global audience and has become a vital part of the contemporary culture in a world that is increasingly saturated by visual content. Due to the immediacy and the all-encompassing nature of film, the process of watching a film, is widely perceived to be a passive activity by the general masses. However, quoting Smith in his article about the study of film, “nothing could be further from the truth.” The study and understanding of film as an art form enhances the way we watch and appreciate films. It requires the audience's active participation and interaction with the film in order to fully comprehend the directors' intention behind every creative decision.
INTRODUCTION “We conclude that in the field of public education the doctrine of ‘separate but equal’ has no place.” -Chief Justice Earl Warren Separate But Equal, directed by George Stevens Jr, is an American made-for-television movie that is based on the landmark Brown v. Board of Directors case of the U.S. Supreme court which established that segregation of primary schools based on race, as dictated by the ‘Separate but Equal’ doctrine, was unconstitutional based on the reinterpretation of the 14th amendment and thus, put an end to state-sponsored segregation in the US. Aims and Objectives: