Comm 150 Alex Brown Das Boot: the war that never was The movie Das Boot is known as the greatest German-produced war movie that has yet been made. However, the movie-advertised as a realistic look into a WWII U-boat crew during the war- was horribly overdramatized to make the film more attractive to movie-goers. This perception was produced by an overdramatization of the crew, both enlisted and officers, and their actions during the movie, and damage to the sub that was completely unrealistic and created a false situation to the crew, which demonstrates the lack of realism in the movies depiction of a WWII U-Boat. Das Boot (or ‘the boat’, in German), is the story of a German WWII U-Boat, U-96, which is assigned to patrol the
The documentary "Hollywoodism: Jews, Movies, and the American Dream", explains how a number of Jewish immigrants in the beginning of nineteen century built the most known six movie studios in Hollywood. Despite America 's open-door immigration policy for all immigrants, Jews, perhaps more than other minorities, encountered a new form a discrimination. The documakers say that they were viewed as outsiders and were blacklisted from working in certain fields such as finance, banking, and other higher education careers. Hence, they formed their own communities and their own version of real America, practicing their own religion, opening their own businesses in the garment industry and movie production. Because of the intense discrimination against Jews, especially those involved in the movie-theater industry in New York and Chicago, many of them moved to Hollywood, California building their own studios and working as screenwriters, directors, and producers.
Stories have been told, and passed through from one generation to the other making it the main way of communicating our understanding of particular values, attitudes and beliefs. Films are the contemporary version of stories. We can now observe the values, attitudes and beliefs in much more detail than ever before with clearer pictures, more detailed and vibrant colours. The Power of One is intendedto confront the audience of the horrific times when racism was so brutal and unfair to those who are from different cultures.
missionary Wilhelmina Vautrin’s diary accounts (1937–1940) about a young Japanese soldier with Christian background. The recognition of Kadokawa’s potential humanity effectively defuses the nationalist thrust of the classic Massacre narrative in previous Chinese cinema. The inclusion of Western histor- ical figures (John Rabe and Wilhelmina Vautrin), the documentary-style black and white images, as well as the avoidance of emotive music, exemplifies the filmmaker’s intention to not indulge in excessive lamentation, but to scrutinize the atrocity with a sense of sober detachment. The nuanced treatment of the Massacre fits into Lu Chuan’s oeuvre and embodies certain characteristics of art film, yet such artistic vision is carefully contained
Films are reflective of cultural values, with each genre representing a different facet. The Western genre is perhaps the most iconic; fueled by masculinity and valor, with smoking guns, dashing heroes, and wicked villains, watching these films is an exciting experience. Beneath their dramatic, riveting surface, is a compelling narrative form, upheld by numerous authors over the past hundreds of years. The basic form of the western involves a hero, a villain, and a woman. With the villain always as an amoral scoundrel and the rest of the cast as virtuous and noble citizens, their roles are clearly cut.
As described above, film greatly influences society views. Vrasidas highlights that people learn to believe discrimination is ok and that stereotypes are accurate when seen in a film. As a result, students end up having to rely on their parents without receiving proper education on culture in school, which hasn’t been shown to work all of the time. That is to say, if films continue to teach culture using stereotypes students will continue to be uneducated and this will eventually create a divide in society formed by hate and misunderstanding.
A common concern running through all of the chapters in Part Two has to do with how to represent the experience of another in a way that is not objectifying or exploitative. Different filmmakers have different strategies for doing this, that is, for making films they feel are ethical. Central to this debate is how to represent extreme poverty, marginality, or precarity. In “Capturing the ‘Real’ in Panama’s Canal Ghettos,” Emily F. Davidson approaches this question by analyzing the “ghetto documentary” genre, which, she argues, has had a tendency to lapse into “poverty porn.” Some recent documentaries from Panama, however, namely Héctor Herrera and Joan Cutrina’s One dollar: el precio de la vida
nically, the animation business did its best to overcome those hard days of the Great Depression. Many critics not only discerned a populist message in Disney´s films but admired them as an effective political and social assault on the Great Depression. The films revived home and laughter among the American people. In “The Three Little Pigs” as well as many others, Disney wielded a political influence of which most politicians could image. “The Three Little Pigs” were a blow against the Great Depression in favor of the suffering people.
A group of men betting on jumping into a lake, a private discussion with a best friend, and a get together for drinks in a basement are scenes which revealed the friendliness and respect the townspeople had for Lucas, whom was played by Mads Mikkelson. He was just an ordinary man – a caring kindergarten teacher who recently got divorced, and who was also seeking custody of his son, Marcus. Thomas Vinterberg’s The Hunt follows a rural and close-knit Danish community, who are thrown into a collective hysteria when Lucas’ student, Klara, accuses him of sexually abusing her. The community then punishes Lucas by condemning him, while he fights hard for his innocence.
For many of us, Walt Disney Pictures have played a large part in our childhood. Giroux (1995) even goes as far as saying that Disney are just as useful as school teachers and parents at teaching values and morals to younger children. Throughout Disney movies, important life lessons and messages are constantly being put across; whether it being Rapunzel telling us that sometimes, feeling the fear and letting go of familiarity can allow us to move forward and experience new and better things (Walt Disney Pictures, Tangled, 2010) or Timon from the Lion King sending out the positive message of 'Hakuna Matata', meaning no matter how hard life gets, you can always pull through (Walt Disney Pictures, The Lion King, 1994). For the past century, many children have looked up to Disney characters with great admiration.
Remakes are one of Hollywood’s most trusted way to reduce financial risk. Stories that have been made throughout movie history are still being remade again and again. Films by directors in all genres are now being updated or remade to for the 21st century. Some people think these recurring stories are examples of the loss of creativity in Hollywood. Our group asked the question: Is there a formula to make a remake a financial success?
Extended essay response Jonathan Scriva Hollywood films have influenced our values and beliefs of socio-cultural groups within a film. In the context of race and gender the films Cowboys and Aliens (2011) and the searchers (1956) both share similarities. These two successful films are 55 years apart the both convey the perspectives of race and gender through the reflection of American Indians in these films. The films The Searchers and Cowboys and Aliens show that Hollywood has changed the way we see the status of Indians. In the earlier film the Indians are represented as killers and mongrels as in this current day and age we have grown to accept them and appreciate their culture.
The purpose of a satirical political cartoon is to entertain, inform and convey the cartoonist’s message. An effective political cartoon makes the audience think about current events as well as trying to sway the audience’s opinion towards the cartoonist’s point of view. This particular cartoon includes Malcolm Turnbull, Australia’s current Prime Minister, and his wife. It focusses on the potential increase in the Goods and Services Tax (GST). The cartoonist encourages the audience to form a negative opinion on GST increasing by using satirical devices, such as; captions, symbolism, visual metaphor, allegory, and caricature.