The Italian “neorealist” movement began at the end of World War II and the films typically dealt with the working class, used non-professional actors, and were shot on location. The films attempted to describe the difficult economic and moral conditions of postwar Italy and the changes in public mentality in everyday life. After the Italian neorealist wave ended, the French New Wave began in the late 1950s. The French New Wave directors gave birth to the auteur theory, which held that the director is the “author” of his movies, with a personal signature visible from film to film. They were reacting against the “tradition of quality” of cinema in France, or the mainstream French films.
Recorded throughout history, a number of film movements have dared to explore the unconventional; in particular the Italian neorealism movement gave the world a new perspective to contrast Hollywood at the time. From the year 1945 to around 1950 the Italian neorealism movement was declaring to the world how a meaningful motion picture does not have to accept the rules Hollywood lives by. The films of the movement are most often defined by the narratives and the lack of resources used in production. Furthermore they frequently featured nonprofessional actors and location shooting while the story reflected the lives of ordinary working class of the time. Examples of this can be found in important films of the movement, such as Roberto Rossellini’s
Italy went through many social reforms and many of them pushed the people to break from the past completely and move forward with new ideas. Mazzini, Marinetti, and Boccioni have all pushed for this ideology in their own ways and criticized the past as almost harmful to society. Mazzini wanted to unify Italy and leave the poor and oppressed Italy behind, Marinetti wanted Italy to start innovating by cutting off tradition, and Boccioni changed the way art was made by leaving traditional art. Some have involved violence as a means to get what they want and others have opposed the idea of violence. The Young Italy manifesto calls for reform, especially political and social reform.
I agree that power is oftentimes skewed and leads to inequality and rage, as we found in Vidal’s life and the unraveling of his seemingly perfect grand plan in the ending to the movie. The entwining of a war film and a fairytale sounds impossible or would only be executed in a messy manner. Guillermo del Toro did this effortlessly and played upon both the war aspects and the fairytale aspects to tie together the film. He played off of the innocence of the mother and Ofelia to highlight the power Vidal had over them and the power that Vidal represented in Franco having over the people of Spain. The story of Spain’s history in this film and its success across the globe and especially in the United States of America makes this a must see for all spaniards and all that are studying Spanish or Spanish culture.
This convention is drawn from the classical Hollywood melodrama or romance genre and it is not only used as a combined set of intertextual elements but it also shows the production elements on the set of the film. These combined elements drawn from other texts creates the new meaning of a more vicious modern day Bonnie and Clyde meant to mirror societies desire for violence. The scene in general blames society for numbing people to violence and encouraging the ‘endless circulation of commodities’ but through doing this it produces that commodity and has now been caught up in the commodification of
The French New Wave movement created a huge shift in filmmaking, a driving factor of it was to separate French Cinema from Hollywood. Jean-Luc Godard is famous for doing precisely this. His 1969 film Pierrot le fou is a prime example of being the complete antithesis of Hollywood filmmaking. Godard himself even describes the it as “an attempt at film.” Pierrot le fou seems to ignore traditional techniques of filmmaking. As Angela Vacche’s essay “Pierrot le fou Cinema as Collage” she states, “Pierrot le fou, is truly a breathless film characterized by a pictorial use of color and disjunctive montage,” (Vacche, 1).
In a way, film industries try to bring the “hero” ideal closer to our own lives, making anyone into a hero. However, portraying soldiers and the civilian rescue in Dunkirk, furthered the reality of the event, pushing it into an imaginary realm of impossible movie magic and good plot writing. In fact, these movies make heroes seem even more fictional and far off. Even in movies about true people, the hero has a special “movie” quality of which we don’t feel
Bollywood has far more prominent difference in quality. The best standard stuff is about on a par with Hollywood with regards to genuine show, dim parody, dirty wrongdoing and genuine musicals. The best in different sorts - activity, science fiction, superhero, spy, romantic comedies - does not coordinate Hollywood. The most exceedingly terrible is far more awful in all kinds. The main type where Bollywood may conceivably outpace the competition is sure sorts of disaster, where Hollywood's fixation on recovery turns into a shortcoming.
their own media and movie making. Still, Warner Bros was far from allocating lead roles to Native American actors, which confirms that artistic cultural violence, being a form of cultural appropriation, still persisted in Warner Bros movies of the 3rd period. II. Discussion: Violence in Warner Bros’ Posters In the twentieth century, Hollywood contributed to maintaining positive and (mostly) negative images in 823/1000 of the movies about Native Americans (Fixico, 2006). The explanation we obtained after we applied our theoretical framework to Warner Bros movies, enable us to uncover different aspects cultural violence, including discrimination, othering, stereotyping, and cultural appropriation in this representation.
Discuss the role of censorship in the construction of classic Hollywood Cinema. Censorship is something we all do to ourselves. Understanding why and how we choose to self regulate our sensory experiences is crucial in understanding representations in classic Hollywood cinema and how it functioned on an economic and psychoanalytical level. Self-regulating began long before the enforcement of the MPPC (Motion Picture Production Code) in 1934 when the Catholic Legion of Decency threatened to boycott cinema. For well over a century, individuals found that by refusing or rejecting certain images or text from social contexts they could benefit others or themselves.