The fallout of this Republic was said to be because the people of France were, “a profoundly divided people living in a terribly dangerous universe” (Glenn 34). Historians have noted that although there were several contributing factors that lead to the weakening and ultimate demise of the Republic, the Algerian Conflict was the straw that broke the camel 's back. This conflict brought an unforeseen guerilla warfare onto post war France that tore apart the political system. Additionally, another impact that the Algerian Conflict brought with it was the return of Charles de Gaulle, a man who occupied an executive position who took advantage of his favor with civilians and the military, thus giving him a way to introduce his own form of government. De Gaulle proposed a presidential model who would have more centralized power and for every seven years would be elected by popular vote.
The use of ultra-violence in films is a common thing in modern films and it is mostly used as an attraction to make a film action packed. In neo-noir films, however, the use of ultra-violence signifies a deeper meaning. It is used to portray a very surreal environment in which we live in. The violence in films such as Kill Bill by Quentin Tarantino might seem excessive to most, but it only serves to illustrate just how horrifying the reality can be in patriarchal hierarchical societies ruled by a single “god”. In this essay, I will discuss how the attempted murder of The Bride by Bill, the rape of The Bride by the male nurse in the hospital, and the rape and murder of O-Ren Ishii’s mother by Boss Tanaka shows how Tarantino wants us to understand how women are treated by men in the traditional realist world.
The important of all this innovated aspect of the film is the best argument against Kracauer’s analysis, “The ‘story of the famous story’ has obscured the ultimate responsibility for this remarkable achievement. It was undoubtedly a happy combination of talents” (Robinson1997). The film history of Dr. Caligari is without a doubt what makes this film so transcendental. It is important to point out that Kracauer analysis also has a lot of factors that explained creation of the story in the film. Society are affected by war, so it is clear that the writers were influenced by terrible experience in the World War I.
An era that was characterized by the Vietnam War, Watergate, and Charles Manson. Polanski puts the frustrations of America into Chinatown as a way to express pessimism. Chinatown is a product of a pessimistic society. Polanski uses noir as a way to ground his film and portray American society as a whole. However, Polanski uses new techniques like complex female characters and color to refine noir.
Sorry for the lengthy and analytic-ness of that, but I want you to understand why and how our culture is being turned into something hateful. I know right now I’m all talk, but let me tell you what I’ve noticed in the media. One of my more shocking realizations was the movie Aladdin. Disney starts out the movie, watched by millions of children, with a song about how barbaric Arabs are and throughout the film they are depicted as irrational and violent. I watched a film called Reel Bad Arabs and it elaborates on how Hollywood has been presenting this hateful stereotype for years.
The brilliance of the art isn’t in how magnificent it looks but more so in how the distorted buildings and objects make us challenge our own preconceived perception of reality. This was a huge theme in the movie as we realize at the end of the film that Francis is a crazy man and the entire frame was of his delusion with reality accusing Dr. Caligari to be a murderer when in fact he was the Insane Asylums Chief Medical Director of which Francis was a patient. This twist at the end of the film was meant to express that we are all biased to believe one perspective of reality (as we believed Francis until we discovered the truth), and that there are so many interpretation of reality we don’t appreciate or acknowledge. The expressionism cinema was meant as a rejection of reality/natural aesthetic. It’s aim was to defamiliarise the conventional vision and constructions we allow ourselves to adopt and it did all this by using depth of field, distortion, high contrast, exaggerated expression, and the emphasis on design and composition to create an uncanny environment.
Another work of Orson Welles in the film noir is Touch of Evil that presents archetypal elements such as burnout characters, dark environments, seedy scenes, strong shadows, tragic endings, extreme camera angles, disproportional settings and props, and more. All of those elements serve one and only purpose, a bitterness of life that unworthy of celebration. These elements work together to portray the imagery of unsavory facts in one person’s life. Touch of Evil’s archetypal character of Hank Quinlan, a corrupt police officer who illustrates a perfect stereotype of noir. He dresses like a drunk, as he was, before he converted from booze to candy bars according to Tana, the fortune teller, in one of the scenes when Quinlan pays a visit to Tana’s
Film and written literature have often gone hand in hand. Written literature has often served as an inspiration for film. Directors often make movie adaptations of books and people who have read the book will often criticize the movie for lacking important detail covered in the book. Film, depending on many factors can often be better than the book, or at least do it justice. Since the conception of film many have argued that written literature will be obsolete.
This popular version of the Hollywood legend is complemented by another legendary discourse about the film community that relates Hollywood to the intellectual landscape of the nation and to its cultural hierarchies. This second Hollywood legend is different from the one created by the “fan-zines” and yet is just as fictive. While fan magazines rose-tinted Hollywood into a “Venice without canals,” American literati have crafted a different image of Hollywood marked by desperation and loneliness. In the New Deal era, the attitude of many New York modernist intellectuals toward Hollywood was certainly ambiguous and largely unscathed by what Andreas Huyssen has called the contemporary “anxiety of contamination” between “high and low,” mass culture and
Considering that the story is indeed different from the movie studies show that movies often portray more details than written versions of literature. For instance, adding different characters and changing their names gives readers and viewers different insights of them in movies that in the stories. In fact, the editing of the locations and characters in the story played