Film Authorship Theories

It is a valid question, but one must consider the difference that comes between historical movies and normal ones, as historical films must both entertain but also represent. Regardless of the answer, Gutting effectively shows the audience why it is in their best interest to take Lincoln with a grain of salt. Through the inclusion of many sides and ideas, his professionalism and knowledge in philosophy, and a rigid argument foundation, Gutting inspires readers of his New York Times article to uncover further what Lincoln and his accomplishments indeed were, not the just the interpretation the film

And there is also the issue with interpretation: how the director or the author interprets the play determines the spectator’s feelings. Therefore, I think, in the script, that is what Williams intended to depict, Blanche is sympathetic. But, the film directed by Elia Kazan changes a likeable character, so that Stanley becomes more identified with. To prove that, this

The era of postmodernism breaks through, or rather wishes to destroy any mainstream elements which were used in the modern era. Where modernism looked towards progress and predictable solutions, postmodernism did just the opposite. When speaking of the term postmodernism and film, films usually leave the audience unsettled through its fragmented, ironic and disjointed narrative. Many other characteristics such as the blurring of boundaries between truth and fiction, and the manipulation of time and space are elements used in postmodern film. Postmodern film, putting the focus on the liminal space1.

The overarching concept that ties absurdist fiction together as a genre is its thematic basis in philosophical absurdism. Because the average moviegoer is not likely to have an understanding of the philosophy behind absurdist fiction, the genre itself is likely to mostly remain obscure. To say, “The crucial factors that distinguish a genre are not only characteristics inherent in the films themselves; they also depend on the particular culture within which we are operating” means that for Punch-Drunk Love, as well as many other absurdist fictions to be acknowledged as within an encompassing genre, the bulk of the consuming public must be aware of the concepts that drive writers to create narratives around the philosophy

It keeps the watcher outside the world which helps us learn the life lessons instead of empathizing with the characters in which was present in Macbeth. The reader could feel the guilt and anger that was going through Macbeth’s head as well as in Lady Macbeth’s. Both the play and the movie might have great similarities, but each has its own unique way to deliver the message to the reader/viewer. The philosophy in Throne of blood takes us well over Shakespeare, but they both serve the purpose of the story perfectly. Both Macbeth and Throne of Blood are unique in their own way, whether it’s the way the characters react, or to the themes.

There is a lot to be accounted for when comparing the movie The Mission and the critically acclaimed novel Things Fall Apart. It is easy to say that these pieces have nothing in common with one another, however, they are more similar than one may think. The comparisons of these two different works, written and which use two different mediums, in different times, in different parts of the world share the unique thought that literature and fictional accounts alter one’s insight and how one views society within the world. Throughout this paper the Characters of Okonkwo from Things Fall apart, and Rodrigo Mendoza from The Mission will be compared through the various obstacles they must overcome. The textual evidence will show the reader how fictional mediums, such as literature and cinema, apply to one’s understanding of real-life circumstances.

Film is inextricably intertwined in today’s culture, both as a means and as an outcome. Through movies’ ability to stay grounded in some truths, yet also push social boundaries, it is clear that films shape culture, and culture shapes film, making more important now than ever that filmmakers are aware of what they are putting out and the implications they will have. Not every movie producer

Easy A, is not just a “chick flick” movie it expands beyond being a film that has a ridiculous unrealistic ending. This movie introduces sociological concepts like manifest and latent functions. Moreover, this movie gives examples of the power elite demonstrating who has a greater sense of control. Overall, I will be discussing the difference between manifest and latent functions and showing the importance of power elite in two scenes of the movie. Manifest and latent functions are two controversial topics.

As the main task of this research was to analyse the adjectives contextually, determining only whether adjective is positive or negative in the context, these type of adjectives, as we saw in the example above ,were counted in with their contextual meaning. In some sentences it was difficult to determine weather the adjective given has a positive meaning or negative in the context. For example, She stars, directs and is the co-writer, setting the film 's goofy tone. In this sentence it is difficult to determine whether adjective goofy is positive or negative. On the one hand, the adjective on its own is more neutral than negative or positive, because for some people goofy associates with funny (positive meaning) but others may associate it with foolish(negative meaning).

The difficulty lies within the fact that they can stimulate a form of fear that creates similar reactions toward it by the film’s characters, but this is at the expense of simplifying Frankenstein’s monster and reducing it to a generic creature trope. There is a distinct physicality present in the film adaptations that is not present in Shelley’s novel, to the point where the creature’s cerebral aspects are pushed to one side. As Lavalley puts it, ‘The book may gradually present us with a fully formed human psyche whose feelings, yearnings and logic are often more profound than those who reject its outward husk, but the stage and film must fix that outward appearance from the very start.’ \footcite{Albert J. Lavalley, 'The Endurance of Frankenstein', pp. 249} To achieve this, humanity has to be integrated via the visualisation of Frankenstein, as with Branagh’s version, or by a sympathetic performance that directly contradicts the creature’s horrifying exterior, as with Karloff’s rendition. The same applies to the horrifying nature of the creature’s appearance however, and so a fine balance needs to be struck between terror and implied benevolence, a feat that no filmic adaptation has managed to achieve.