Use a range of auteur theories to examine the work of two significant directors you have studied on this module. One director should have produced the majority of their work prior to 1960 and the other should have produced it from the 1970s onwards. Discuss the origins and main developments of auteur theory then examine the works of Howard Hawks and Martin Scorsese with relevance to their status as auteur directors. In having their films examined as auteurs of the cinema‚ both Howard Hawks
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MED 5041 Media Culture Ranjani Ramanathan (s12799778) MED 5041- Assignment Research Report What is the cultural significance of Bethanyslife vlogs? Ranjani Ramanathan s12799778 1 |cultural significance of Bethanyslife MED 5041 Media Culture Ranjani Ramanathan (s12799778) Contents Introduction Literature Review -Real or unreal? -Hyper reality page 3 page 4 Methodology Findings page 7 page 9 - The content of vlogs‚ editing‚ presentation‚ observation - Hyper
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CHAPTER 1: Auteur theory in the context of Film theory Although the term auteur dates back to the 1920s in the theoretical writings of French film critics and directors of the silent era‚ it is worth pointing out that in Germany‚ as early as 1913‚ the term ‘author’s film (Autorenfilm) had already been coined (Hayward‚2000: 20). Hayward believed that the Autorenfilm emerged partly as a response to the French Film d’Art (art cinema) movement‚ which began in 1908. Film d’Art was particularly successful
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mechanism of direct address‚ which has been largely annexed by television. 38 See in particular his essay ‘Cult of Distraction’ in The Mass Ornament (Trans. T.Y. Levin)‚ Cambridge MA‚ Harvard University Press‚ 1995‚ pp. 323-328. It should be noted that Kracauer argues distracted spectatorship assumes moral significance ‘only if distraction is not an end in itself’. (p. 326) 39 See Thomas Elsaesser‚ ‘Cinema – The Irresponsible Signifier or “The Gamble with History”: Film Theory or Cinema Theory’‚ New German
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assists. He plays a chippy game‚ and isn’t afraid to crash the net or dig in the corners to pay the price necessary to make a play. His calling card is an effective forechecking game‚ one based on aggression and a structured system under Head Coach Norm Bazin. Smith didn’t register a point in the regular season against Boston University‚ but when he scores a goal this year‚ UMass Lowell is
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Chart the development of Italian Neo-Realism and discuss its influence on later European and American film-making. Italian neorealism was established in the 1940 and is now a national film movement branded by narratives which are set around the ordinary lives of the poor and the working class. The majority of films within the movement are filmed on location‚ commonly the use of nonprofessional actors are incorporated to reinforce the realist impression. Italian Neorealist films mostly portray the
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References: Bazin‚ G. (1964). Baroque and Rococo. 185-195. Bennett‚ S.M.‚ & Sargenston‚ C. (2008) The progress of love by Jean-Honore Fragonard. 338-342. Blunt‚ A. (1953). Art and architecture in France. 1500-1700. 102-443. Formack‚ M. & Mellon‚ P. (1991) The
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Museums as rituals Scott Cunningham‚ a writer‚ once said‚ “Rituals developed as a means of contacting and utilizing the energy within humans as well as in the nature world” (Ascension Gateway). This thought provoking quote could be used to spark the thinking of how rituals are practiced in our daily secular lives. Carol Duncan does a great job with showing how rituals are practiced in our secular lives; she uses museums to emphasize this point. Carol Duncan’s Civilizing Rituals: Inside
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Nationalist movements have been present since the start of colonial rule and the eminent failure of these nationalist movements before the onset of World War Two have not gone un-noticed by historians. ‘nationalism is linked with the idea of progress‚ a progress which man himself can induce or control.’ The firm control that the pre-WWII Western colonial powers imposed on the territories that they governed ensure that the local people would not demand for the sovereignty of their state. However
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Kracauer’s History: The Last Things Before the Last. The montage lists composed by the Soviet filmmaker for the creation of interior monologue of protagonist Clyde Griffiths in An American Tragedy‚ the product of Eisenstein’s 1930s American visit led Kracauer to the insight that the multiplicity of factors and computations within any historical situation meant that any historical explanation must‚ by its very nature‚ be provisional. Eisenstein’s distinction between the depiction reality and creation of
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