Laura Mulvey ’s article "Visual Pleasure and Narrative Cinema" argues that in classical hollywood cinema there exists a different viewing expierience for male and female spectators. explain the basis of the theory. Do you agree? Since 1970 ’s Laura Mulvey has been regarded as one of the most famous and well known feminist in film critic. through out histry‚ women ’s body has been used as a vision of pleasure by men. women ’s bodies have been used to make profit for the males sexual desire. the women
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political and military ally in Europe was Italy. The Italians had been governed by a fascist regime under Benito Mussolini since 1925. Italian fascism was very much the elder brother of Nazism‚ a fact Hitler himself acknowledged. Yet for all their ideological similarities‚ the relationship between Hitler and Mussolini was bumpy and complex. The alignment of their two countries was consequently not as firm as many anticipated. By the late 1930s Germany and Italy had become military allies – however their
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I love movies. I especially adore those films with an artistic‚ literary quality that is timeless and classical. In my experience‚ Italian movies seldom fail to evoke such feelings in me‚ and Cinema Paradiso was no disappointment. This heartwarming story about a little boy’s love affair with movies‚ and his subsequent coming-of-age in the repressive environment of ecclesiastical censorship and hypocrisy stirred great emotion in me‚ as I expected it would. The young Toto made me feel his awe as
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Do you agree with the view that the British New Wave cinema of the late 1950s and early 1960s were part of a wider social revolution that was taking place in British society? The British New Wave was characterised by many of the same stylistic and thematic conventions as the French New Wave. Usually in black-and-white‚ these films had a spontaneous quality‚ often shot in pseudo style on real locations and with real people rather than extras‚ apparently capturing life as it happens. Source 2 says
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participates: independent cinema‚ film theory‚ ethnographic documentary‚ and so on. Her work can be thought of‚ from the figure of the interval‚ as an intermediate space open to multiple crossings‚ a zone of unforeseen associations of the sensible and the intelligible. The notion of the "interval" arises with reference in the works of Trinh T. Min-ha‚ in order to expand the conventional classifications implied in the acts of thinking and representing reality. In her book Cinema Interval‚ Min-ha mentions
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The Visceral Politics of V For Vendetta: On Political Affect in cinema. By Brian L. Ott* pages 39-54 Abstract This essay concerns the role of political affect in cinema. As a case study‚ I analyze the 2006 film V for Vendetta as cinematic rhetoric. Adopting a multi-modal approach that focuses on the interplay of discourse‚ figure‚ and ground‚ I contend that the film mobilizes viewers at a visceral level to reject a politics of apathy in favor of a politics of democratic struggle. Based on the
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Baz Luhrman was made famous by his three films that come under the title of the ’Red curtain trilogy’. These three films are Strictly Ballroom‚ Romeo + Juliet‚ and Moulin Rouge. Red curtain cinema is a term made up by Luhrman. It is about breaking cinematic rules and boundaries. It is a refreshingly new and unique style of movie making that gets the audience to take part and enjoy the film. Luhrman has established a degree of adaptability in all his works. Luhrman devised the Red Curtain style of
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HITCHCOCK BLONDES RESEARCH PAPER Hitchcock‚ Blondes and Cinema: Bermuda Hell Triangle Submitted by Mirac Ethem Özdağ ID# : 20700401 DPT: MAN ENG102-94 Submitted to Bengisu T. Akalın SPRING 2008 HITCHCOCK‚ BLONDES and CINEMA: HELL TRAINGLE There are thousands of topics and articles written about Hitchcock films‚ because of his being undoubtedly one of the greatest directors in our decade. In today’s cinema world‚ many directors do not hesitate to admit that they are inspired
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“South Korean cinema both borrows from and rejects Hollywood.” How far is this true in Save the Green Planet? In order to discuss the extent to which Jang Joon-Hwan’s ‘Save The Green Planet!’ (2003) borrows from and Rejects Hollywood‚ it is important to identify exactly what type of film it is and what it is trying to do. Save the Green Planet (STGP) is a very typical South Korean New Wave film. ‘New Waves’ in cinema are basically film movements which involve a series of experimental (and often
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The Third Party Syndrome in the Philippine Cinema: Psychoanalysis’ Perspective “Kaya kabit ang tawag sa kanila kasi daig pa nila ang epoxy kung kumabit. Kaya querida kasi mga kiri. Kaya mistress kasi nakaka-stress.” -Jaclyn Jose‚ A Secret Affair (2012) No Other Woman. The Mistess. A Secret Affair. These films are just a few of the recent offerings of ABS-CBN Star Cinema‚ one of the leading production houses in the country. Aside from all being acclaimed films‚ these three all revolve around
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