offices‚ in cars and buses‚ and on airplanes. We carry films with us in our laptops and iPods. We press the button‚ and our machines conjure up movies for our pleasure. For about 100 years‚ people have been trying to understand why this medium has so captivated us. Films communicate information and ideas‚ and they show us places and ways of life we might not otherwise know. Important as these benefits are‚ though‚ something more is at stake. Films offer us ways of seeing and feel- ing that we find deeply
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Existentialism is a Humanism by Jean-PAul Sartre In Existentialism is a Humanism‚ Sartre explains that in human beings‚ “existence precedes essence.” Meaning‚ humans are created without any purpose‚ but with growth and maturing they find their purpose. J. P. Sartre gives the example of the paper clip‚ noting that this inanimate object was created with the intent of a purpose. Therefore‚ that idea lead to it’s creation. He uses this example to demonstrate “ essence precedes existence.”
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they attain it for others. Filmmakers routinely challenge these social constructs with the use of neo-noir films where they implement elements of the post-Nietzschean existentialism. This conceptual form of thinking is used to allow the anti/hero protagonist to begin a journey of finding themselves. They too often look for the villain an unbeknownst to them‚ they wear said hat. In the films‚ Memento ‚ Fight Club‚ and The Talented Mr. Ripley‚ the anti-hero protagonists find themselves on the lower
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been made are about war and not even single one movie about against the war or from different perspectives. I wondered if the people in Hollywood did not all get together in a room and decide that they willing to do just this kind of film and not other kind of film. Leon Trotsky once used an expression to describe events that are not accidents‚ and not planned consciously‚ but are something in between; and he called this “natural selection of accidents‚” in which‚ if there is a certain structure
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Film Noir‚ meaning “black film’ in French‚ was the trending style and genre in American culture between the 1940s and the 1950s. It is a combination of European cynicism and the American landscape. Film Noir has its origins from German Expressionism and French Poetic Realism. Nino Frank‚ who was a French film critic‚ was the first to introduce this black and white genre to Hollywood in 1946. Many of the directors who introduced Film Noir where refugees from Nazi‚ Germany. From that moment in time
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French Film Noir: Touchez pas au Grisbi and Ascenseur pour l’échafaud Azaria Wassyihun Film Noir is often regarded as a uniquely American phenomenon. The particular context these films were produced in‚ marked by the post-war period‚ infused these films with a unique style Hollywood had never encountered before. America might have been the adequate setting for this unique phenomenon to occur‚ but film noir would not be the same without it’s international aspects. Famous Austrian born directors
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There were many changes in marketing and distribution of films from end of the silent period to the modern digital period. There was a studio system that existed at the end of the silent period and collapsed in 1949 with a court ruling. During this same time a sales era of marketing existed. After the Second World War the sales era was replaced with a new way of thinking and sales and marketing were not synonymous anymore. Marketing after World War II meant finding out what consumers’ needs and wants
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Rollo May’s Existentialism Psychology: An Overview to His Theory After many years of his hardships in conducting clinical research‚ May was able to postulate a new way of looking at human beings. With such newly evolved point of view‚ May saw people as living in the world of present experiences and ultimately being responsible for who they become. Many people‚ he believed‚ lack the courage to face their destiny‚ and in the process of fleeing from it‚ they give up much of their freedom. Having
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Exploitation films have been produced since the beginning of film‚ but once the Production Code was no longer in effect‚ more these films could be produced and at a faster rate. One genre of exploitation cinema is the drug crime film. Starting as early as the 1930s‚ filmmakers made movies about the dangers of doing drugs. These films were often cheaply made and aimed at a small audience (Clark 4). They were theatrically simple‚ with an uncomplicated narrative: “these are films whose entire function
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One overarching theme of ‘s W.O. Mitchell’s Who Has Seen the Wind (1947) is the incongruity between the wild and the domesticated. While this heterogeneity is often represented physically – Mitchell goes to great lengths to describe the vastness of the Saskatchewan prairie – it also manifests as a series of personality conflicts between adult characters. Although protagonist Brian self-assigns the role of mediator upon aspiring to become a ‘dirt doctor‚’ he is not the first to desire placation. Rather
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