ABSTRACTS The Transformation from a Mythic Tale into a Cinematic Reading: A Comparative Analysis Elmira Dadvar & Hamidreza Rahmatjoo Tehran University Literature has been the perpetual site of myths. Myths have penetrated from among the ancient national cultures into texts and have resumed their lives in different forms. Out of these texts‚ "children’s literature" that originally included stories and legends for kids has always been‚ due to its intrinsic characteristics‚ the proper form for the mythic
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ions taken and built a wall of regulations that governed what could and could not be shown on screen‚ ostracizing homosexuals from the limelight (Bynum). Directors in the 1930s decided to disregard the production code and shock the audience with violence‚ gender nonconformity‚ and scenes of passion in order to increase revenue. Notably‚ The Sign of the Cross‚ released in 1932‚ was a biblical epic that stunned the audience with the king’s implied relationship with a slave boy‚ erotic dancing between
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Invariably‚ Nick lets the dialogue stand without comment‚ leaving it to the readers to weigh the significance of what is said. Cinematic techniques Fitzgerald was writing at a time when cinema was becoming popular and this seems to have had an influence on the structure of his novel. There are lots of ‘cuts’ between scenes‚ which are symptomatic of a cinematic style. Descriptions often alternate between a type of ‘wide-angle’ panoramic shot (Gatsby’s parties) and close-up. Symbolism
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Cry freedom is effective in illustrating the prominent issues in South Africa during the apartheid era through cinematic techniques. the film title itself is an immediate indication of the the restrictions placed upon freedom‚ and the deprivation of basic human rights and social justice in black society. the protagonists- Donald woods and Steve Biko- are a coinciding dichotomy that develop an unbreakable friendship through there similar ambitions of equality in society. The film explores the discrimination
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because of experiences from the war that haunt him from his past. Having also directed the film I was able to express the character Walt in such a way that emphasized three particular themes; racism‚ religion and family. I also used a wide range of cinematic and film techniques to help portray each theme. Essentially this is what made this film successful. Racism is a major theme that is shown particularly throughout the first half of the film because of Walt’s hatred towards foreign races‚ or as he
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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 analysis‚ I draw conclusions related to the evaluation of cinematic rhetoric‚ the political import of mass art‚ and the character and role of affect in
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displays energy and cogency. The language has the upmost clarity and makes the film feel accessible and comprehensible for a range of viewers. Branagh’s pragmatic approach‚ which includes short illustrative ‘flashbacks’‚ work as a perfectly credible cinematic device that helps the audience to understand the complex scenarios. Branagh tends to rant on and shout throughout the film‚ especially in his soliloquys‚ but to the audience it could feel commanding and passionate and so it creates quite an impressive
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the complexity of events and reducing the players down to good guys and bad guys or more cinematic‚ white hats and black hats. That changed radically in the late 1960’s and early ’70’s when a series of films such as Butch Cassidy and the Sundance Kid‚ Bonnie and Clyde‚ The Godfather‚ Midnight Cowboy and One flew Over the Cuckoo’s Nest‚ literally turned mythic structure on its head and presented the cinematic anti-hero. Before this golden age of film an audience could rely on the belief that no
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Citizen Kane was a revolutionary film for its time. The movie differed from traditional cinematic techniques in Hollywood at that time‚ and followed a nonlinear approach‚ depth of field in the scenes to show importance and power‚ and film techniques such as mobile camera filming to accomplish a narrative transition. The movie’s non-traditional approach contributed to its overall success and importance in the cinematic
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Eugene Jarecki’s documentary‚ “Why We Fight” begins with a speech from President Eisenhower in which he warns the United States of the “military-industrial complex.” The film includes stories and assertions from government officials‚ soldiers‚ journalists‚ and civilians‚ all of which intend to explain why America wages war. Through these statements‚ the documentary reveals a misinformed public‚ ignorant of the political and economic factors behind American involvement in wars. Eventually‚ the film
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