Films are one of the most popular media in the modern world‚ watched by hundreds of millions of people all around the world. Films began in the late 19th century as a technological novelty‚ transferring to a new means of presentation and distribution an older tradition of "entertainment‚ offering stories‚ spectacles‚ music‚ drama‚ humour and technical tricks for popular consumption." (McQuail‚ 1983) And‚ as with any popular media‚ people began to talk and write about it‚ and film theory arose from
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The First Emperor Qin: An Analysis of the End of the Warring States and the Unification of China in Zhang Yimou’s “Hero” (2002) This historical study will define the end of the Warring States and the rise of a unified China under the leadership of First Emperor Qin. Emperor Qin had ruled from 220-210 B.C. through the military might of the Qin armies‚ which ended the period of the Warring States (260-210 B.C.). More so Emperor Qin sought to unite these differing factions by introducing a newly
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Modern Literature was a first introduced in the 19th to 20th centuries‚ during a time where writers felt like they needed to express themselves through their works. The writers from all around the world wanted a way to share with the world what they were experiencing‚ whether it was hardship or happiness‚ they wanted their voices heard. From country to country‚ from culture to culture‚ the one thing remains true is that Modern Literature has changed the way we look at other cultures. Stories from
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adapted to film. However‚ many of the cinematic recreations intervened on the original novel’s vision of history‚ taking editorial license‚ which were‚ in and of themselves‚ distinct forms of historical consciousness. Many directors took the liberty of espousing their own personal agendas through the process of adaptation by using various cinematic aesthetics to emphasize and/or elaborate certain aspects of the novel. Both Luchino Visconti and Vittorio de Sica’s cinematic representations of the novels The
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text written by Shakespeare. It is essentially pointing out the view that everything we do or will‚ is at the mercy of fate‚ and whatever we do to counteract it‚ fate still holds the final judgement over our lives. This theme is also prevalent in cinematic codes written into both the visual representations of the Shakespearean love story by Franco Zefirelli and Baz Luhrmann. Two points‚ of which hold significant roles in expressing this theme‚ include the scene in which Romeo returns and meets Juliet
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IMPACT AESTHETICS: BACK TO THE FUTURE IN DIGITAL CINEMA? Scott McQuire Millennial fantasies As anyone interested in film culture knows‚ the last decade has witnessed an explosion of pronouncements concerning the future of cinema. Many are fuelled by naked technological determinism‚ resulting in apocalyptic scenarios in which cinema either undergoes digital rebirth to emerge more powerful than ever in the new millennium‚ or is marginalised by a range of ‘new media’ which inevitably include some
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Color in film went through a self-contained evolution much like sound. Many films of the silent era‚ for instance‚ used processes such as tinting and toning to give an overall color to the frame (Thomspon & Bordwell 34). Thompson and Bordwell comment on the process that “color could provide information about the narrative situation and hence make the story clearer to the spectator” (34)‚ much like the use of photogénie and mise-en-scene by the Impressionists and Expressionists. Other films‚ such
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Crash (2004): Racial Tropes in Mass Media and Popular Culture The representation of race and blackness in the popular culture and mass media has become one of the cultural paradigms in the United States. This has turned into a culture of discussion‚ one that constantly decodes and repositions blackness as a ticket into the multicultural America. In effect‚ blackness seems to offer a functionality that is a dominant media trope for representations and debates on race and ability. Even though Americans
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26 November 2013 The Blues Brothers The Blues Brothers is an American comedy directed by John Landis and was released in 1980. The film follows convict Jake and his brother Elwood Blues‚ who go on “a mission from God” to save the Catholic orphanage they grew up in from shutting down. By doing so‚ they reunite their band and organize a performance to earn $5‚000 to pay off the owed tax while being chased by a deranged ex‚ Illinoisan Nazis’‚ the Good Ole Boys’‚ a western/country band‚ and the police
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of characters) and the capacity a film has to present the different appearances of the world. André Goudreault says that filmic narration is more powerful than “monstration” (showing) and “narration” (telling) and that for him‚ editing and other cinematic procedures consist of the evaluation and the comments of the filmic narrator. This way films tell stories (narrate) and at the same time stage them (show). Stam explains that «the film as “narrator” is not a person (the director) or a character in
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