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Narrative used in films
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Exploring Fantasy Films ‘One ring to rule them all, one ring to find them, one ring to bring
them all and in the darkness bind them’. This line sounds
stereotypically from a fantasy film, and it would perhaps not fit in
to other genres such as comedy or romance. Fantasy films often take us
in to a different world and away from the imperfections of our normal
life, they are a great contrast to our lives, in fantasy films things
are always extremes, either great things are happening, or extremely
bad things are occurring; whereas for the everyday person, such things
rarely happen and life is just monotonous. To be taken in to a life of
someone else’s with unbelievable things happening to them is an
excitement and people enjoy being taken from their world and being
placed in a dream place, where everything is perfect.
Films of the fantasy genre are mainly based on popular myths and
legends, characters are things like dragons, wizards, elves, dwarves –
all things we have heard stories about. Films stretch these myths and
bring them to life; they often bring back elements of our childhood
and will therefore entertain us even more. Settings, characters,
events, music, endings and dialogue all contribute to us experiencing
these things. Also, these certain things in a film will be very
typical of the particular genre, some styles of music and characters
will only fit in one genre, and some genres will only have certain
music and characters.
Th...
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...always some films in the genre that don’t follow them quite so well;
they will always have various aspects of it, but wont be as
stereotypical.
Films use many techniques to get the audience engaged in the film and
feeling catharsis. The Settings, characters, events, music, ending and
dialogue all contribute towards the emotions we feel when watching a
film. If the events are sad, we feel sad. Most of these things in a
film are unbelievable and incredible, this takes the audience more in
to the world of the film, as it isn’t something anyone would see in
reality, it also entertains and takes someone out of their every day
life. The settings, characters, events etc. all reflect each other and
work together to make us feel the emotions that the director of the
film wants us to feel at the particular moment in the movie.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
It has become very apparent that many of the residents of Iceland and those of Icelandic culture are deep believers of spirituality, the metaphysical and the supernatural world. Films like, Cold Fever, Noi the Albino, and Investigation Into the Invisible World are clear portrayals of the beliefs of many Icelanders in the director’s depictions of the spiritual world, deeply ingrained into the themes of each of the films. Although it may not always be practical, many of these beliefs are respected and explored through out the presentation of the films. The audience is pushed deeper into the minds, thought processes and beliefs of the Icelandic people. The icy cold landscapes add to the nature of spirituality of the residents. There is a significance to the conviction of the Icelanders, which can be used to modify non-believers beliefs into the deeper meaning of the spiritual world.
To be a True Blue Aussie you have to have a mate because “You've to have a mate,” as verbalized by poet Dave Butler in 2013. For in Aussie culture, a mate is a person whose actions speak louder than their words. In Australia, being a mate is a value that is held in the highest respect.
To begin, I will give a brief overview on the effect emotions have on our media viewing experience. In particular, I will be examining the work of Noem Carroll and Carl Plantinga. Second, I will give a brief overview of the research that connects political humor viewing to positive outcomes including increased political knowledge, and the ability to learn various view points as well as greater understanding of one’s own viewpoint. Though, I understand that their is a raging debate between cognitivist and non-cognitivist. My goal is not to take a position on the debate, but I am merely going to give a brief overview of the literature on film and emotion. On one hand, Carl Plantinga argues that emotions can be defined as "Concern Based Construals.” To highlight this meaning, let us imagine that as I am writing this paper, I hear loud noises, as this is going on, unconsciously, my heart rate increases and respiration increase and I begin to develop the emotion of fear. This is similar to Noel Carroll’s theory of emotion, if not complimentary to Plantinga’s view. Carroll would say that emotions act as searchlights to help us focus on the perceptions necessary to deal with the current experience. Plantinga would concede that many of the affects associated with emotions occur in the cognitive unconscious. So, Plantinga is not saying that, “Emotions are mere judgements,” As Robert Solomon would claim, but emotions are driven by experience based on one’s personal perception. In other words, Plantinga is saying the these construals are based on one’s personal experiences, whether conscious or not. However, something should be said about Construals in of itself, th...
The scene was made as exciting as possible so as to cover the sad and
Tolkien, Oxford's Rawlinson and Bosworth Professor of Anglo-Saxon, was an avid fan of history; the ancient past of his beloved Europe fascinated him to such a degree that it is little wonder the history of Middle-Earth mirrors our own. Sméagol's lust for, reverence to, and even fear of the One Ring bases its roots, most especially, in the ancient practice of Dactyliomancy, or the use of rings for divination and magic. In the first century AD, Apollonius of Tyana, a major figure in the Gnostic religion and early alchemy, received seven rings from the Brahman Indian prince Iarchus, which he believed gave him healing powers if he would "[revere] them as divine... and...
For example, the short story “ Why we crave horror “ Stephen says that we are having a “ particular sort of fun” meaning death. King says “ pro football has become the voyeur's version of combat,then the horror film has become the modern version”( Kings , “ why we crave horror” .2). Meaning the soldier’s version of combat has become the horror , in which kids see, fun to watch at a young age. Horror movies are to make a purpose for you to feel catharsis towards it. Emotion muscles also known as the human condition, are the way you feel about the horror in that case, having fun while watching it and finding it interesting. Compared to the narrator and the events of “Strawberry Spring,” we “reestablish our feelings of essential normality” (King, “Why We Crave” 1). Despite the macabre fact that multiple women are killed in the short story “Strawberry Spring,” the experience is a “peculiar sort of fun” (King, “Why We Crave”
Through these, the portrayal of the complex nature of happiness is shown to contribute to the enduring value of the film through the realistic style of the film and by showing different perspectives on the same person showing the audience that different people view actions in different
"Three Rings for the Eleven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his Dark throne, In the Land of Mordor where the Shadows lie. One Ring to rule them all, One ring to find them, One ring to bring them all and in the darkness bind them, In the Land of Mordor where the Shadows lie(Tolkien)." Master of storytelling J.R.R. Tolkien continues the lives of the fictitious creatures that he introduced in The Hobbit, in his modern classic The Fellowship of the Ring. He artfully illustrates the truths of the evil that plague the hearts of man. He tells a story of greed, destruction and how mortal men are enslaved by their delusions of grander and how they feast upon the misery of others to elevate their own pitiful egos, that prove to be their worst vices.
the tragic feeling is evoked in us when we are in the presence of a
As a psychology major, I've always wanted to know why we relate ourself to an actor/actress in movies. How is it that we mostly share the feeling of pain or sorrow with a character and not happiness or joy? After doing my research, I found out that our life experiences are the main reason for this cause. The two most important aspects for this cause is Empathy and Sympathy. These two things are what we expeirience on a day-to-day basis. Even after knowing that a character is fictional and that the scenes enacted by them are just a script written by someone, that "someone" makes the characters draw our attention
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
Thompson, Kristin. The Frodo franchise: The Lord of the rings and modern Hollywood. Berkeley: University of California P, 2007.
unravel the nature of these emotions so that those portraying the emotions can gain an
Wood, Ralph C. "Traveling the one road: The Lord of the Rings." The Century Feb. 97: 208(4).