Urbanists have long had the view that physical dynamics and look of a place play a vital role in the formation of public culture. Urban leaders and visionary minds have seen a city’s streets, parks, squares and other spaces in the urban environment as symbols of collective wealth, possibility, expressions of achievement and inspiration. “When public spaces are successful they will increase opportunities to participate in communal activity. This fellowship in the open nurtures the growth of public life, which is stunted by the social isolation of ghettos and suburbs. In the parks, plazas, markets, waterfronts, and natural areas of our cities, people from different cultural groups can come together in a supportive context of mutual enjoyment. As these experiences are repeated, public spaces become vessels to carry positive communal meanings” (Carr, Francis, Rivlin and Stone, 1993, p. 344). Film has the ability to inspire us, it allows us to inhabit new identities and to enjoy the world and different types of cultures in different perspectives. The universal ability of films excites and inspires all different types of audiences, it also makes the audience think, laugh, cry and show compassion and proves to be a very successful art form. This very popular and significant medium is becoming more accessible through the realms of cinema, and is becoming a necessity to a greater deal of towns and city’s. This however comes at a cost, in the last two decades dramatic changes have taken place in cinema landscape, which has seen the rise in multiplex cinemas and seen a dramatic decline in low key town center and traditional cinemas. In this essay I will be investigating the changes the Electric cinema in Portobello road London has gone throu...
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...ms in. ever since the redevelopment of the electric cinema in Portobello road the cinema has been going from strength to strength and still remains a vital part of the community.
Finally I believe that since the arrival of multiplexes, the cinematic experience has changed dramatically for the small independent cinemas because of the interest that it drew away from them, because of this the independent cinemas had to dramatically change their image to attract the cliental back through their doors. This change in cinematic experiences is mainly down to the radical change in convergence and consumer culture, I believe that in the many years to come this culture will change again and the multiplex cinema will start to come out-dated because of technology and people will start to look for a more special and individual experience when looking to go to the cinema.
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
Small, Pauline. (2005) New Cinemas: journal of Contemporary Film Volume 3, Queen Mary, University of London
Firstly, for the purposes of illustrating the cultural context of this decade, I will refer to Lynn Spigel’s writing entitled “Welcome to the Dreamhouse: Popular Media and Postwar Suburb”. After WWII...
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
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
Movies have been one of the most popular pastimes for Americans for decades. They are the topics of conversation, a place for lovers to go on dates, and an industry that the general public seems to have a fascination for. However although we think of movies as another entertainment source, they were not always as socially accepted by the people. In 1904, Harry Davis opened the first freestanding moving-picture theater. Although he was met with much skepticism, his idea would have a lasting effect on America's culture. When they first opened, the people were not immediately accepting. Safety, cleanliness, and price were a few of the concerns the public had. After a few changes however, the "nickelodeons", as they were called, started booming. Flashing lights were put up wherever there was room on the façade of the buildings. Ventilation systems assured people that they were br...
During the thirty odd years for which the cinema has existed as a medium of expression,
In my essay I will discuss the differences between national cinema and Hollywood cinema by using Rio de Janeiro¡¯s famous film City of God. There will be three parts in my following main body, the first part is a simple review of the film City of God, I will try to use the review to show the film structure and some different new points from this, show the how did the ¡®Shocking, frightening, thrilling and funny¡¯ (Nev Pierce) work in the film. The second part is my discussion parts; I will refer some typical Hollywood big name films such as Gangs in New York, Shawshank¡¯s Redemption, and Good Fellas to discuss the main differences between City of God and other national films. The third part is my summary, I will use my knowledge to analyse why there have big different between both kind of films and their advantages.
" Cinema and the Nation. Ed. Mette Hjort and Scott Mackenzie. New York City, NY: Routledge, 2000. 260-277.
Turner, Graeme. Film as a Social Practice. 3rd ed. of the year. London: Routledge, 1999.
explode in popularity and the introduction of theaters specifically for film. Firstly, amid the circuses, the wild...
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Societies progress can lead to intercultural similarities, and vastily obvious differences. These influences can be seen within the contemporary theatre of the times, explaining and progressing the status of community through storytelling and performance. The reactions to these changes are important, and help shape the society we have today. These elements are best seen between the medieval ans renaissance period.
Movies take us inside the skin of people quite different from ourselves and to places different from our routine surroundings. As humans, we always seek enlargement of our being and wanted to be more than ourselves. Each one of us, by nature, sees the world with a perspective and selectivity different from others. But, we want to see the world through other’s eyes; imagine with other’s imaginations; feel with other’s hearts, at a same time as with our own. Movies offer us a window onto the wider world, broadening our perspective and opening our eyes to new wonders.
The aim of this research is to explore cinema audience's, festival goers' and workers in cinema views and experiences of film festivals, trying to understand what values they give to them and trying to figure out if they believe that in difficult times, such as the one we are living through, a film exhibition is still necessary.