Italian neo realist cinema and British social realist cinema have some similarities in some ways. First of all we may say both of them breaks through dimensions for the individuals of their culture. They try to give tensions about the war. Both gives us a perspective to look at the cinema as a natural eye. The important thing is to able to look and see as Berger’s said. (John Berger _ Ways of Seeing) So I will try to give a brief story of two films from these fields.
• Saturday night and Sunday morning
• Rome Open City
The most significant film of the 1960s British new wave in cinema, Saturday Night and Sunday Morning was in many ways the most influential of the group, with its powerful anti-establishment stance, unblushing treatment of sex and working class protagonist: Arthur Seaton was something new in British cinema. While other films of the period have dated somewhat, most of Reisz’s ground-breaking film looks as fresh and powerful as ever, and it's valid to observe just how good Albert Finney was in the role of Seaton… Set in the gray industrial town of Nottingham, Alan Sillitoe's novel SATURDAY NIGHT AND SUNDAY MORNING, with all of its black realism, is successfully adapted to the screen with a powerful performance by Albert Finney in his first starring role. Director Karel Reisz draws on his work in documentaries to give the film a sharp eye for the look and feel of northern England. Arthur Seaton (Albert Finney) is a young man trapped in a mindless factory job, intrinsically rebelling, but without any focus to his anger. He spends his Saturday nights getting drunk and his Sunday mornings fishing. His affair with a married neighbor, Brenda (Rachel Roberts), seems to please him only for its risky illicitness. Their love scenes are controversial for the palpable expression of real sexual pleasure that Roberts shows in the role of an ordinary English housewife, and because of the fact that she receives, from a handsome younger man, the sexual fulfillment that her husband can not provide.
Arthur's best friend Bert (Norman Rossington) shares Arthur's resentment but avoids his self destructive ways. Arthur gets into increasing trouble when he impregnates Brenda (Rachel Roberts), the neglected wife of Arthur's mild-mannered co-worker Jack (Bryan Pringle). Abortions were illegal at the time, although often hinted at in British films.
In the story that follows, we see this insolent rebel bluster his way through some of the formative experiences of his young adulthood.
In the essay “Beautiful Friendship: Masculinity & Nationalism in Casablanca”, Peter Kunze lavishly explains the magnificence of Michael Curtiz’s 1942 film Casablanca. Kunze focuses on how the movie not only highlights an exchange of relationships, but how the film has an underlying meaning between these relationships. He also implies that there is a more complex meaning behind every character in regards to their gender, economic, and social roles. The overall thesis of his reading is “the patriarchal ideology underlying the narrative commodifies Ilsa, leading Rick to exchange her with other men in an act of friendship and solidarity as well as to dissuade any perception of queerness between the strong male friendships in the narrative” (Kunze
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
rebellion within the tavern setting as he becomes an adult with the political prowess to
Life with an abusive out of control parent often leads the offspring to grow up quicker than their years. In William Faulkner’s Barn Burning, one is taken on the journey of Colonel Sartoris Snopes (Sarty) growing up and maturing quicker than need be. Young Sarty is faced with the difficult decision of being loyal to his bloodline or to be loyal to himself. Ultimately Sarty had the strength and courage to break free from the verbal chains of fear that his father placed upon him and do the right thing, by telling on his father. This paper will highlight the two main events that were responsible for providing Sarty with the confidence and courage to do the right thing.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Bondanella, Peter. (2009), A History of Italian Cinema, NY, The Continuum International Publishing Group Inc.
Shumway, David, R. “Cinema Journal.” Screwball Comedies: Constructing Romance, Mystifying Marriage. Texas: University of Texas Press, 1999. 7 – 23. Print.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
The Roman Republic began in 509 B.C.E. with the overthrow of the Etruscan monarchy. In 27 B.C.E the Roman Empire began with Octavian Caesar becoming the emperor, this ended almost 500 years of republican self-government. There is much debate over why Rome became so powerful so quickly. Many think it had to do with Rome’s military strength. Others think that it was because Rome knew of and controlled most of the trade routes. Still others believed it had to do with the technology that was advanced during the Roman Republic. All of these factors played significant roles, but which one played the most important role?
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
The figure of the ‘new lad’ has been a feature of popular culture in the United Kingdom, United States, and elsewhere since the early 1990s. In the book, The Trouble with Men: Masculinities in European and Hollywood Cinema, the author relates to Nick Hornby’s, a screenwriter and English novelist, thoughts on lads. He states that there are two versions of the modern male that have anxieties between the two main constructions of contemporary masculinity: New man and New Lad (Phil Powrie 2004, pp.84). By the start of the twentieth century, the word ‘masculinity’ was always associated with the word ‘crisis’; this is now portrayed in ‘lad flicks’. Masculinity is the central object of contemporary ‘lad flicks’; they combine different genre elements to focus specifically on difficulties that face contemporary masculinity. The male characters in these films...
The aim of this report is to discuss Italian Neorealism (Neorealismo); looking at how the movement played a significant element in European cinema during and after the times of Benito Mussolini’s fascist regime. The report not only looks at how but why Neorealism became a growing phenomenon for filmmakers during its debatable 10 year period, and what implication of messages these Neorealist directors were trying to send out through their films. Backed up by several reliable book sources, the evidence for this report will also highlight the influences Neo-realism has created in modern filmmaking today.
The film Rome Open City takes place in Rome in 1943 during the occupation of Rome by the Nazis. The majority of the characters in this movie partake in the resistance movement against the Germans in their occupation. Because this film was set in such a violent part of history, it is very graphic; many of the conditions endured by the characters were what actual people underwent. Though the circumstances were grave and the characters were forced to overcome numerous obstacles, they were still able to find reasons to live and continue on with their lives. So much in this movie is devastating; death and war are present throughout the course of the entire film—nevertheless, the characters are still able to find humor and to crave a sense of normalcy
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
1966 was a turning point in American history. It was the height of the Space Race as well as the Vietnam War. In the entertainment industry, The Beatles had released the album Revolver, the show Star Trek premiered on television, and the play Who’s Afraid Of Virginia Woolf? was adapted to film. This film was controversial for several reasons, including its depiction of violence and drinking, as well as its theme of sexuality. For a movie to take on such bold scenes and topics requires other bold cinematic choices as well. These choices included casting glamorous actors and actresses in not so glamorous roles, filming in black and white as opposed to color, and using unique cinematic film shots in various scenes. The choices that the filmmakers