The critically acclaimed film, “Spotlight” has the recipe for cinematic greatness, when talented actors are paired with a story that needs to be told. The movie was released in 2015 and takes its title from the name of the Boston Globe’s investigative team of reporters that documented in 2002, the massive scandal of child molestation and cover-up within the Catholic Archdiocese. The director of the film is Tom McCarthy whom also wrote the film along with Josh Singer. The film offers numerous arguments and topics to examine. For example, Church vs. Government and Moral vs. Power. Spotlight is recognized as one of the best films of its kind because of the overall true story and the investigative journalism that went along with it, the director and writer of the film, how well the actors portrayed their role in the film as well as, the recognition it was given through its award nominations and winnings. SUMMARY: The film grabs the reader's attention through the Boston Globe's …show more content…
Tom McCarthy, is an actor turned filmmaker, who has written and directed many films and television series. Josh Singer is a producer and writer as well. The setting on spotlight, because it is a true story is meant to focus on the actual story being told and not on the scenery. However, when you pay close attention to the details behind the scenes, you can tell that a lot of thought went into the cinematography. One scene in particular, a reporter interviews a victim at a playground, and behind the playground is a church. In another scene it shows the Court house being right next door to a church, symbolizing throughout the film that “Cardinal Law” sees and controls everything in the Catholic city of Boston. The credibility of the director and writers of the film Spotlight earned them the Academy Award for Best Picture, Best Original Screenplay, and McCarthy was nominated for the Academy Award for Best
It is in conclusion of viewing Radiance that gave the impression that it composed such significant issues to the public. The delicate subjects that needed to be expressed were efficiently presented by Deborah Mailman, Rachelle Maze and Trisha Morton-Thomas. Such a modern approach concerning the issues was constructed for the viewer and this film and will be remembered by many as a masterpiece in Australian cinematography directed by Perkins. The movie itself, and is agreed personally, that it is perfectly clear that there is a strong cultural and political message demonstrated to the public.
The film discloses how the $27 million spent on addressing the issue only led to a higher rape count. On the other hand, the film may have appeared biased. Since, the filmmakers never contacted any of the accused. Many that will never face future consequences. Leaving the audience pondering over the thoughts of the offenders.
Banning, L. (Producer), Milos, F. (Director) (1996). Research Methods for the Social Sciences. [Film]. (Available from Horizon Film and Video, Austin, TX)
raised, and the film’s bring the awareness to the forefront while also considering the underlying
Expanded and strengthened state private insurance companies are to be expected since more younger Texans enter the market thanks to the premium support. Texas can expect savings through more proper use of medical care, lower numbers in Medicaid, and savings from increased recipient cost sharing. Texas must refuse to comply with the new high-risk pools. There are many reasons Texas should not comply but the main reason is poor design. Currently, eighteen states have decided not to participate in these pools, Texas is undecided. Any person with a pre-existing medical disorder whom has been without insurance for six month will qualify. The law gave the Department of Health discretion in determining with conditions qualifies. Theoretically, the Department of Health could say the flu is a pre existing medical condition. If Texas does not refuse to comply with these pools it is only a matter of time before the demand will exceed the supply. A huge concern is when the funding is gone what do the state politicians do. I see two options. One, state officials will end the coverage all together and pull the plug. Two, continue to allow the program to run with the use of state tax dollars.
Moonlight is a motion picture with a tender, heartbreaking story of a young man's struggle to find himself, told across three chapters in his life as he experiences ecstasy, pain, and the beauty of falling in love, while grappling with his own sexuality and dealing with his more difficult past. Moonlight describes a touching way of those moments, people and unknown forces that shape our lives and make us the way we are. A major theme of Moonlight is the black male identity and its interactions with sexual identity. The motion picture combines acceptance and love with pain and narrow-mindedness. In it’s simplicity the movie is a chronicle of the childhood, adolescence and burgeoning adulthood of a young black man growing up in a rough neighborhood of Miami.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
It is important to include cultural issues in the helping process to be more effective. We also need cultural competence because the U.S. is becoming more diverse. Therefore with diversity comes different beliefs, norms, and values. Eurocentric values dominate sciences and began cultural universals which puts the clash of dominate and non-dominate cultural behaviors in motion. In 1996 the NASW Code of Ethics increased the recognition of cultural competence. It is important to know diversity exist within ethnic and cultural groups because social workers need to know that relationships between helping professionals and clients may be strained. This happens because of the distrust between groups. Another important aspect is that the professional realizes their own values, biases, and beliefs. The reason for this is because they must value diversity to start with and understand the dynamics of difference. Culturally competent practitioners have to go through developmental process of using their own culture as a starting point to meet all behaviors. Striving for cultural competence is a long term process of development. The literature on cultural competence is theoretical and conceptual. They have not been evaluated in a systematic way. Roughly there are 2 million Native americans in the U.S. Which survive decimating disease, over-repressed in child welfare system, suffer from health problems, and are among the poorest people in the United States. Working with them clearly falls within the social work clearly mandate to serve vulnerable and oppressed clients. However, we do not know how many people from this group is actually receiving help from social workers. Even though it is important to train social workers to provide care in th...
This documentary as nominated for the Best Feature Documentary Academy Award. It showed the world the actual crimes and events that were happening in society that otherwise would have been overlooked after the initial shock. The moral, values and importance of these events being spread by mass communication can lead to awareness and hopefully avoidance of familiar events in the
Sunset Boulevard (Wilder 1950) explores the intermingling of public and private realms, puncturing the illusion of the former and unveiling the grim and often disturbing reality of the latter. By delving into the personal delusions of its characters and showing the devastation caused by disrupting those fantasies, the film provides not only a commentary on the industry of which it is a product but also a shared anxiety about the corrupting influence of external perception. Narrated by a dead man, centering on a recluse tortured by her own former stardom, and concerning a once-promising director who refuses to believe his greatest star could ever be forgotten, the work dissects a multitude of illusory folds to reveal an ultimately undesirable truth. Its fundamental conflict lies in the compartmentalization that allows the downtrodden to hope and carry on. Sunset Boulevard carefully considers the intricate honeycombs of dishonesty and deception that constitute a human life, then dissolves the barriers and watches the emotions, lies, and self-contradictions slurry together and react in often volatile and destructive ways.
Hesiod’s Theogony and the Babylonian Enuma Elish are both myths that begin as creation myths, explaining how the universe and, later on, humans came to be. These types of myths exist in every culture and, while the account of creation in Hesiod’s Theogony and the Enuma Elish share many similarities, the two myths differ in many ways as well. Both myths begin creation from where the universe is a formless state, from which the primordial gods emerge. The idea of the earth and sky beginning as one and then being separated is also expressed in both myths.
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
During the Great Depression, while the competitors were cutting costs and reusing outdated designs, Kress was expanding and building more elaborate stores than their previous ones. The architecture was referred to as an “emporium” evoking an elegant atmosphere more suited to a fine cloth or furniture store in New York rather than the five & dime stores dotting small town America. Many wonder what the driving force was behind these design decisions, especially during a national time of economic recession. Perhaps simply to outpace the competition, but perhaps more importantly Samuel Kress was an avid art collector and a proponent of public art enhancing a community. In this way the Kress legacy of the brand became more than a retail business, it became a symbol of small town civic pride.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
This enduring query is what keeps audiences coming back for more, in an attempt to decipher which construction of a star is “real”. Is this the character he played in his most recent film? Is it the version of him that graced the latest tabloid cover? Is it a hidden self that we do not know about? Each of these varied and fluctuating presentations of stars that we are forced to analyze create different meanings and effects that frame the audience’s opinions about a star and ignite cultural conversations.