The 1920’s in the film industry today can be seen as a decade filled with many landmarks in technology as well as overall progression in all aspects of on-screen storytelling. Director Erich von Stroheim serves as somewhat of a symbol of 1920’s film as he directed so many important and notable films during the era. Stroheim’s Greed is the one film always referenced when mentioning Stroheim’s catalog due to the magnitude of the film when considering costs and enigmatic legend that comes along with its release. The full-length seven-hour version of the film has never been seen as the version released was just a tad over two hours in running length, meaning there are five hours of unseen cinematic history stowed away with hopes from many to …show more content…
In Greed the three main protagonists involved are McTeauge usually referred to as Mac, Marcus identified as Mac’s best friend and Trina who becomes the wife of Mac after being introduced by his best friend Marcus. The relationships and roles of these characters change as circumstances with lust, greed and selfishness influence each. Mac works as a dentist in San Francisco and is initially introduced to Trina strictly as a patient with the help of Marcus’ friendly referral. During his dental work with Trina that spans over the time of two weeks, Mac realizes that this he feels a need to please Trina by completing the dental work correctly and as painless as possible. Working with her daily for two weeks he grows interest in her romantically and once her daily visits stop, McTeauge realizes that “She's been the first girl I've ever known. I couldn't help myself!... -- I was so close to her -- an' smelled her hair -- an' felt her breath! Oh!...you don't know!” as he expresses to Marcus. After hearing Mac’s feelings towards Trina, Marcus arranges for a get together that is eventually the start of the McTeauge and Trina …show more content…
Marcus once had a love interest for Trina but realized how strong Mac’s feelings for Trina truly are and, in turn, sacrifices his love interest for their friendship. As the film progresses, certain events transpire with Trina eventually engaging in marriage with Mac. Not all that long after the engagement, Trina also assumes the winnings of the lottery and a sum of five thousand dollars. The winnings pose a conflict between the main characters, as Marcus feels shorted and overly jealous as he senses that the lottery money belongs to him, considering the fact that he was initially the one to be with Trina. Considering the recent engagement, this newly won money also now plays a role in the life of McTeauge as his friendship with Marcus comes to an end as jealousy takes control of Marcus. This money demonstrates the role in which the environment allows money to play within relationships and eventually the ending them. Five thousand dollars to the average person within the world of Greed, in theory, acts as a key to a worry free life when in reality, it acts makes the protagonists lives worse in the long run. Marcus envies both Trina and Mac after they win their money and makes an occupational change to cattle ranching moving away and out of the city. In the goodbye scene between Marcus and Mac Stroheim carefully places a metaphorical shot of Marcus’s cat attacking two “love birds”
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Personal desires are ever changing due to an individual's circumstances and the influence of peers. The author is able to exemplify how an individual must transform their personal desires in order to succeed in undermining conformity.McMurphy’s personal desire transitions throughout the course of the novel, evolving due to his surrounding and circumstances he faces. He develops a sense of responsibility for the other men when he realizes they are playing a “rigged game”(pg 54) which they have no chance of winning. Although he may be a sociopath and a criminal the one thing that McMurphy cannot stand is a cheated system that disguises complete manipulation with false
script, the viewer needs another way to interpret the film. The 1922 silent film Nosferatu
...runs away. This misfortune ruins all of the Youngers’ dreams which revolve around money, but sets those which are non-financial into motion.
Citizen Kane has earned the prestigious honor of being regarded as the number one movie of all time because of Welles’ groundbreaking narrative and plot structures that paved a path for the future of the film industry. Though critics have viewed the film with such prestige over the years, a present day viewer might encounter a great amount of confusion or difficulty as to why Citizen Kane is the number one movie on the American Film Institute’s top 100 movies of all time. Especially considering the modern day film industry, Welles’ production does not measure up to the amount of thrill and entertainment audiences experience today. Not even considering the possibilities with special effects and technology, Citizen Kane seems to lack an exciting plot that might involve some action or twists instead of the gossip of a man’s life that we no longer appreciate. In 1941, the general public could greatly appreciate the connections between Kane and William Randolph Hearst unlike young adults watching the film now.
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
In the case of the first poem, it was more of the perspective of a high class woman. The narrator who saw the women cleaning in the airport did not like the scene due to the fact that she believes that there are better jobs and options out there. As a woman coming from a higher class, she may think one way. However, we do not know whether or not the lady actually cleaning feels the same way. In line 16, Oliver mentions, “Yes, a person wants to stand in a happy place”, in a poem. But first we must watch her as she stares down at her labor, which is dull enough.” This quote goes to show that the narrator dislikes the fact that she is doing such a low job. The narrator considers that peoples too showy and live only on the external, and the woman
An example in the film that highlights the demise of the studio system is when Joe pitches a script idea to a producer of Paramount. Joe is quick to say that the film only needs one main character, has many outdoor locations and can be made ‘for under a million dollars’ (Joe Gillis, Sunset Boulevard, 1950), which highlights the idea of saving money on a s...
An obvious difference in these films is that the 1931 version played to a Depression audience and that the Coppola version played to a modern audience. (I am being extremely careful because, obviously, the 1931 audience was modern in 1931; however, we like to think of ourselves as being more modern than past generations. There are differences in the audiences which viewed the respective versions in their time, and I hope to prove this point as the paper unfolds.)
The movie Born Rich at first seems like a kid who wants to overcome the “voodoo of inherited wealth” (Born rich, 4:24). Jamie Johnson the heir to the Johnson & Johnson fortune is intent on getting his inner circle of friends to address this controversial issue. From the beginning of the movie there seems to be an unwritten rule that it’s in bad taste to discuss your wealth. This point seems funny that those with money don’t want to talk about their wealth, while those without money only talk about having wealth. As reluctant as they say they are, it seems that they are more than willing to babel on about it and the privilege that accompanies it throughout the movie which seems hypocritical. These kids, seems to range from very grounded to on the verge of paranoia about their money. However when you look at the range of problems, insecurities and unhappiness that exists among these kids it’s easy to say money doesn’t solve your problems.
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
In The Visit the author Friedrich Durrenmatt revolves around the theme of the corruption of money because it plays an important part in the progression of the story. Friedrich Durrenmatt is using Claire, a powerful billionairess to show how money can affect behavior, moral principles and politics. Claire gives the people of Güllen a big decision to make in exchange for money and the choices they are given leads them to commit murder. Claire is able to manipulate an entire town and play with the law because of her wealth. Durrenmatt shows the toll money takes on society.
In the film "A Fistful of Dollars", the sole hero is corrupt. This is equivalent to the status of the sole hero in a large portion of the purported, "Spaghetti Westerns". The Spaghetti Western's were shot in Europe, utilizing Italian performing artists as a part of everything except the main part, and dedicated with American voices. The Spaghetti Westerns completely changed the substance of he Western, as they turned out to be rougher - and the solitary hero turned into an a great deal more awful character. Whenever viewing "A Fistful of Dollars", the initially engaged picture is the rough, forsake soil. After this, the camera container and zooms in onto the solitary legend and his steed. Overwhelming imagery is being utilized here - that the
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.
This movie starts off as Jordan Belfort, the main character in the movie, losing his job as a stockbroker in Wall Street. After losing his job, he goes and gets a job in a Long Island brokerage room. In the brokerage room, he sells penny stocks. Thanks to him being aggressive in his selling skills, he was able to make a profit. With the new income, he gives his wife a bracelet and she asked him why doesn’t he go after the people that can afford to lose money, not the middle-class people or lower income people. That is when he gets the idea to get a lot of young people and train them to become the best stock brokers.