This event was a presentation of the film “Space balls” in the quaint Gish Theater by the well known director Mel Brooks. First of the audience was welcomed by the melodic music of Queen as they chose a one of the elegant seats. As 9:30 approached the audience became quite and the lights were turned low. Eric Browning entered the stage and started off by introducing himself. Eric Browning is an advocate of the film industries that has studied film production and American culture and is enthused with gender qualities within film and French films. After introducing himself, Eric presents the film as well as the theater. The Gish Theater was named to celebrate Dorothy and Lillian Gish, Ohio native actresses. “Spaceballs” was written by American film director, …show more content…
He introduces Lone Star to the power known as the Schwartz which he later uses to defeat Dark Helmet. Vespa is once again captured and her dad, King Roland ends up giving the code. With the code Dark Helmet unlocks the shield and transforms his ship into “Mega Maid”, a giant robot with a vacuum to suck out all of the air from Druidia. While all this happening Lone Starr and Barf continue to try to rescue Princess Vespa as well as destroy Mega Maid. In comparison to “Star Wars” there is a critical light saber fight between Dark Helmet and Lone Starr due the prevention of Lone Starr getting to the self destruct button for the ship. Lone Starr looses his saber but still defeats Dark Helmet by using the shwarts. Lone Starr races back to the ship that is occupied by Barf, Princess Vespa and Dot, before the ship self destructs. As they escape in a nick of time the people of the ship frantically pack into the escape pods except for Lord Dark Helmet, President Skoob, and Colonel Sandurz. They get blasted into space along with the remains of the
In Germany, the advent of sound cinema was initially dismissed as American sensation seeking. The domestic success of Josef von Sternberg’s The Blue Angel (1930) then represents a turnabout of public sentiment. The film encapsulates the paradox of Weimar cinema as it relates to its American counterpart. While in opposition to the American industry, German cinema consistently looked to Hollywood as a point of reference and the film is a result of this. As Professor Rath is seduced in the film by the cabaret singer, Lola Lola, German audiences became seduced by the film and by the technology of sound cinema. The film is a showcase of its own technological achievement and arises from the paradoxical engagement of German with American cinema, an
The Cameraman (1928), an MGM Buster Keaton feature, is one of the last truly great feature films of the silent era. From the artistic balance it finds between the simplicity of an all-too-familiar storyline and the complexity of technique and cinematography, to the very-entertaining and captivating performances of its actors, the film that was nearly lost to the annals of motion-picture history is a multi-faceted gem that is joyous to watch.
Suid, Lawrence. "The Pentagon and Hollywood: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)." American History/ American Film: Interpreting the Hollywood Image. Eds. John E. O'Connor and Martin A. Jackson. Boston: Frederick Ungar Publishing Co., 1979.
In Dr. Strangelove, Stanley Kubrick took a serious issue and turned it into a political comedy. He was able to illustrate a satire of the hazardous notion of a nuclear war and the insane individuals who were coordinating it, and furthermore, addressed the issue of stereotyping. This movie was created in 1964; today in 2005, we still have nuclear weapons. Yes, the United States and other countries still have nuclear weapons, however, a question does arise, do we still have insane individuals coordinating war plans and security procedures? If you are expecting to find the answer in this essay, do not continue reading for that reason, the answer will not be found in this essay. The reason being is the answer needs to be realized and determined by every individual, not just me. However, if questioned that in Dr. Strangelove was there an individual who was insane and should he have not been placed in command of a military base, then I would have to answer yes there was such an individual. This individual was General Jack Ripper.
In the short story “The Fun They Had” by Issac Asimov, the author uses thoughtful reflections to indirectly express Margie’s unenthusiasm towards the school in 2157. During school, Margie’s feelings towards the school was revealed when she “…was thinking about how the kids must have loved it (school) in the old days” and was also “…thinking about the fun they had” (Asimov 2). Reflection is employed here to portray Margie’s comparison with her current school and the old school. Her thought of how kids in the past must have loved school suggests that Margie is not loving her school much as these kids, but really it is the opposite of them. In addition, Margie’s prediction of kids in the past having fun in their school stimulates readers to conclude
Considering the film’s budget was $2,540,000, this musical made an impressive profit for its time. This would equate to a quarter of a billion dollars in today’s money. Singin’ in the Rain brought about impressive revenue due to its density and subjectivity. This film could easily be a child’s favorite film due to its eye-catching musicals and light-hearted comedy. But it could also be on adult’s favorite film list due to its thought-provoking depiction of Hollywood in the late 1920s and character development. In this film, we follow four performers as they transition from role taking in silent films to “talkies”. After a rival studio has immense success with its first talking picture, the characters decide they must transform their next Lockwood and Lamont film into a talkie. The viewer is engulfed in the passion and consistent nature of these characters. The need for personal satisfaction and public service rather than monetary gain is also relevant. Soon after, they realize the lead female actress cannot sing. This problem was irrelevant when they were performing in silent films. After a satire of this actress’s career, the movie is completed with another actress’s voice and their premiere of The Dancing
“I had to know what Tyler was doing while I was asleep. If I could wake up in a different place, at a different time, could I wake up as a different person?” (Palahniuk 32). When Tyler is in action, narrator is not contemporaneous in a sense that he is Tyler now. Tyler is someone who doesn’t give any importance to money-oriented world but he indeed believes in the willpower of constructing a classless society. The narrator is insomniac, depressed, and stuck with unexciting job. Chuck’s prominent, pessimistic, radical work, Fight Club, investigates inner self deeper and deeper into personality, identity, and temperament as a chapter goes by. Through his writing, Chuck Palahniuk comments on the inner conflicts, the psychoanalysis of narrator and Tyler Durden, and the Marxist impression of classicism. By not giving any name to a narrator, author wants readers to engage in the novel and associate oneself with the storyline of narrator. The primary subject and focus of the novel, Fight Club, is to comment socially on the seizing of manhood in the simultaneous world. This novel is, collectively, a male representation where only a single woman, Marla Singer, is exemplified. “Tyler said, “I want you to hit me as hard as you can” (46). This phrase is a mere representation of how to start a manly fight club. However, in the novel this scene is written as if two people are physically fighting and splashing blood all over the parking lot, in reality it’s just an initiation of fight club which resides in narrator’s inner self. The concept of this club is that the more one fights, the more one gets sturdier and tougher. It is also a place where one gets to confront his weaknesses and inner deterioration.
Bordwell Thomson, David. “Sex in Science Fiction Films: Romance or Enginnering?”. (New York: BFI Publishing, 1984)
captors and seek to escape the Death star. While doing this they find Leia and
Films were a new exciting form of entertainment from their debut in the early 1900’s to today, the film making business hit a growth period in the 1920’s. It was a time when movies came and went quickly and films that had no pretense of being art were made in mass. During this time of rapid change in the film making business, a certain aspiring director began his dream of working with cinema. Eventually, the talented and mysterious director, Alfred Hitchcock, played a huge part in establishing his and others’ masterpieces as an art.
Hogan, Mike. "Baz Luhrmann, 'Great Gatsby' Director, Explains The 3D, The Hip Hop, The Sanitarium And More." The Huffington Post. TheHuffingtonPost.com, 13 May 2013. Web. 17 Feb. 2014.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
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
Sklar, Robert. Movie-made America: A Social History of American Movies. New York: Random House, 1975. Print.
The two decade period beginning in the late 1940s and concluding in the late 1960s represented the height in popularity for the Hollywood musical. With every major production proving to be box office gold, the level of critical approval was high establishing the Hollywood musical as a genre. Born with the coming of sound, the Hollywood movie musical derived from two sources: opera and operetta, brought over by European emigres, and the American tradition of vaudeville, the inspiration behind so many “backstage” musicals, the plots of which revolved around putting on a show. The interesting alliance between dream and reality in the musical gave directors, designers, and cinematographers the most creative scope within the commercial of Hollywood. Being able to experiment with elements like color, split-screen techniques, and surreal settings made the musical an important force in imaginative filmmaking, without it being attacked by cautious studio moguls. Fortunately, musicals could also easily bypass the censorious Hays Code, which was instigated in the 1930s as a moral guideline for film studios. Although guidelines like “ dances which suggest or represent sexual actions”, “dances intended to excite the emotional reaction of the audience”, and “costumes permitted to undue exposure” were condemned, musicals were full of “shocking” dances and scantily dressed women. Scantily dressed women and sexual innuendo almost went unnoticed by the censors as long as they remained within the seemingly harmless confines of the musical as if nothing immodest could happen in the context of the make believe world the family entertainment inhabited.