Film can help us rediscover dramatic relationships in our own lives and shows us how the main characters “improvise new possibilities in the real world of oppression” (Degenaar 52). Existential films such as Philip Kaufman's The Unbearable Lightness of Being (1988) offers this kind of insight. It is one of those films that is not easily forgotten and that keeps the viewer thinking long after it has ended. While it has been criticized as an inaccurate representation of Kundera's novel, it adapts the events in a more linear fashion and brilliantly captures the essence of lightness and weight. In fact, Kaufman's film so beautifully captures Kundera's concepts that 23 we hardly notice the absence of the narrator's voice. Likewise, the music in …show more content…
Sometimes it was spoken by the characters. Through Janacek's music, however, you get a sense of narrative line – of motifs and themes repeated” (qtd. In Deganaar 54). Film is an art entirely of its own and Kaufman's film visually portrays Kundera's ideas and concepts in a way that captures the essence and meaning of “the unbearable lightness of being.” The film adaptation is as poignant as Kundera’s novel and captures his philosophical commentary even though the voice of the narrator is absent. Perhaps what is most striking about the film is the way in which it adapts authorial/narratorial moments from the novel and allows the characters themselves to speak them. In the novel, Tomas never says he wishes he had two lives and two chances to compare choices—it is the narrator who presents this idea. In the film adaptation, however, Thomas tells Sabina, “If I had two lives, in one life I could invite [Tereza] to stay at my place and in the second life I could kick her out. Then I could compare and see which had been the best thing to do. But we only live once. Life’s so light.” Likewise, in both works, the reader/viewer is already aware by the end that Tomas and Tereza have
“Gross Indecency”, is a play about Oscar Wilde’s life which was written by Moises Kaufman. Kaufman wrote the play in 1997, however it was a two year process of writing. The play is a biography of Wilde’s court trials dealing with others trying to prove that he is gay.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
In The Pathos of Failure, Thomas Elsaesser explains the emergence of a new ideology within American filmmaking, which reflects a “fading confidence in being able to tell a story” (280) and the dissolution of psychologically relatable, goal-oriented characters. He elaborates that these unmotivated characters impede the “the affirmative-consequential model of narrative [which] is gradually being replaced by another, whose precise shape is yet to crystallize” (281). Christian Keathley outlined this shape in more detail in Trapped in the Affection Image, where he argued that shifting cultural attitudes resulted in skepticism of the usefulness of action (Keathley). In Robert Altman’s McCabe & Mrs. Miller and Roman Polanski’s Chinatown, this crisis of action is a key element of the main characters’ failure, because it stifles the execution of classical narrative and stylistic genre conventions.
Sterritt, David. “HOLLYWOOD'S HOLOCAUST”. Tikkun 24.3 (2009): 60-62. Literary Reference Center. Web. 10 Oct. 2013.
Sluyter, Dean 1st ed., ‘Cinema nirvana enlightenment lessons from the movies’ (New York: Three Rivers Press, 2005).
In the short story “Being There”, by Jerzy Kosinski, there are multiple examples of satire that are displayed throughout both the book and the movie. A few of them are: media, death, politics, and racism. The satire of the media was very similar in the book and the movie. Media played a big role in society and still does to this day.
Life is an ongoing process of learning and growing through challenges and experiences. It is mentioned by Ralph Waldo Emerson, an American poet, that “unless you try to do something beyond what you have already mastered, you will never grow.” Emerson contributes to the idea that change is inevitable and it is key to one’s personal development (Lipovetsky, 2012). Well, such is an essence in the film “The Blind Side” when the protagonist, Michael Oher, changes and grow through adversities, which eventually shaped him into the man he is today. Oher, also known as Big Mike, is a 16 year old African American teenage boy. Oher was one of the twelve children living in a broken extremely impoverished home in the ghettos of Memphis surrounded by drugs.
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
In the opening scenes of the documentary film "Hearts of Darkness-A Filmmaker's Apocalypse," Eleanor Coppola describes her husband Francis's film, "Apocalypse Now," as being "loosely based" on Joseph Conrad's Heart of Darkness. Indeed, "loosely" is the word; the period, setting, and circumstances of the film are totally different from those of the novella. The question, therefore, is whether any of Conrad's classic story of savagery and madness is extant in its cinematic reworking. It is this question that I shall attempt to address in this brief monograph by looking more closely at various aspects of character, plot, and theme in each respective work.
...ce, although both writings are interesting in their own ways, the most interesting aspect of both writings together is that they both have a similar plot and theme. It is rare that two
Kerner, Aaron M.. “Irreconcilable Realities.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 462-83.
This film captures this class distinction without subduing the atmosphere through the use of a variety of cinematic devices. “A good film is not a bag of cinematic devices but the embodiment, through devices, of a vision, an underlying theme” (Barnett, 274). The audience can see this theme of the realities of the oppression, poverty and despair of this time period through the use of the things mentioned, but also through the character development that is driven by the character’s hopelessness. Each of the characters associated with the lower class is motivated by the conditions, which are viewed through the cinematic devices mentioned above: color, spherical lenses, long shots, and high angle shots. Sources Cited:.
Both Conrad’s, “Heart of Darkness”, and Coppola’s, “Apocalypse Now”, profoundly illustrate the journey of man into their inner self and man’s encounters with their insanity, fears and demise. The novella and film are comprised of numerous pivotal themes that facilitate the understanding of the deeper meaning of both works. Fundamentally, theme is an extensive message or idea expressed by an author and is a crucial element of literature since it sheds light on universal concepts. The most striking parallels that can be formulated when comparing themes in both the novella and the film are associated with human nature. Specifically, Conrad and Coppola incorporate theme of hypocrisy in order to portray man’s incredible potential for evil.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universal understanding or interpretation. This is true for the French New Wave films Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society, using sound and editing.