It all began with an episode of the Simpsons. Which specific episode, and in what context the life-altering gag was made is not important. The important thing is that somewhere, in one of the show’s hundreds of episodes and doubtless thousands of witticisms was a movie reference. Realizing that the joke was over my head, I turned to my father. “What’s supposed to be so funny about someone waking up screaming next to a horse’s head?” “How haven’t you seen The Godfather yet?” was his mumbled reply. I was 13 years old. Not exactly prime age for 1970s gangster films, but I had seen the severed horse’s head enough times to get the feeling that sitcom writing was built on these allusions. For a young comedian such as myself, the implications of this realization were staggering. Imagine how many jokes I missed out on because I had not seen the referenced material! I was determined to correct this lack of cultural knowledge. That night, I set out to see every film that would merit a reference in any pop culture medium. I perused the IMDB top 250, AFI’s “100 years...100 movies”, Sight and Sound’s top 50, …show more content…
However, I can see how this breadth of interests might lend to the impression that I’m scatterbrained. You might be thinking, “He’s all over the place!” while I ramble on about old movies, sports cars, rock and roll, and wayward Okies. But within these various interests lies a single focus: connections. If something grabs my attention, I look for connections to things I might also like, and soon a web of related topics surrounds my knowledge of the initial focus. I want to explore every aspect of the things I enjoy, so even the smallest detail can pique my interests and lead to other adventures. And because there are infinitely many relationships between everything in the world, the lists go
Petrie, Dennis and Boggs, Joseph. The Art of Watching Films. New York: McGraw Hill, 2012.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
In fact, English speakers in America clearly differ from those in Britain by tone, delivery, and expression. Since the language differs in these ways based on its local use, it is understandable why the two countries’s humor differ as well. America’s obvious slap-stick and Britain’s blunt irony, differ between their own individual standards, just like their versions of the English language, and continue to change with time. In comparison to the humor used by Hollywood’s original actors in the early fifties, the comedies we are currently exposed to on television today has changed drastically.
When deciding what movie to do for this particular paper I faced a few issues. I knew what the requirements were, but I wanted something different and something I could have fun watching and writing as well. So, after looking around and pondering movies for weeks I finally decided on a perfect choice The 60’s directed by Mark Piznarski?
Ebert, Roger. Rev. of Almost Famous, dir. Cameron Crowe. Rogerebert.com. Chicago Sun-Times, 15 Sept. 2000. Web. 29 March 2011.
Sight gags are an essential part of comedy, especially the silent comedies of Charlie Chaplin's time. A sight gag is a visual form of comedy. In this form of comedy, the actors rely on the way the audience perceives the actions on screen for humor. This could include a misunderstanding by characters or a misrepresentation of an everyday object. In order to make the gag work, the actor must use smooth, visible actions to convey his or her point. Noel Carroll outlines six different types of sight gags in the book, Comedy/Cinema/Theory. In this paper, I will talk about each gag and give examples from the three Charlie Chaplin films that we have watched.
Maasik, Sonia, and J. Fisher Solomon. "The Offensive Movie Cliche That Won't die." Signs of life in the U.S.A.: readings on popular culture for writers. Boston: Bedford Books of St. Martin's Press, 1994. 407-411. Print.
People have many different dreams, and many different ingredients for happiness. Some people relay on love, others lean towards money, it may be achieved through money, relationships, or even the misfortune of others, but why does power have the persuasion to change a person and what drives them to gain more?
Christie, Ian (1 August 2012). "The Top 50 Greatest Films of All Time". Sight & Sound. British Film Institute. Retrieved 12 May 2014
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.
Piper, Jim. Get the Picture? The Movie Lover’s Guide to Watching Films. 2nd ed. New York, New York: Allworth, 2008. Print.
Voytilla, Stuart. Myth and the Movies: Discovering the Myth Structure of 50 Unforgettable Films. Ventura Boulevard: Michael Wiese Productions, 1999.
Don and Michael are both powerful Godfathers that vary in many ways. Don became a Don because it was all that he really knew and he needed to take care of his family. On the other hand, Michael had a choice. In The Godfather, Michael rises to power as the head of the family. Michael’s character endures an intense change as the film goes on. At the beginning of the film, Michael seems to be a moral and an upright character, but that changes. Power is a major theme in The Godfather, and Michael and Don both pertain to this theme of power. Corruption is closely linked to that of power also, which is seen throughout this film.
CRITICAL ANALYSIS ON "GODFATHER DEATH", A FAIRY TALE WRITTEN BY JACOB LUDWIG GRIMM AND WILHELM CARL GRIMM
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..