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movies with psychology concepts
applying psychological concepts in movies
movie psychology analysis
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Recommended: movies with psychology concepts
Taylor White
Mahdi Ahmadi
PHIL 1500
May 10, 2014
The Return
The Return’s primary message can be understood through the divergence of the film’s initial scenes with the ambiguous and enigmatic ending that left me riddled with interior question. At first glance, the film seems to fit into the category of a psychological thriller, but as the film progresses, it becomes apparent that it acts as a metaphor for man’s inherent need for a means of self-definition. Furthermore, the Return was a breath of fresh air in that it exemplified an ambiguous and complex narrative rather than fitting into the stereotypical plotline that seems to define recent movies as ultimately having a happy ending.
The film portrays the undertone of psychological turmoil when a family is estranged from their paternal influence, and this can be directly evidenced through the interactions between the boys and their father. Even though he is present, the specters of the past seem to haunt their relations with both boys longing for contrasting results (i.e. Ivan wanting justification for his father’s absence while Andrei attempts to earn the approval of his father). Throughout the film, the director provides various cues that can act as an adequate means of deciphering what is going on in the movie. This can be referenced in the scene when the boys first gaze upon their sleeping father in the first part of the movie. Subsequently, the boys bolt upstairs to verify their father’s identity by checking a picture that is stashed in some sort of book. Coincidentally, the picture is stashed in a page that depicts the biblical story of Abraham, more specifically the part in which an angel impedes him from sacrificing his own son to God. Moreover, the towers that seem to ri...
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...elf-awareness and confidence regarding his self-perception. Upon the father’s arrival, the two boys act in accordance to their subconscious turmoil with Andrei desperately trying to gain his father’s approval and Ivan scorning the presence of his father in light of his previous absence. Whilst their father’s ethics are questionable, he ultimately succeeds in aiding the boys’ quest for self-awareness via his tragic death. This can be directly evidenced through the actions that the boys subsequently perform after their father plunges to his death in a struggle to reach his defiant son. They exhibit the same sternness of their father in carrying out actions necessary to their survival in spite of the tragedy that occurred beforehand, and as such, they return from the island with a greater understanding of their role within the world as well as their individual selves.
It is impossible to deny the similarities of characters, setting, cinematography and more, between The Return of the Secaucus Seven by John Sayles and The Big Chill by Lawrence Kasden. This paper will focus on the similarities and differences in the themes between the two movies. Specifically, focusing on relationships, aging, and death. The two films differ in many aspects but parallel in other ways. Impacts of these themes within the two movies are important to recognize because they are relevant to everyday life, relatable, and realistic.
Throughout the movie the director breaks down the message in clever ways and makes the message very precise and clear. In the movie the director was attempting to teach the viewers a life lesson. In order to have peace of mind and continue to actually “live” it is important that you don’t hold grudges, believe, have faith, and no matter the situation don’t ignore signs due to your stubbornness or convincing yourself otherwise when you know the truth.
It subtly exposes the tragedies that people with instinct of self-interest could control their own fate in the unpredictable future, while others who paralyzed in past success and unrealistic fantasies could not. It also shows how those who were unable to update themselves from 1.0 finally became the prey of those 2.0, 3.0, 4.0 and so on. It is a story about self-interest is the winner.
This film addresses the real way you feel or think about yourself. It persuades the viewer to really take some time to analyze how they view themselves. People either picture
After this event, the reader can really see that deep down, the protagonist loves and cares for his father. As he hears his father enter the house babbling gibberish, he begins getting worried.
Jimmy, later in the novel “Snowman,” lives perhaps the most detailed, and intensive childhood of the three characters. It is his childhood that also foreshadows the most within his adult life. Jimmy grew up an only child to his parents, whose relationship was bearable at most. Jimmy’s relationship with his parents was one of skepticism and disappointment, and only occasionally would he long for their presence. His father, a genographer at OrganInc, the corporation that owned the compound on which they lived, was absent in his affection towards Jimmy throughout the entirety of their relationship, leaving a negative mark on Jimmy himself. The father figure image, which Jimmy’s father attempted so desperately to embody, was transparent to Jimmy and led him to increase the distance between himself and his father. Jimmy’s mother, originally a biochemist at OrganInc alongside Jimmy’s father, possessed mood swings and nearly constant pessimism towards the rest of her family thus creating a large distance between
Thus Tevye takes his family towards the screams. A girl no older than 14 lies on the ground her pale face and hair blending into the pure white snow. Golde shields her daughter as any mother would do as a possibly dead child lays ahead. Tevye warily walks and kneels so he is level to the girl he reaches out to touch her out she wakes in tizzy. Arms flailing and tears streaming down her face Tevye carefully asks if she is ok. To which the mysterious young girl replies by saying she does not know. Tevye confused by this says how does she not know if she is ok. Golde now unshielding her children steps forward and grabs Tevye's arm and sees how frightend the child is. Golde waltzes up to her and introduces herself asking the young girls name. No reply, again Golde asks the child looks up and says I don’t remember queing the start of the song “In my Dreams.” Tevye and Golde make eye contact Tevye’s constant conflict takes over. Again “ Tevye’s Monologue” commences as he is unsure of whether he should take Anya in but the torah is meant to be a unifying force and the poor girl should have some structure. Golde questions Tevye by saying will we pass on our traditions to her? Anya is placed on the wagon and the family continues on their way traveling past St. Petersburg on to
He does not know anything that is happening around him because of the protection his mother has placed upon him. Later in the book, he befriends Shmuel, a Jew of the same age who is currently in Auschwitz, the largest Jewish concentration camp. They are separated by a fence. This fence represents the barrier that people placed between Germans and Jews because they are of different race and religion. When they lift the fence to be together for the first time, this represents the overcoming of the barrier because they have created a love for each other that nobody could take away. Even though the death of the 2 boys was not necessarily a happy ending, it showed that friendship is the only thing that brings people together that well or that
Through most of the characters’ passion for filmmaking, this movie teaches the audience the great significance of film history. Many people in modern day tend to take film and its history for granted, but they do not realize the depth and effort that mankind has put into such a development. In Hugo, the theme of film history revolves around the entire production, and the audience sees flashbacks of Georges Méliès’ past that reveal his vital role in movie-making. By investing a deep meaning to the tale, viewers start to understand the great emotional and intellectual characteristics of movies. Additionally, Hugo himself delivers a message to his counterpart characters, which also serves as a lesson for the onlookers. He shows the audience that everyone has a part and purpose in this world. Protagonist Hugo Cabret says that “everything has a purpose, even machines. Clocks tell the time, trains take you places. They do what they’re meant to do.” Voicing through Hugo, the filmmakers illustrate how every individual has a reason to live and discover their calling. With a statement about the forgotten grandeur of film history and a valuable message to the crowd regarding one’s purpose, Hugo inspires and presents itself as a noteworthy and unforgettable
...oint of view, the initial contact between the film and its audience is an agreed conception of human life: that man is a being with the possibilities of success or failure. This principle, too, belongs to the city; one must emerge from the crowd of else one is nothing. On that basis the necessity of the action is established, and it progresses by inalterable paths to the point where the gangster lies dead and the principle has been modified: there is really only one possibility – failure.” (P. 585, 1)
The father’s character begins to develop with the boy’s memory of an outing to a nightclub to see the jazz legend, Thelonius Monk. This is the first sign of the father’s unreliability and how the boy’s first recollection of a visitation with him was a dissatisfaction to his mother. The second sign of the father’s lack of responsibility appears again when he wanted to keep taking the boy down the snowy slopes even though he was pushing the time constraints put on his visitation with his son. He knew he was supposed to have the boy back with his mother in time for Christmas Eve dinner. Instead, the father wanted to be adventurous with his son and keep taking him down the slopes for one last run. When that one last run turned into several more, the father realized he was now pushing the time limits of his visit. Even though he thought he was going to get him home, he was met with a highway patrol’s blockade of the now closed road that led home.
...is on a downhill trend from the beginning, even his very tone expresses his desires and sadness. He is a little boy with a big crush in an even bigger world, where thing don’t always go as expected. The boy acknowledges this in his innocent heart and soul, at the carnival, when he is deprived of accomplishing his biggest and most important journey; bringing his love something very special from Araby. This task was extremely vital to him, and it was left uncompleted. The reason that the boy could not get to Araby on time was because his uncle arrived home late, because he had forgotten about him. That was a very cruel thing to do knowing how important this was for his nephew, he reminded his uncle many times. The uncles response was “ The people are in bed and after their fist sleep now( )”. The motif of decay is seen in some symbolism too. The apple tree in the wild garden is symbolic to the tree of knowledge. However, the tree in the story is wild, meaning that knowledge is limited in the neighborhood. For example, when the previous owner, the priest, of the boy’s house had died, he had given all his money to charity and left his sister with nothing but old and used furniture.
This film really focuses on the characters. Their thoughts, anger, distress, and mistakes become part of your mistakes. This deals with a father’s s priority and how he will achieve that priority by using unethical ways like torturing an innocent man. Bringing up child abduction and torture are
The final logic of plot that must be explained at the end of the story is Pyotr's confrontation with his guilt-ridden, contemptuous father before he leaves for Moscow. The intent to reconcile father's financial loss is expressed through Pyotr's coaxing rhetoric and judgemental approach to his father's daily attitude at the table. Finally, the room is brightly lit, not by the family's ability to regroup--their affections were a bonfire now--but by a single, dazzling beam of sympathy to Pyotr, when his father says "Good-bye...the money is on the round table."
“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.