The Unwilling Heroes
Ever wonder how it is possible for some characters in movies turn to be legends at the end? Why would it mostly end this way? Well, typical respond to this question would be because it is in movies and all the impossibility could become possible but the question to the reason why it is the way it is remains unanswered. This common sense, which obviously occurs among people, is a misconception in some conditions; as the old says, “everything has its own reason”. There are many different types of genre in movies and there are reasons for the disparities. However, it would be time consuming and inefficient to mention all the genres at once; as the Unwilling Heroes is a famous genre, which has been a part of countless movies, is going to be our topic. What is unique about it is that the tropes, which consist in the genre, has its purpose and that is the spark of this specific genre, which the audiences never lose taste for. This paper is going to discuss the significant tropes, which consist in this specific genre, and the analysis of each trope chronologically, provide along with the extracts from some movies, which fit into this genre. Getting into the core of the movie by understanding the purpose of why things process the way it is could generate more pleasure and meaningful time for us as the audiences. The meanings of the movies, which encompass this genre, tend to convey optimism idea about life to the audiences as the those heroes would start off with casual life and end up being a better person or what they are called as “heroes”.
The very first trope in this genre is called “Relationship Unite”; in the very start of the movies the characters are shown to unite together with their close relationship p...
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...n act. The main character is just a young boy; thus in order to make him become a heroic icon, who is capable of fighting against the great dark lord, he has to possess something which ordinary people do not. Despite the fact that this movie does not fully fit into the genre, somehow it seems to convey similar message as the ones, which fit, do. The young parentless Harry has survived through many obstacles based on half luck half self-ability. It has shown that this character has never lost hope for what he aims and the goal of being one of the greatest wizards of all time. Due to the greatness of Harry Potter along with the fantasy of magical power happen in the story make the audience keep being curious about what and how Harry is going to do next in order to solve the problems. It happens until the last sequel, which Harry could destroy the dark lord Voldemort.
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
Relations between sympathy-empathy expressiveness and fiction have become a significant issue in the debate on the emotional responses to the film fiction. Due to their complexity many scholars found it useful to diagram them. With his essay, “Empathy and (Film) Fiction”, Alex Neill tries to develop new theory for analyzing the fiction and, especially, the emotional responses from the audience on it. The project of this essay is represented with an aim to show the audience the significant value of the emotional responses to the film fiction. From my point of view in the thesis of his project he asks a simple question: “Why does the (film) fiction evoke any emotions in the audience?”, further building the project in a very plain and clever way. Tracing the origins of this issue, he distinguishes between two types of emotional responses, sympathy and empathy, as separate concepts in order to understand the influence of both types of emotional responses to fiction. However, relying mostly on this unsupported discrepancy between two concepts and the influence of the “identification” concept, Neill finds himself unable to trace sympathy as a valuable response to fiction. This difficulty makes Neill argue throughout the better part of the text that empathy is the key emotional factor in the reaction to (film) fiction and that it is a more valuable type of emotional response for the audience.
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...
A brave hero often risks his/her lives to save someone else. In Zeitoun, Dave Eggers tells us a story of Abdulrahman Zeitoun, the hard working Syrian American owner of a contracting company in New Orleans. Zeitoun and his wife Kathy ran the company together. They have three children named Nademah, Safiyah, Aisha. Kathy has a child from her first marriage. Zeitoun is very closed with his family and he takes his family like nobody else. When hurricane Katrina landed in 2005, endless number of people were affected. Mayor Nagin ordered a first time ever mandatory evacuation. Kathy moved with the children to her sister’s house in Baton Rouge. Zeitoun refused to leave with his family because he didn’t want lose his properties, but at the same time, his customers trusted him and gave him their house keys to check on their houses, which caused his separation with his family. This illustrates that Zeitoun is a responsible, powerful, trustworthy, and unselfish person. During the hurricane, Zeitoun was using a canoe rescuing people. Due to the lack of rescue work, many people didn’t get enough supports at that time. Zeitoun had the courage to sacrifice his family, safety, and selfish needs for saving the people.
Keathley, Christian. "Trapped in the Affection Image" The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Ed. Thomas Elsaesser, Alexander Horwath, Noel King. Amsterdam: Amsterdam University Press, 2004. 293-308. Print.
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
The film’s story does not simply shines forth, but is also the foundation of the plot. The film’s plot makes the traditional guidelines applicable...
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Therefore the solutions offered were to use the cinema’s characterizations and plots (the stereotypes), to reject fictional
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
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
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
Hefner, Veronica. "From Love at First ASight to Soul Mate: Romantic Ideals in Popular Films and Their Association With Young People's Beliefs About Relationships." Dissertation (2011): 1-241. Print.
The Reasons Behind the Popularity of Action Films In this essay I am going to explore the conventions of action films and their popularity. People love action films, and when they go to see one there are conventions you would expect to see in the film All plots of action films are based on the same outline, Hero and villain meet, there's a disruption of order, and mission, then everything is sorted out when the villain dies and everything returns to normal. There are Stock characters that you expect to see in this genre of film, the hero, the villain and two attractive ladies. The main action is around a male hero, however, modern films have featured female heroines for example Angelina Jolie in 'Tomb Raider'. If the hero is male he is always good looking, intelligent, brave, chauvinistic, and manages to escape from life threatening situations, however the hero will always have a weakness, and if the hero is male the weakness is normally women.