In her book, On Violence, Hannah Arendt studies violence as it relates to war, science, power, aggression, and the like. In this paper, I will speak on the topic of violence as it pertains to aggression. I argue that we, as human beings, possess at least a basic level of aggression that is explainable through animalistic research and characteristics. This argument is one that contradicts the overarching ideas of Arendt’s thoughts on the topic. Through an explicative and then disputatious discourse, I hope to bring validity to my viewpoint.
A History of Violence is a 2005 American crime thriller film. The movie is an adaption of the novel, A History of Violence, written by John Wagner and Vince Locke. Tom Stall lives a casual, easygoing life as a local restaurant owner in the small, quaint, town of Millbrook, Indiana. Viewers are given the perspective that Tom lives the life of a family man, with a loving wife and two kids. Then the unthinkable happens when two robbers show up at Stall’s Diner and Tom defends his employees by killing the two-armed gunmen. After his heroics are publicized across the nation on national news, gangster Carl Fogarty visits Tom in Millbrook. Fogarty meets Tom and calls him out in front of his business and family for living a double life as a murderer. Tom’s real name is Joey Cusack, an Irish mobster who was once involved with gang membership in Philadelphia. When Fogarty confronts Tom and his family outside his home, Tom and his son shoot and kill all three gang members, including Fogarty. Tom stays at the local hospital to receive treatment for wounds he incurred while in a gunfight with the Irish mobsters. Tom confesses to his wife Edie while in the hospital. Tom states that he had lived as a mobster in Philadelphia, as he killed for both money and pleasure. When Tom is dismissed from the hospital, his personal life comes crashing down. He rapes his wife and abuses his teenage son. The repercussions of Tom’s actions will plague his family for the rest of their lives.
As we know, most of Quentin Tarantino’s films have strong personal characters. People call Tarantino as an ‘Auteur’ which means that a director who makes films which reflect his/her personal vison and preoccupations. (Lecture 3) And Tarantino’s characterized use of violence is a huge part of his auteur. Sometimes when people see the specific scenario in a film, they can easily tell that the film is a ‘Tarantino film’ because of the use of ‘Tarantino’s violence.’ To describe Tarantino’s depiction of violence, we can use the phrases ‘all of a sudden, extremely cruelness and strong artistic effect.’ And we are going to focus on two specific examples in ‘True Romance’ which Tarantino played the role
Before taking this course, I always looked at films and read books just as the average person does; interesting plot and how long will it hold my interest, but this course gave me an entire different perspective when watching films and reading books. Now that I have taken this course and have watched the required films, the most important thing when watching other movies and reading books, is the meaning behind each scene and how they relate and affect our world. For this paper, I will discuss a book that I read a long time ago, which is She’s Come Undone by Wally Lamb and how this book relates to this course.
Spike Jonze’s film Her reveals the increasing complexity of intimate relationships concordant with the ever-growing presence of technology in our lives. In the frequent—almost excessive—moments of bright, lively red, we see the hope, desire, or even existence of intimacy. However, the few juxtaposed moments lacking red create a serious, threatening distinction between life with and without this sense of closeness and affinity. Through the powerful, effective use of mise-en-scène elements, tone, and off-screen space, the viewer gains insight into a possible future without intimacy as Sam and Theo’s relationship evolves and eventually corrodes.
Horror is not a highly respected genre in the film industry. Even other not so famous genres like romantic comedies or westerns have numerous films that break the barriers of their respective fandoms and targeted audiences, and have been accepted as good art or cult classics, in fact. There have been certain horror films that do find support among film critics and interpreters of pop culture, however, as a whole horror films are seen as cheesy, goofy entertainment. They thrill audiences with violence and cheap laughs, and it is easy to write them off as jokes. However, there is a benefit to being overlooked, which is that as culture itself gravitates toward different concerns, the expression of those concerns changes within film and other forms of popular culture. In the 1950’s, the horror genre was characterized by a closed narrative that tended to reinforce the values of the traditional family and the government itself. Postmodern horror introduces new aspect to the genre¬–namely disrupting the order of society (primarily through the use of violence and other types of shocking ploy), and, unlike their predecessors, movies from the 1960’s and so forth left their endings open. In Wes Craven’s The Hills Have Eyes (1977), the body count of the “normal” American family, the Carters against the clan of the cannibalistic and incestuous Jupiter’s is high, and the ending is unsatisfying by the separate view of good versus evil. Even though the movie ends with two good characters living, the fear and tragedy remain behind, insurmountable, and viewers are left with the feeling that things have not been and will not be resolved.
Don't expect anything linear when it comes out of the insubordinate, tortuous mind of the Canadian cult filmmaker Guy Maddin, who in his last sumptuously demented tale, “The Forbidden Room”, had the contribution of the newcomer Evan Johnson as co-writer and co-director. As in the majority of his past works, the film masterfully evokes the black-and-white silent classics and Technicolor fantasies in order to create a layered story that despite the numerous sinister characters and baffling interactions among them, can be summarized as a man desperately looking for a woman. A jocose spirit is present since its very beginning when a man wearing a robe discourses about how to take a bath. This hilarious little dissertation leads us to the central
The world is not always what you think it is. Things change or can appear to be
The characters created by O.Z. Livanelli in his novel are very deep and complex creatures with very specific feelings and motivations. While Abdullah Oguz’s characters lack some of the depth of Livanelli’s, he still shows the more superficial conflicts within the characters on the screen. It is every director’s right to adapt a story to fit his purpose, and in the process of doing this, Oguz created a film that, while different from the story’s original intention, still caused a great deal of thought and emotion in the audience. While the psychological analysis within the novel was a more intriguing and complex story, Oguz’s film was still a pleasure to watch.
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.
A four-hundred-year-old play and a modern comic book movie may seem to have little in common on the surface, but the Marvel film Logan and Shakespeare’s tragic play King Lear have a curious similarity. The overtly feminized cursing in King Lear and symbolic play on words in Logan give light to an ever-present cultural issue, the devaluation of women by men in a patriarchal society. Both male protagonists share a staggering similarity as cruel and callous parents but are relatively free from any judgment of their behavior. In fact, the film and play both have tremendously high body counts due entirely to the hubris of the male lead characters, and yet they are still the hero's; albeit tragic ones.
The motion picture I selected to analyze is Relatos Salvajes (Wild Tales) an Argentinian movie, directed and edited by Damián Szifrón and Pablo Barbieri. Wild Tales is dark, comedy with a series of realistic events that turn unpredictable. This film displays six different segments and six different story lines with a variety of actors. I believe that the best edited segment is the “Road to Hell” segment. The “Road to Hell” story line is about two male drivers, where their road rage becomes deadly. This analysis will go over how Szifron and Barbieri used certain shot angles, sound, and music to intensify and bring the story together. In the “Road to Hell” segment the director does not include the character’s name, for analysis purposes I will refer to the first character as Carlos and the second character as Pete.
The genre of the film is a British classic Drama, with satire and surrealism. The British culture of the film is evidenced due to the film being an allegory, to represent a bigger picture. The film’s morals, even being produced 46 years ag...
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
...es in misunderstanding the mix of the motions the movie evokes in them, or mainly focus on broad aspects of the story without analyzing its notion. Despite there are some concepts in Neill’s theory that still leave the room for improvement, it can be stated that his lens achieved the level of being valuable in understanding the inner approaches of different films. Apparently, both Alex Neill and Michel Gondry construct their projects leaving the room for the audience to use their imagination and improve their emotional education.