This paper analyzes the film Muerte de un ciclista. The film analysis will include an in-depth discussion of the societal context when the film was made and the use of melodrama, film noir, Montage, and Italian neo-realism to represent key problems experienced in contemporary Spanish community (Helfgot, 2008: 22). Muerte de un ciclista, is a tense psychological Spanish drama film directed by Juan Antonio Bardem and was the first important Spanish film of the 1 950s. Generally, the film is about an adulterous couple María José, a rich socialite (Lucia Bosè) and Juan, a mathematics professor (Alberto Closas) driving to Madrid from the town’s outskirts after an adulterous rendezvous. The movie starts at dusk on a cold winter's day with the fading Sun's rays hitting the highway, soon the viewers hears screeching brakes and cricket chirps (Evans, 2007: 333). The couple runs down a cyclist (Enrique Arízagabut) peddling uphill along a thin country road but rather than calling for help they fearfully flee the accident scene leaving behind the ailing cyclist to die on the wet roadside in an effort to cover their adulterous meeting outside the town.
One of the primary unifying forces of the Cuban community in South Florida is La Virgen de la Caridad del Cobre, or Our Lady of Charity. In 1898, after Cuba won its independence from Spain, she became the official patroness of the island. The Cuban soldiers credited their victory to the Virgin's intervention in their crusade for independence. The Virgin is seen as a religious tradition that strongly unites Cubans on both sides of the Florida Straits. In South Florida, Cubans throughout the United States gather each year to celebrate the feast of Our Lady of Charity on September the eighth. Alongside the traditional Catholic service, many within the exile congregation offer their hopes and prayers, to the Virgin, for a Cuba free from communism.
José Antonio Villarreal’s Pocho does a superb job of dealing with both the common coming of age narrative and the tensions faced by Latino Americans. Richard Rubio attempts to remain individualistic throughout his life but struggles with what that means within the confines that his heritage and society structure him into. Characters ebb and flow through his life, each having certain standards, expectations or ideals predetermined about him. Richard attempts to cast off and ignore the pressures they place on him, and instead forage his own path for what his future is to look like. I believe that the conflict between his family’s Mexican heritage and his American home is what forces Richard to actively pursue, and even fight, for his individuality.
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
The chapter starts with Delaney hitting an unidentified man on the highway while going through Topanga Canyon. Delaney hits Candido, one of the other main characters in the play. After Delaney hits him with his car, he then immediately asks himself if his car is all right. He gets over that, and realizes that he just hit a human being. The next paragraph is Delaney searching for the body and yelling "hello." He finally can hear some grimacing that comes from some nearby bushes. He finds Candido there, with blood coming from the Mexican's mouth and his face covered by raw flesh. His upper arm had dirt and pieces of leaves sticking to the blood. He was carrying a bag of tortillas, a grocery bag that was torn with small slivers of plastic through the glass. Delaney tried to speak to him in French and Candido couldn't understand. Finally the conversation ends and Delaney gives him $20 and leaves. He drives to the Acura dealership and tells the dealer that he ran over a dog or a coyote. Delaney then calls his wife from the dealership and his wife tells him to call Jack, a friend, lawyer, and adviser, to ask him what could happen to him if the Mexican filed suit. The chapter ends with Delaney saying he gave Candido $20 and then Kyra his wife asks why only $20. Delaney replies he was only Mexican.
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...
Connelly, Marie. "The films of Martin Scorsese: A critical study." Diss. Case Western Reserve University, 1991. Web. 07 Apr 2014.
In my essay I will discuss the differences between national cinema and Hollywood cinema by using Rio de Janeiro¡¯s famous film City of God. There will be three parts in my following main body, the first part is a simple review of the film City of God, I will try to use the review to show the film structure and some different new points from this, show the how did the ¡®Shocking, frightening, thrilling and funny¡¯ (Nev Pierce) work in the film. The second part is my discussion parts; I will refer some typical Hollywood big name films such as Gangs in New York, Shawshank¡¯s Redemption, and Good Fellas to discuss the main differences between City of God and other national films. The third part is my summary, I will use my knowledge to analyse why there have big different between both kind of films and their advantages.
Amelio places an immense focus on intertextuality in this film as an homage to the end of the neorealistic era. He particularly references one of the leading figures of the neorealistic movement, Vittorio De Sica, and his film Bicycle Thief. The title, Stolen Children, and the main character’s name, Antonio, are an allusion of Bicycle Thief. Through Amelio’s choice of allusions,
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.
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
The aim of this report is to discuss Italian Neorealism (Neorealismo); looking at how the movement played a significant element in European cinema during and after the times of Benito Mussolini’s fascist regime. The report not only looks at how but why Neorealism became a growing phenomenon for filmmakers during its debatable 10 year period, and what implication of messages these Neorealist directors were trying to send out through their films. Backed up by several reliable book sources, the evidence for this report will also highlight the influences Neo-realism has created in modern filmmaking today.
Don DeLillo’s ‘Videotape’ is a short story of man who is absolutely captivated by some footage on the news that can be described as both, raw and shocking. The footage is being repeatedly played over and over. It depicts a young girl with a camcorder travelling in the backseat of her family’s car who happens to be filming a man driving a Dodge behind them. She continues aiming the camera at the man and filming until, suddenly, he is shot and murdered. The man watching the tape at home is clearly mesmerized and fascinated with the footage to the extent that he was trying to get his wife to watch it with him. This story portrays society’s utter fascination of shocking and disturbing content relating to death and other horrible events unless they themselves are involved. This, along with other characteristics, clearly suggests that “Videotape” is a piece of postmodern literature. This report will analyze and describe why “Videotape” belongs to postmodern literature through the in-depth analysis of the selected passage and a brief breakdown of the story as a whole.
The film Pulp Fiction was an immediate box office success when it was released in 1994 and it was also well received by the critics, and celebrated for the way it appeared to capture exactly a certain pre-millennial angst and dislocation in Western capitalist societies. The term post-modernist, often used to refer to art and architecture, was applied to this film. The pulp fiction refers to popular novels which are bought in large numbers by less well educated people and enjoyed for their entertainment value. The implication is that the film concerns topics of interest to this low culture, but as this essay will show, in fact, the title is ironic and the film is a very intellectual presentation of issues at the heart of contemporary western culture and philosophy.
and by the end of the story the couple find themselves on the brink of