As one of the most important figures in the New German Cinema, Rainer Werner Fassbinder made a lot of iconic films as director, screenwriter and even actor. He made 40 films in his 14-year career. Although his early films have nothing to do with Hollywood film grammar, the film Fassbinder made in 1974, Fear Eats the Soul is famous for hugely inspired by Douglas Sirk’s work. Especially All That Heaven Allows, the film Douglas made in 1955. Which a lot people call Fear Eats the Soul is almost like a “remake” of All That Heaven Allows. The film follows the same basic melodramatic tradition inspired from Douglas Sirk’s work. But compare to Douglas Sirk’s Hollywood classic, Fear Eats The Soul has more ambitions to explore class, sexual, and racism problems in the society. His attempt to provoke political debate in the film and his left-wing melancholy difference this film from other melodrama love story. His background of theatre and his love of long single shot give this film a unique style. His working experience in theatre influences not just the acting style in this film, but also the Mise-en-scène. Like in the middle of the film, Emmi and her co-workers having a lunch break in a stairwell. Her co-workers isolates her because the fact that she is dating a young Moroccan Gastarbeiter(guest worker) from another country. Her co-workers decide to walk away from Emmi after an unhappy conversation. The sequence ends with Emmi sitting alone on the stairwell.
The sequence starts with a master shot of Emmi and her co-workers having a lunch break in a stairwell. Like a lot of shots of in the film, Fassbinder frames shots through doorways. This makes the spaces looks more narrowly. The 1.33:1 aspect ratio of this frame reduces the space even...
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...ks me in the eye anymore”
The sequence where new Yugoslav woman joins the cleaners’ team is almost like a sequel of the first stairwell sequence. Using exact same camera angle and movement not just create a Déjà vu feeling for the viewers, but also imply how fear change people’s behavior. The fear of not being in the “team” and isolated by others perhaps is the answer of this film. The whole stairwell sequence shows Fassbinder’s love of observing human nature. His Mise-en-scène helps him explores the meaning of the sequence without using much dialogues and human interaction making this sequence different from most the film. The sequence itself is less dramatic and sentimental than most of the film. But the ending part of the sequence makes the viewers relate the character more than most the film, making the sequence one of the most memorized sequence in the film.
I have discussed how Francis F. Coppola exploits a wide array of audio and editing techniques to create suspense, tense, and anxiety in the sequence to affect the audience’s feelings. Despite the simple fabula, this multifaceted film requires certain intellectual involvement and efforts of the audience to grasp fully its underlying meanings and subtle nuances.
Vertov uses montage make the viewer understand the connection between individual potential and societal potential, and furthermore, how technology is able to factor into this connection. To achieve his goal, Vertov uses one scene which begins with a close-up, eye-level of a woman cleaning her face with a towel (Vertov, 11’42”-12’11”). The use of a close-up, eye-level shot pins the viewer on the woman’s eyes. The woman abruptly peers up, and as she does so, Vertov fluidly cross cuts to a close up shot of blinds of a window looking out the city opening, successfully blending together the motion of both shots. The window of the house is a unit of the community, and by blending the motion of the woman’s eyes with the blinds of the windows house, Vertov establishes the woman as a unit of her greater society. Vertov uses another crosscut to connect the shot of the blinds to a close up shot of a camera. The camera focuses in and out on a subsequent close-up shot of flowers. Just as the woman can use
The films The Searchers and Avatar both make use of the master narratives of regulating social order and disorder. One is used as a way to reinforce this narrative, while the latter is shaped more towards critiquing the overall of ideal of the American social order. The struggle presented by an external threats in both films give the opportunity of interpreting and contrasting the master narrative and the effects that can come from imbalances in social orders.
As a young graduate student who never been to Congress, Woodrow Wilson criticized the founding fathers on the separation of powers. Between his first book, Constitutional Government, in 1884, and his second book, Constitutional Government in the United States, in 1908, Wilson shifted his position on important structural features of the constitutional system. The first changed Wilson did in Constitutional Government, was to define the term “constitution” which he ignored in his first book. Second, Wilson focused his study on the presidential power defined by the constitution and third he also realized that external forces are now shaping American politics more than the intentions of the founders.
The film illustrates the common social and sexual anxieties that the Germans were undergoing at that period of time. It also employs cinematic aesthetics alongside with new technology to create what would be considered as one of Germany’s first sound-supported films. Furthermore, it was the film that popularized its star Marlene Dietrich. The film is also known for combining elements of earlier expressionist works into its setting without becoming an expressionist film itself. It is important also to point out that the visual element has helped to balance the film easily against the backdrop the nightclub lifestyle that Lola leads the professor to fall into.
The Hunger Games was a critically acclaimed movie when it came out; however, some critics would argue that the movie can be sometimes too violent for its intended audience. In this essay I would dissert Brian Bethune’s essay “Dystopia Now” in order to find its weaknesses and compare the movie Battle Royale with his essay.
“Daisy! Daisy! Daisy! I’ll say it whenever I want to! Daisy! Dai–” (37). Daisy, a flower, feminine, white, pure, and yet yellow– the color of corruption. Daisy Buchanan is an indulgent, manipulative, and corrupt character that seeks out the weak in others for her personal gain. She dresses in lavender to show her indulgence in life, and her attitude that since she has money she can do whatever she wants. She murders a woman while driving a yellow car, because she knows none of the consequences will affect her because she can retreat back into her money. Daisy wears white to look angelic, but like a demon stepping on holy ground, it burns her because it’s all fake. Daisy Buchanan; a mother, a wife, a lover, a friend, an adulterer, and a murderer.
For many centuries the crime of sexual violence has been perceived as a gendered crime of power mostly victimizing women. The legal system, at least in theory, puts rape to be a punishable crime, nonetheless when rape cases are brought before the law they are hit with the allegation of the ‘rape myth’, the victim’s legitimacy is continuously questioned and the defense party is given the power to undermine the victim’s story. Not only the victims of such horrendous offences are stripped off their right to justice; they are revictimized and mistreated in the courtroom and society if they are not seen to fit the category of the ‘ideal victim’. The neglect of rape cases before the law has led victims of this offence to become unwilling to report the incident causing sexual assault to become the most underreported crime in our criminal justice system. This issue has therefore become one of the main focuses of the feminist theory, which attempts to understand the criminal justice system’s discrimination and misuse of power against women.
Scott Hightower’s poem “Father” could be very confusing to interpret. Throughout almost the entirety of the poem the speaker tries to define who his father is by comparing him to various things. As the poem begins the reader is provided with the information that the father “was” all of these things this things that he is being compared to. The constant use of the word “was” gets the reader to think ‘how come the speaker’s father is no longer comparable to these things?’ After the speaker reveals that his father is no longer around, he describes how his father impacted him. Details about the father as well as descriptions of the impacts the father has distraught on the speaker are all presented in metaphors. The repetitive pattern concerning the speaker’s father and the constant use of metaphors gives the reader a sense that the speaker possesses an obsessive trait. As the reader tries to interpret the seemingly endless amount of metaphors, sets of connotative image banks begin to develop in the reader’s mind. Major concepts that are expressed throughout the poem are ideas about what the speaker’s father was like, what he meant to the speaker, and how he influenced the speaker.
In the very first scene the audience views there is a man shaving and has radio blaring in the background. An alarm clock goes off in a different apartment and the viewer is trying to find out where the noise is coming from which makes them engaged in the film. The setting creates depth because the audience only sees what Jefferies is viewing. At the dinner party, the music playing in the background set a tone to audience making them feel what he is missing out on. There is an alleyway shown from the window and it very crowded. The alleyway represents Jefferies being isolated
Four key film extracts will be discussed. The introduction of Mina, starting of with a medium long shot of her in the Westenra house, which allows the audience to pay more attention to what is happening in the background, the mise-en-scene being a large decorated room of the Victorian era, including plants, chairs. The setting of the whole room is surrounded by glass, which has the ability to allow natural light.
Penguin Books. 1991 German Cinema since the Unification. Edited by David Clarke. Continuum, in association with University of Birmingham Press. 2006
The economic crisis in a country is an issue that brings worry to a lot of people especially the working class. The crisis increases with each day making us live in an uncertain world. Aware that there many factors contributing to a bad economy, I believe that with the reinforcement of educational values the continuous drop of the economy can be prevented. Education should cost less, and education should be valued in the work force.
The quick cuts between the shots of characters wandering throughout the mysterious basement to people running down the dark, shadowy school hallways creates a feeling of worry and nervousness in the audience. As each scene builds suspense, the music becomes louder and expands upon the uncertainty in horror situations. In the next scene, the director zooms in behind the two characters as they’re slowing creeping down the hallways. Suddenly a loud crash is heard and the characters instantly turn around as seen in figure 3. The mid shot provides an image of the fright in their faces. This clip startles the audience as the characters are unexpectedly frightened by the alarming noise. The trailer ends with one final scene of Bird Fitcher falling to the ground and out of nowhere some kind of monster grabs her face. This leaves viewers completely shocked and wondering what the outcome of this horror film will be. Throughout the trailer, multiple dark and eerie scenes containing suspenseful music frightened viewers, but served to widen the potential audience members for the
As a starting point I have chosen to use the “Experimental Learning Model” (ELM) (Kolb & Fry, 1975) both because of its simplicity and to limit my own tendency to over complicate things as a way of avoiding bringing myself onto the page, which is something often commented upon in previous feedback.