Staging of An Inspector Calls on the Reaction of the Audience The way a play is staged is very important to how the audience views the story and the characters. We have studied 3 versions of 'An Inspector calls'. The original 1946 production, 1954 film version and the 1992 Royal National Theatre production. I will take each of these in turn and see how they are staged differently and how this affects the audience's perception of the characters. The first production I will look at is the
Elia Kazan’s film, On the Waterfront, demonstrates the complicated life of washed up ex-boxer, Terry Malloy, and his fight against the organized crime conglomerate that controls the shipping docks of Hoboken, New Jersey. The specific elements within the film, such as supporting characters, surrounding environment, and outfit selection are carefully utilized in order to constantly support Terry’s self-perception as the plot develops. The 1954 film On The Waterfront, demonstrates the reoccurring theme
and the 1954 film version both have the same story line of animals taking over and running a farm, but there are significant differences between the two. The two main differences that stood out to me were the ability of the animals to speak in the book versus the film, and the ending of the film in a rebellion. These differences not only have an influence on the story, but also how the story ends. One of the most noticeable differences between the book and the film was that in the film not all
he’d know all about it. Alfred Hitchcock’s 1954 movie Rear Window depicts the struggles of photographer L.B. Jefferies as he’s forced to stay home in a wheelchair due to a leg injury. To deal with his frustration at being stuck home he takes to spying on his neighbors. With the use of techniques such as medium shots, close-up shots, pan shots and framing the opening scene in Rear Window evokes a strong sense of both voyeurism and isolation. The films’ opening scene includes two important close-up
monsters have the capability of eating a person wholly and wreck cities by way of stomping. Their use in the Japanese Kaiju films has made these movies the most important in the genre. Newitz (1) describes various Japanese Kaiju films that one must watch to understand the usefulness of giant monster in these movies. Some of the Kaiju films in Japan include the Godzilla (1954), Mothra (1961), Ghidorah (1964), King Kong Vs. Godzilla (1962), Mothra Vs. Godzilla (1964), and The Mysterians (1957) among
Nagasaki in Japan? This representation is brought to life in the 1954 Japanese original film "Godzilla” directed by Ishirō Honda. This essay will argue that Godzilla is portrayed as a metaphor produced by the bombings of Hiroshima, Nagasaki, as well as a Hydrogen bomb that was tested too close to a Japanese fishing vessel, Godzilla proves that Japan is cursed by the incidents that occurred on August 6-9th, 1945 and March 1st, 1954. During World War 2 the United States of America dropped a pair of
As time changes so does the art of movie telling, but culturally it also changes how we see and visualize story telling in 1950’s to 2000’s. The movies I chose were Rear Window (1954) directed by Alfred Hitchcock, and Disturbia (2007) directed by D.J Caruso. Both movies have the same plot, in which the protagonist is either injured or forced to stay at their home and in their spare time they observe the neighbors around them. They both speculate about one of their neighbors killing a woman, and begin
formulaic films produced in the 1950s film culture outperformed in questioning social stereotypes than TV. Though NAACP protested against the negative representation of African Americans in Hollywood since 1930s, the films in the following decade dealt with class conflict and effects of economic scarcity. The subpoenas of the Hollywood Ten in 1947 was a clear indication that the power of film images worried both HUAC and the compilers of the industry blacklist Red Channels. But the films dealing
The film which depicts the Algerian struggle for independence against French colonial power, was awarded the Lion d'Or at the 1966 Venice Film Festival. Yet, despite this acclaim, the inherently controversial film was banned in France until 1971 due to its graphic portrayal of torture and repression during the Algerian war. The politically engaged director had however sought to make The Battle of Algiers within a 'dictatorship of truth,' neither supporting the Algerians nor reducing his film to propaganda
divided critical opinion. The film which depicts the Algerian struggle for independence, was awarded the Lion d'Or at the 1966 Venice Film Festival and nominated a year later for an Oscar as Best Foreign Film. Despite this acclaim, the inherently controversial film was banned in France until 1971 due to its graphic portrayal of torture and repression during the war. Heavily influenced by the distinctive film style Neorealism, the politically engaged director sought to make a film which was produced and
of John Ford. Ford and Wayne became close friends and Ford used Wayne for small parts in some of his movies. Then finally in 1930, Ford suggested to Raoul Walsh that Wayne star in The Big Trail. The film bombed, but it was a start to Wayne’s career as an actor in leading roles. Wayne’s first feature film was also in 1930. It was titled Men Without Women. After more than seventy low-budget adventures, John Ford cast Wayne in Stagecoach in 1939. This movie is where John Wayne emerged as a major star
Explore the representation of black males in Hollywood films since the year 2005, with specific reference to I am Legend (2007), The Pursuit of Happyness (2006) and 12 Years A Slave (2013). “We as black people, in Hollywood films, have been celebrated more for when we are subservient, when we are not being leaders or kings or being at the centre of our own narrative, driving it forward.” - David Oyelowo, quoted at Santa Barbara International Film Festival, February 2015. http://mic.com/articles/10
honey-glazed aesthetic of Sirkian Melodrama to thoroughly examine the true core beneath is the task. Douglas Sirk’s films are expressive and suggestive in their examination of female sexual and emotional relationships. It must be considered what exactly a melodrama is and what type of audience the genre demands. Known worldwide to be part of a female cultural domain, the genre deals with the woman’s film from the early 30’s right up until the Sirkian territory of the 1950’s and 60’s. A central theme found in
Jungle and All About Eve. From being in these films, she began receiving universal attention and became a true movie star. On January 14, 1954 in San Francisco, California, Monroe married a retired baseball player, Joe DiMaggio. In the fall of 1954 during the filming of Seven Year Itch Marilyn filed for divorce after nine months of marriage. When her divorce was final, Monroe moved to New York to study at the Actors’ Studio with Lee Strasberg. When the film Seven Year Itch released Monroe was a huge
Godzilla (1954) is the first movie I remember watching as a child. I admire Godzilla in all his incarnations. Furthermore, I love him as the lumbering rubber suit behemoth as an allegory for the superpowers during World War II, and as a protector of Japan fighting other monsters of galactic proportions. The creature is arguably the most well-known movie monsters to grace the silver screen (such as likes of King Kong and the Universal Frankenstein.); Moreover, it’s one of the most important foreign
between 1947 and 1954. Propaganda assisted in the infiltration of anti-communist ideals. This examination specifically focuses on the extent to which film propaganda during this time period influenced anti-communist hysteria. The movies produced during the Cold War glorified American democracy and an evaluation is completed discussing the impact of this glorification on society. The analysis emphasizes how these beliefs infiltrated all genres of moviemaking, according to researchers of film propaganda
musical film starring Beyoncé as an inspiring actress. However, Carmen Brown was once Carmen Jones; starring Dorothy Dandridge and Harry Belafonte in the 1954 version. However, the 1954 version of Carmen is not the original playwright, as there have been many adaptations to create relevance of the production. The first production of Carmen was written as a novel that was published in 1845, which there is a four-part compromise. However, the novel Carmen was later turned into an urban film. The history
impacted greatly by the war. The bombing of Hiroshima and Nagasaki and the subsequent capitulation of Japan changed the morals and the psyche of its people almost completely leaving a big mark in Japanese culture which is quite evident when looking the films made in the country during the post war period. The war changed every genre in Japanese cinema, introducing new themes and tones which were quite uncommon in pre-war and war times. The political situation in Japan changed completely after the war.
it was who fathered her. Afterward, Gladys gave Norma Jean (Marilyn) the name of Baker, a boyfriend she had before Mortenson. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and worked for RKO Studios as a film cutter, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jean spent time in foster homes. When she was nine she was placed in an orphanage where she was to stay for the next
aberrations. For Hitchcock, the most striking, funny, and terrifying quality of American life was its confidence in its sheer ordinariness. Beneath the surface, ordinary people and normal life were always ‘bent’ for Hitchcock. Hitchcock’s 1954 film Rear Window contained a complicated social and psychological question beneath it. The main character L.B. Jeffries (Jeff) is more turned on