...Films more often than enough can demonstrate signs of unreliability and the majority of the time it is the narrator who is the cause of the film's dubiousness. The dictionary definition of an unreliable narrator asserts that they demonstrate qualities and tendencies that denote an absence of reliability or perception of the narrative. "Whether due to age, mental disability or personal involvement, an unreliable narrator provides the reader with either incomplete or inaccurate information as a result of these conditions." [1] As Wayne Booth once stated: "I have called a narrator reliable when he speaks for or acts in accordance with the norms of the work, (which is to say, the implied authors norms) unreliable when he does not" [2] . We are consumers of narratives which has given us the ability to identify unreliable stories. However as "theoreticians, we are less well able to say what constitutes unreliability and how it is detected". [3] Shutter Island is a film adapted, from a novel, by Martin Scorsese; the film is within the film noir genre, with an unreliable narrator that, as result, plays with your mind and makes the film appear to be very ambiguous. Shutter Island is clearly shown through the perspective of a fallacious narrator. A narrator's job is to reveal what is real in the narrative and, comparable to tellers in reality, the narrator may have it incorrect or would rather disclose what they deem to be true. "On this model we perceive narrative unreliability...
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...collects a series of essays that link new developments in Lacanian psychoanalytic theory and recent trends in contemporary cinema. Though Lacanian theory has long had a privileged place in the analysis of film, film theory has tended to ignore some of Lacan’s most important ideas. As a result, Lacanian film theory has never properly integrated the disruptive and troubling aspects of the filmic experience that result from the encounter with the Real that this experience makes possible. Many contemporary theorists emphasize the importance of the encounter with the Real in Lacan’s thought, but rarely in discussions of film. By bringing the encounter with the Real into the dialogue of film theory, the contributors to this volume present a new version of Lacan to the world of film studies. These essays bring this rediscovered Lacan to bear on contemporary cinema through analysis of a wide variety of films, including Memento, Eyes Wide Shut, Breaking the Waves, and Fight Club. The films discussed here demand a turn to Lacanian theory because they emphasize the disruptive role of the Real and of jouissance in the experience of the human subject. There is a growing number of films in contemporary cinema that speak to film’s power to challenge and disturb the complacency of spectators, and the essays in Lacan and Contemporary Film analyze some of these films and bring their power to light. Because of its dual focus on developments in Lacanian theory and in contemporary film, this collection...
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...In “Literary Film Adaptations as Educational Text” by Arne Engelstad, the main argument in this article is to discuss the process of turning novels into movies. This article is addressed to people who are interested in why so many different novels are inverted into to movies. The essay’s main focus is to determine how literary film adaptations are useful for educational texts. This essay relies on multiple pieces of evidence. As the essay states there are three major reasons for adaptation which are, the bestseller argument, which means it is a good profit to make a movie off of an already bestselling book. Also, the prestige involved in the film’s close relationship to literature. Last, is that the best story is often found between the covers of a novel. These three major reasons for adaptation are facts. Other pieces of evidence include, the four steps after you have read the novel and then seen the film adaptation of it. The first step is to compare the two discourses on a strictly narrative level. Second, is to study the results from verbal to visual representation. Third, to figure out if the film tried to developed similarities to the novel that we not transferable, and finally to collect all of the film’s main theme or themes compared to the novel. These four steps are an example of experimental data. The reason why you should study film adaptation in class is because it offers an insight into the nature of expression through words and pictures, as well as, to stimulate...
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...RLG101H FILM ESSAY INSTRUCTIONS Submission • • The deadline for this essay is 11:59 pm on November 29. You will be penalized one per cent (out of 100) per day late. If your assignment is late and you believe that you should not be penalized, within a week of submitting the essay please send a written explanation to Prof. Ken Derry, along with appropriate supporting documentation. Your essay must be submitted through both BLACKBOARD and TURNITIN.COM as a Microsoft Word (.doc) file. Paper copies of your essay will not be accepted. If you do not wish to submit your essay to Turnitin.com, you must consult with the course instructor; see details on the course syllabus under “Writing Requirements.” • Assignment Your task is to analyze the “religious content” of a particular film. To accomplish this task, your essay must do the following: 1. Identify a key message promoted by the film. One way to find a key message is to complete this sentence: “According to this film, what is most important in life is . . .” 2. Use theories about belief, text, ritual, and/or visual culture to show how this message is promoted by the film. The theories you use must be drawn ONLY from these readings: • Malory Nye, Religion: The Basics, Chapters 5 (“Belief”), 6 (“Ritual”), or 7 (“Text”) • S. Brent Plate, Introduction to Religion, Art, and Visual Culture (in the course reader) Imagine that you are writing this essay for a film website. Your audience consists of people who have seen the film, but who...
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...Case study Topic: Disney’s FROZEN as a global pop culture phenomenon FROZEN has been a global sensation with great reception by audiences around the world with its original song “Let It Go”. Let It Go was translated into many languages which captivated people around the globe of all ages . This move by Disney can be seen as a form of “media globalization” via the means of YouTube and theatrical releases on Television in different countries with different cultures and languages. The reception of the film can be seen as a “cultural process” or Cultural globalization which is the intensification and expansion of cultural flows across the globe . Academic Sources 1) Mollet, T. 2013. “With a smile and a song …”: Walt Disney and the birth of the American fairy tale.” Marvels & Tales 27 (1): 109-24. In this journal article, Mollet reviews on how Walt Disney’s production is now being seen as crucial to the construction of the modern American society through his contribution to the formation of a new United States nationalism . The author approaches the topic using cultural studies and textual analysis ofn Disney fairy tales to exemplify how they reflect the dominant (?) culture of America. Her research focuses on analysing Disney films such as “Snow White and The Seven Dwarfs”, “Three Little Pigs”, “Wizard of Oz” and how these films and their characters portray the unstable society and culture of America during the great depression and other different time periodslines. The...
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...social change and a weapon of political liberation. This use of film as a social and political force emerged first in Latin America and spread to Africa and China, while also emerging in the First World countries including the U.S.S.R. and United States. The counterculture and the New Left were examples of an international politics of youth that focused on opposition to American involvement in Vietnam, critique of post-World War II capitalist society, and social-protest movements focused on equality of diverse groups. Eventually, radical leftism declined in the mid-1970s, but engaged filmmaking remained central to the micropolitics of the era. A June 1979 alternative-cinema conference in New York assembled over 400 political activists working in film and video in the United States. In some countries, government liberalization led to funding for militant film. The new Labour government in Britain assisted Liberation Film and Cinema Action, while the regional Maisons de la Culture allotted money for local media groups in France. Some parallel distribution and exhibition circuits proved successful in promoting films about nuclear power, day care, ethnic rights, and similar issues. In the United States and Great Britain, feminist filmmaking pioneered the turn to issue-centered, grassroots problems. By 1977, 250 women’s films had been produced in the United States alone. As the international women’s movement grew, films on rape, self-defense, and housekeeping were paralleled by explorations...
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...Essay on Essay Analysis on The Movie "The Terminator" For the purposes of this essay I have chosen The Terminator, a science fiction B-movie feature from 1984. Although I intend mainly to study this purely as a single film, I do intend to study Terminator 2 in addition, thus making the essay a study of the series. In addition, I will be contrasting the theory written surrounding these films in relation to other contemporary postmodern theory, and as a result will be mentioning several other films by way of a comparison or contrast. The Terminator seems quite remarkable to me, for a number of reasons. Firstly, it is one of many action films I watched in my early teens; a considerable number of which, like this film, starred the Austrian body-builder turned actor, Arnold Schwarzenegger. What is so different about The Terminator though, is that unlike most of these films, this movie has enough depth and substance that, not only does it still bear watching now that I am older, but it also has an archive of academic theory written about it. The Terminator tells of a cyborg, a human shaped machine coated in flesh, that is sent back in time, from an apocalyptic future in which machines have 'got smart' and acted on their own to destroy the human race. The cyborg's mission is to assassinate the mother of the human's great leader, the man who taught the survivors to fight back against the machines. The woman, a young waitress named Sarah Connor, is protected only by a lone warrior...
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...| |What is the page number for the entry for the American (USA) periodical Arizona |Press Guide. | | |Gourmet Living? | | | |Who is the editor? |The editor of the Arizona Gourmet Living is Karrie | | |How often is it published? |Wellborn; it published quarterly and has a circulation | | |What is its circulation figure? |figure of 35,000. | | | | | | |Find a reference book by Janine Gibson (2007) in the library. |The title of the reference book by Janine Gibson is The | | |What is the title and shelf number for this book? |Media Directory. | | |Which national radio station had the highest listening figures for the second | | | |quarter of 2006? ...
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...Hundreds of CDs, a few dozen LPs and a couple of books on film music. Can this prepare me for a 4000 word essay on the development of film music in American cinema? You bet it can. The topic of the essay for the unit of study American Film and Hollywood in my US Studies course will be about the development of film music over the last century, but in particular how it just isn’t as good as it used to be, and there are people to blame for this, which I’ll get to further below. When you’re passionate about film music and you’ve been listening to the works of composers such as Jerry Goldsmith, John Williams, James Horner, John Barry, and many others from the so-called Silver Age of American cinema, you develop a certain taste and an in-built aural detector forms in your brain, connected to your ears, that makes you automatically know what separates a good film score from a bad one. Hell, even some bad film scores can have a sense of fun about them, even if they draw attention to themselves because film score aficionados are tuned into their siren-like abilities that lure us in to take notice and enjoy it for what it is. It may have a certain charm about it that makes it unique. Then you take a look back at the Golden Age film scores of Max Steiner, Erich Wolfgang Korngold, Bernard Herrmann, Franz Waxman, Roy Webb, Alex North, Dimitri Tiomkin, and you realize that these guys were true musical artists working with an antagonistic studio system, but they delivered so many winners...
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...sciences. The APA cites sources as References. See APA Style: https://owl.english.purdue.edu/owl/section/2/10/ 3. Essays should be written in blue or black ink if in class, or typed on a Word file if written out of class. Papers are submitted by attaching the Word file to Blackboard Assignments. 4. Use 8 ½ by 11 white paper and a 10 or 12 point font. Avoid fancy typefaces such as script. 5. Double space throughout the paper. 6. Except for page numbers, use one-inch margins at the top, bottom and sides of the paper. 7. Type your name, the course number and date on the first page, top left, first page only. 8. Do NOT use a separate title page for essays shorter than 2500 words, or 20 pages. 9. Use a header (top right) for page numbers; your last name may be used with the page number. 10. Insert a page break before the first letter of the Works Cited or References, to keep that page last. 11. Center the specific title of your essay below the heading. If you are writing about a literary work, drama, or film, do not call your essay the title of the work, but you may use the work in your own title, for example, Humor in the Film Dumb and Dumber, Irony in the Drama Tartuffe, Imagery in the Poem “Harlem.” Your own title carries no marks or underlines. Do not bold or write in all capital letters. 12. Italicize the titles of films, plays, novels, magazines, newspapers, books, art...
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...Kodak is a multinational American corporation which has become a household name most known for its film products. The company has come face to face with many changes due to the digital revolution which has created a rapid changing photography industry. George Eastman began Kodak in 1880 and introduced the first Kodak camera in 1888 coining the slogan “you press the button, we do the rest.” Eastman held a high standard for the company when it came to competition however with many managerial and product line changes, Kodak has slowly fallen behind in the industry. The company has experienced many shortcomings with the most recent trend of digital photography. According to Exhibit 7, from 1998-2002 Kodak was 2nd to Sony in the U.S. for the percent of units sold. The company is now considering layoffs as market share, film sales, and company revenues are down. Problems: § The company is faced with multiple managerial problems. First, the company lacked fresh blood in its management team. All of its CEO’s primarily came from the manufacturing jobs within its own company. This hurt the company overall and put a damper on keeping up with technological changes and competition as “Kodak avoided anything risky or innovative.” Second, when the company finally did add new blood to its management team things still didn’t look up. CEO Kay Whitmore was added in 1990 and changed the focus to “film based technology” such as the Photo CD. In an attempt to integrate this new technology with the...
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...But they focus on slightly different standpoints. It seems that Feldman's essay focuses more on the aesthetic part while Petric's essay focuses more on the political influence on Vertov's works. As Feldman essay's title indicates, the major topic of his essay is to explore Vertov's formalism, which gradually leads to shape his value on film production and essence of movies. Vertov did not regard films simply as recordings, or a collection of traces (which actually contradicts to my former understanding of documentary films), and he, as...
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...these genres mediate the ‘problem’ of the social. How significant is ideology, as well as genre theory, to your case-study? This essay will explore the ways in which the horror genre perpetuates repressive and oppressive social institutions, value systems and codes of behaviour surrounding the homosexual subject. It will be suggested that the generic conventions of horror films sustain repressive understandings of the normative order which position the homosexual subject as a threatening ‘other’. This essay will offer the opinion that it is through these representations that the horror genre produces the ideological figure of the ‘monstrous homosexual’. The discourses and ideologies explored will primarily be those relating to coding of the homosexual subject as predator and paedophile. This essay will engage with genre theory in order to demonstrate how narrative repetition in the horror genre mediates the homosexual subject as a disruption to the social order which must be eliminated in order to restore the heteronormative order. The methodology of genre theory will first be outlined, and the generic conventions of the horror film will be explored. The methodology of discourse analysis will also be employed in order to expose the ideologies at play in the case study. This essay will take Wes Craven’s A Nightmare on Elm St II: Freddy’s Revenge as a case study in the examination of the oppressive and repressive social institutions, value systems and codes of behaviour which...
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...Standard | Standard title | Internal / External | Credit Value | 91473914759147691478 | Respond critically to specified aspects of visual texts studied.Produce a selection of fluent and coherent writing which develops, sustains and structures ideas.Create and deliver a fluent and coherent oral textRespond critically to significant connections across texts | ExternalInternalInternalInternal | 46 (part of portfolio)3 4 (part of portfolio) | Key Content Areas | Learning intentions and outcomes | In studying visual texts, students will cover: * Director’s intentions and purposes * Stylistic conventions and their impact on meaning * Contextualization of literature * Key literary aspects such as characterization, setting, structure, film techniques and cinematography * Analytical and creative writing | By the end of this unit, students will be able to: * Develop ideas in a coherent and sophisticated manner * Critically analyse a visual text * Appreciate the different understandings that viewers can bring to a text * Understand and appreciate the director’s craft and its impact upon readers. * Collect and use evidence to support ideas * Write creatively in response to a text * Write log entries about a text with regard to an overarching theme | Key Competencies | Thinking | * Think deeply about concepts such as morality, ethics, societal expectations, social hierarchy, human behaviour and the human condition in relation to texts studied. * Think...
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...Essay films are arguably the most innovative and popular forms of filmmaking since the 1990s”, Timothy Corrigan claims in his diligent new study, The Essay Film. Corrigan may have an agenda to press, and a thesis to justify, but the recent critical and commercial success of the genre is hard to ignore. A cinematic wave that arguably has its contemporary roots in the late 1980s, when American filmmakers such as Michael Moore and Errol Morris rose to public prominence, reached an apotheosis with Moore’s hugely popular, though hugely flawed, Fahrenheit 9/11 (2004) and Davis Guggenheim’s information-heavy An Inconvenient Truth (2006), which conjured a compelling piece of screen drama from Al Gore’s Powerpoint presentation. Nowadays, the Award for Best Documentary Feature at the Oscars is one of the most highly coveted. For Corrigan, the essayistic film “describes the many-layered activities of a personal point of view as a public experience”. While this is a perfectly good starting point, the author is so convinced of the elasticity of his subject that he has trouble constraining it under the broader umbrellas of documentary, non-fiction or even fiction. At times it appears that, for Corrigan, all filmmaking is essayistic. Nevertheless, he traces a convincing history of the genre(s) from D. W. Griffith’s prototypical A Corner of Wheat (1909), which contrasts the lives of the agricultural poor with those of their capitalist exploiters, via Dmitri Vertov and Sergei Eisenstein to...
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