often turned to Europe, to the French New Wave, Italian neo-realism and the New German Cinemas for a source of inspiration and influence. In the Bioscope of 8 January 1925, Joseph Schenck, then president of United Artist, commented brutally on British film productions: “You have no personalities to put on the screen. Your stage actors and actresses are no good on the screen. Your effects are no good, and you do not spend nearly so much money.” Similar remarks can be found about almost any European cinema
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cut-and-dry. Also, no two marriages are the same, just as no two people are. In watching the films “Rear Window” and “Monsoon Wedding”, we get a glimpse of what it means to be married from the perspective of two very different cultures. Although both films revolve around the same theme, there are great dissimilarities on how both films represent marriage. The greatest difference between the portrayals of marriage in the films is the idea of marriage as it relates to freedom. In “Rear Window” Jeffries’ whole
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Film Essay: Afghan Star The film Afghan Star depicts a fantastic story of how one television show began to change the way that a nation viewed their own culture. In the war-torn country of Afghanistan, the progression of art and music has been relatively stalled due to previous Taliban rule. The people there have been discouraged to express themselves in ways that seem completely normal in many Western cultures. This prevention is why the Afghan Star television show creates such a buzz and blossoms
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William Shakespeare once said, "Some are born great, some achieve greatness and some have greatness thrust upon." In American media the same can be said for the Latino culture. In the eyes of the media, some are born Latino, some become Latino, while others have Latino thrust upon them. Latinos in the media include, politicians, actors, activists and criminals. The vast majority of these individuals create their own personification. Their media image is formed by the causes they support, the roles
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company was one year later in 1885. This is when the first transparent photographic film came to market. With this groundbreaking and revolutionary product, EASTMAN Negative Paper opened a wholesale office in London England. The next few years were so good at EASTMAN Negative Paper that they were able to employ a full-time research scientist to help the company in the commercialization of a flexible, transparent film. A few years later in 1888 the name Kodak was born and they adopted and marketed
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Coraline, RealD and the Reemergence of 3-D: Technological Obsession and a Reassurance of Identity Throughout
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liberated space in which the usual rules do not apply: a nobody from America or Europe can go to Africa and become a godlike savior or, at the very least, have his or her emotional needs satisfied. Many have done it under the banner of ‘making a difference’.” * Teju Cole, “The White Savior Industrial Complex.” “When a warlord continues to kill and torture across a swath of Congo and Central African Republic, that’s not a white man’s burden. It’s a human burden. To me, it feels repugnant to
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Critics and culture have observed Spring Breakers to be a trashy film due to its lack of contribution to art. Why is this the case? More importantly who gets to decide whether or not, a film is ‘good’ or ‘bad’? As Foucault (1978, p. 100-1, as cited in Mills, 2004, p. 40) explains, Discourses are not once and for all subservient to power or raised up against it, any more than silences are […] Discourse transmit and produces power; it reinforces it, but also undermines it and exposes it, renders it
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Romeo and Juliet The play Romeo and Juliet has survived throughout the ages; it has historical, social and cultural contexts. No matter the difference in version or perspective they still have the same underlining meaning to the play. There are many similarities and differences referring to the views of the original play written in the 1500’s by “Williams Shakespeare”, ‘Romeo + Juliet’ in 1996 directed by Baz Luhrmann and ‘Gnomeo and Juliet’ in 2011 directed by Kelly Asburgis. All of which became
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Khabie Gham (KKKG), a Bollywood blockbuster marketed to the masses as “all about the family”. Released in 2001, following the path of director Karan Johar’s first movie, KKKG tells a multi-faceted story that is depicted over a long time period. The film centers around a family-driven drama where we track the storyline across 3 different generations. Amitabh Bachchan plays a wealthy businessman and the patriarch of the Raichand family with 2 sons – the elder Rahul, who is revealed early on to be adopted
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