Abstract This paper analyzes the comedy of Italianfilm and suggests that while it contains many elements, it relies greatly on comedic techniques of the past, as well as intelligence to guide its progression. The paper presents many examples of these techniques and shows where in the films they can be found. It also discusses the success of the use of these techniques.
From the Paper "The Icicle Thief by Maurizio Nichetti accomplishes this task as well. Through the fast paced visions of changing locations, commercial intrusions and cinematic special effects the film presents the portrayal of multiple characters played by Nichetti. The Icicle Thief is entitled such to correlate to the Italian masterpiece The Bicycle Thief; yet, it remains connected to the latter film only through the title and through the understanding of the art of film. This understanding, however, is intellectual because Nichetti's work asks the audience to understand how artistic endeavors are often sabotaged by the commercialism that exists throughout the world. As a matter of fact, Nichetti demonstrates that the commercialism has grown so intense that audiences rarely even realize its presence in life or its impact on the filmmaking world."
Abstract This paper compares and contrasts classical Hollywood films with Italian art cinema. It explores the characteristics and elements of each. The paper provides examples from "Casablanca," "The Bicycle Thief," "A Fistful of Dollars" and "Last Tango in Paris." The author discusses the Hollywood star system and principles of Neo-Realism.
Abstract This paper argues that the comedicelement found in "Life is Beautiful" is appropriate to the subject of the Holocaust. The opposing viewpoints of Gerald Peary, a critic for the Boston Phoenix, and the late literary scholar Terence De Pres are also presented.
From the Paper "Shortly after WWII, jokes associated with the Holocaust were found circulating in Israel. For example, "Do you know why Hitler killed himself" He got his gas bill? (Mamet, 142-3). Jokes like this one are often considered inappropriate because they mock a very tragic event and furthermore offend many Jewish people. Such people find jokes about the Holocaust disturbing to hear and yet others find them humorous. Therefore, this form of questionable humor poses the question, do comedy and the Holocaust mix? When dealing with an issue as serious as the Holocaust, it is debatable whether or not an element of humor is appropriate."
Abstract This paper discusses Geoffrey Nowell-Smith's statement that "only too often European directors and producers seem to have deserted the discontents of modern existence to seek refuge in the more comfortable world of the past" with reference to one German, one French and one Italianfilm. It looks at how his statement is based on three underlying assumptions: that European film makers, in general, avoid dealing with actuality, that the past is, indeed, more comfortable than the present and, finally, that dealing the past has no other purpose but to avoid dealing with the present.
From the Paper "Concerning criteria of 'past', 'modern', 'actual' or "contemporary", primary historical sources are, in general, inaccessible to the public for a period of 50 years, the required distance for an objective relation to the issue. Events that took place during the last 50 years preceding the research are, generally, considered contemporary. Applying the same criterion to History of Cinema means that films created between 1945 and 1965 and dealing with any period after (respectively) 1895 and 1915 are not "deserting" the "discontents of modern existence" but dealing with contemporary issues. Moreover, given that both periods of 50 years (1895-1945 and 1915-1965) include 2 world wars, a devastating world economic crisis and the Spanish civil war, films dealing with either of these periods could hardly be considered as "seek[ing] refuge in the more comfortable world of the past"."
Tags: cinema, escapism, european, french, german, italian
Abstract This paper uses Foster Hirsch's book "The Dark Side of the Screen: Film Noir", which characterizes and identifies film noir by certain stylistic conventions, to review the film "The Naked City". The author looks at Hirsch's key elements of film noir in order to examine whether "The Naked City" fits the criteria. The writer concludes that "The Naked City", although not specifically a film noir, it does have many elements of film noir.
From the Paper "Hirsch notes that the film noir often uses "a jumbled time sequence" to "support the characterizations, which are also, and often spectacularly, crooked rather than straight, devious rather than forthright" (74). This usually applies to the protagonist, but in The Naked City, the protagonists are police officers and honest ones at that. They have no reason to be devious, but those they are investigating do. Significantly, it is the character of Frank Niles, the seemingly honest man who is anything but, who is depicted in a flashback as he tells his story. This time shift has the effect of emphasizing his deviousness and his basic dishonesty."
Abstract This paper reviews the film Casablanca and relates it to film noir. The paper discusses how Casablanca possesses elements of the film noir genre, and analyzes these elements to determine if this is sufficient to render Casablanca as a film noir.
Abstract The paper examines German Expressionism and cinematic images that evoke psychological states of being. It also discusses the French avant-garde of the late 1920s and the "absurd realism" cinematic art form, as well as Italianfilms of the same period.
From the Paper "FILM GENRES OF EUROPE
While Americans were laughing at Chaplin and Keaton and the Keystone Kops, and being awed by the spectacles of Griffith, and DeMille, European cinema was much more stark and dark and realistic. From the post-World War I product..."
Abstract This paper discusses if France and Italy have been successful in creating a national cinema, one that reflects and depicts relevant social and political themes or issues in France and Italy. The paper includes examples from specific films.
From the Paper "An Overview of French and Italian National Cinema. At issue here in is the question of how successful French and Italian filmmakers have been in creating a national cinema that addresses or depicts relevant social and political themes or issues that define a ..."
Abstract This paper examines Ridley Scott's film, "Blade Runner," and looks at how the film utilizes the main proponent of science fiction film, the development and utilization of technology and the implications that it may have upon the human race and society. It attempts to argue that, while "Blade Runner" can be perceived as a science fiction film, there are also integral elements of film noir and postmodernism that influence the film. It shows how the limitations of definition by genre means that "Blade Runner" is a film that is overlaps other areas of genre than science fiction, and it has different levels of interpretation regarding style, content, and the underlying story of the movie. To define "Blade Runner "as a science fiction film is not itself incorrect, but it is a somewhat inadequate summarising of the film's structure and style.
From the Paper "However, whilst Blade Runner evokes the sentiment of a science fiction world, there is substantial evidence to suggest that the film was greatly influenced by other genres, especially Film Noir. Blade Runner's sprawling metropolis, and dark, shadowy urban is so evocative of a dark film noir setting. The lighting is crucial in film noir as it is Blade Runner. Many Science Fiction films are shot in an unnaturally hard light yet In Blade Runner there is a vivid feeling of dark alleys and sinister rooms, of deindustrialisation and decay. The 1940s black cities of film noir are represented in the dystopian world of Los Angeles in 2019, drawing parallels between the black times suggesting the future could be as bleak as it was during World War Two in the 1940s. In Film Noir, society and the system is ruthless, the people are evil and remain corrupt, and the hero has both protagonist and antagonist values. Deckard is the typical cop hero with his trench coat, tie and a gun, Rachel is the femme fatale, and Roy Batty the main villain heading for a showdown."
Tags:film, noir, metropolis, androids, ridley, scott
Abstract This paper analyzes the 1933 film, "King Kong" and discusses several important elements of the film. More specifically, the paper analyzes the main characters in the film, the film's plot, the acting, mise-en-scene, the film's use of special effects, the use of sound, the cinemaphotogray and the main themes in the film. The paper also discusses the film's powerful emotional impact and the sexual interplay in the play.
Abstract The evolution of Italian cinema, from the neorealism of the 1940s and early 1950s to the more personal realism of the late 1950s and early 1960s, was defined by complex forces at work in Italian cultural, political and economic life at the time.
Abstract The movie "Fargo" is analyzed within a cinematic criterion that will include characterization, technical aspects of filming, and scene analysis. By understanding the elements of film making in these categories, the process in which this film was made will be reveale.
Abstract This paper applies the theories of Erik H. Erikson to the 1981 film "On Golden Pond". The author uses Erickson's theory that individuals go through a series of developmental stages in which a crisis must be addressed and overcome. The paper relates this theory to the three main characters in the film.
From the Paper "Erik H Erikson argued that human beings go through a series of developmental stages in which a crisis must be addressed and overcome in order for the individual to move forward in the developmental cycle and to realize his or her identity."
Tags: psychology, Erik Erikson, On Golden Pond Film
Abstract This paper discusses the psychological impact of film as conveyed through its visual, nonverbal elements, arguing that visual choices are more important to the story than dialogue. The paper cites details from the films "Sunset Blvd", "Working Girl", "Blonde Venus" and "Richard III".
From the Paper To suggest that nonverbal aspects of film communicate psychological and sociological realities may seem like the most commonplace and self-evident tautology. Even so, the power of images to dominate the narrative and psychological sense of film and indeed to convey more of the narrative truth of a motion picture than its dialogue can be overlooked particularly if the onscreen talent speaking the dialogue has star power. It seems perfectly natural for a film spectator to wait for every next moment that something comes out of the mouth..."
Abstract This paper discusses editing, mise en scene, pace, and illusion in American Beauty, and how these elements contribute to the overall effect of the movie. The paper further discusses the characters, symbols and style of the film.
From the Paper "The purpose of this essay is to examine the elements of editing that contribute to the overall effect of the film "American Beauty". A basically mise-en-scene film, this movie showcases the talent of a director and editor who employed both formalist and realist techniques to create compelling drama about one man's movement toward death after years of futility. The illusion created is of time moving rapidly, slowing and then stopping forever for Lester Burnham, the film's protagonist. In this film Lester and Carolyn..."
