Abstract The paper discusses how the movie "Burn!" presents a dark look at the nature of colonialism as well as humanity. The paper describes the society radically segregated on racial and economic lines; the slaves are perpetually trapped in a cycle of poverty and oppression and even after finding their "freedom", they are little better off. The paper looks at the character of Jose Delores and his independence that led not to freedom, but to further repression and the collapse of his dream and hopes.
From the Paper "The first part of the movie sets the stage for this philosophy. The island of Queimada has long sought freedom, for it has a history of colonialism as well as a history of revolt. The movie develops in the slave revolt that England seeks to capitalize on and wrest control from Portugal. As the slaves rise victorious from the bloody revolution, Walker, convinces Jose Delores that the slaves can go no further in self-government, or succeed in trading with the world. "Who will buy your sugar, Jose?" Walker asks, yet the British have imposed a boycott on the island (Burn!). In exchange for promised schools, hospitals, financial prosperity, the newly liberated slaves agree to set down their weapons and return to the sugar cane fields. Thus, they are promised success, but are stripped of their independence and freedom. They are trapped, given the ability to "know how to go", but no escape from their situation."
Abstract This paper discusses the portrayal of war within media. It specifically focuses on and gives examples from the epilogue of "The Battle of Algiers," directed by GilloPontecorvo. It describes scenes in the film and the ways in which Pontecorvo illustrates many of the aspects of war. The paper finally discusses how the media affects the way that society sees the realities of war.
From the Paper "Media both causes and expresses reality. The landscape and local identities of war have been reshaped for our consumption. Modern media is instrumental in legitimizing war wherever it takes place by outlining differences in culture and identity. In The Battle of Algiers we could see this as the commanding military officer and the press questioned spokesman for the resistance. One of the reporters asks, "Isn't it vile to have women carry bombs in their baskets?" The questions had little to do with the reality of bloodshed and suffering and everything to do with shaping cultural values. The role of media in war is to anchor conflicts in its own media landscape, and then adopt a critical stance, while at the same time it constructs identities discursively. This is a change from the older function of literature "to point to the ideals and values related to war beyond the literary constructions" (p. 487). Larsen (2004) tells us that the "modern function of literature is to remind us that the real landscapes, with real bloodshed and real persons, only reach us through the arbitrary and abstract constructions which are circulated by the media" (p. 488)."
Abstract This paper compares and contrasts the novel "All Quiet on the Western Front" and the film "The Battle of Algiers". . It explains that the film paints a portrait of a society gone awry and that the novel paints a portrait of an individual psychology that is used to show the suffering of all ordinary people caught up in the web of war and the nationalism of the European powers during World War I. The author offers examples from both the novel and the film to qualify points made.
From the Paper "One of the reasons for the relatively sympathetic portrayal of the soldiers in the service of imperialism in Remarque's novel is the young men's relative youth and low status in the army. The novel is told from the perspective of a nineteen-year-old student who was convinced to enlist with the German army when his schoolmaster Kantorek told him fine things about the glory of battle. However, after seeing the horrors of war, this young man can only think about seeing his ailing mother at home. In "The Battle of Algiers," although ordinary civilians are a presence in the background as victims of terrorist attacks, the decision makers at the heads of both sides dominate the film, thus forcing the viewer to chose sides as to who is correct, politically, in the war."
Abstract Director GilloPontecorvo's "The Battle of Algiers" and director Regis Wargnier's "Indochine" showcase French colonialism. The paper describes how, in "Indochine", the political aspects of colonialism form a backdrop to a love story set amid gorgeous scenery, while "The Battle of Algiers" is an uncompromising look at the bloody cost of French rule in Algeria. The paper shows that, while both films are set in different times and locations, "The Battle of Algiers" and "Indochine" clearly depict the cost of colonialism.
From the Paper "Gillo Pontecorvo's movie, The Battle of Algiers, was first release in 1965, and chronicles the French occupation of Algiers during the 1950s. The movie shows the struggles of the Algerian independence movement to win independence from France. Filmed in black and white, The Battle of Algiers is filmed in the style of a documentary, but it is in fact not. The movie begins in 1957, as the last remaining Algerian Guerrilla leader, Ali La Pointe (Brahim Haggiag), is pinned down in his hideout by the French military. As he contemplates his fate, La Pointe recollects much of the history of the Algerian independence movement, where Muslims struggled for independence from France. Ultimately, La Pointe chooses to die rather than to surrender, and the French are apparently victorious, at least for the time being."
Abstract This paper reviews a court case involving flag burning and free speech as examined by author Robert Goldstein, who frames the issue of flag burning as a symbolic fight over a symbol. The author points out the positions of Justices William Brennan and Antonin Scalia and Chief Justice William Rehnquist. The paper includes several analyses of the significance and implications of the case.
From the Paper In the case of Texas v Johnson, the United States Supreme Court ruled that the state of Texas could not prosecute Gregory Lee Johnson for burning the flag without violating the First Amendment."
Abstract This three page undergraduate paper examines Faulkner's short story, "Barn Burning." The author notes that in detailing the distinctive formal characteristics of William Faulkner's short story, 'Barn Burning', it is evident that these characteristics reveal the modernist elements in the story. The form Faulkner used in telling the tale of Sarty Snopes and his family is typical of modernist approaches to literature, for he utilized a stream-of-consciousness narrator and created scenes where the action took place in culturally degenerate settings.
From the Paper "In detailing the distinctive formal characteristics of William Faulkner's short story, "Barn Burning" it is evident that these characteristics reveal the modernist elements in the story. The form Faulkner used in telling the tale of Sarty Snopes and his family is typical of modernist approaches to literature, for he utilized a stream-of-consciousness narrator and created scenes where the action took place in culturally degenerate settings. These distinctive formal characteristics of modernist literature were incorporated by Faulkner into "Barn Burning'' because he considered that modernist literary devices were necessary in order to portray his characters exactly the same way as he envisioned them."
Abstract The paper presents a review of the movie "Mississippi Burning" that focuses on the 1964 brutal murder of three civil rights workers, and the terrorist actions of the Ku Klux Klan and the FBI.
From the Paper The movie Mississippi Burning presents a fictional account of the very real tragedy that occurred in Philadelphia Mississippi in June of when three civil rights advocates were murdered by the Ku Klux Klan KKK..."
Abstract This book review describes the theme shared by both "Barn Burning" and "Araby" about the conflict between a protagonists' inner conceptions of what the external world should be like, and the actual reality of their respective circumstances. The review includes a plot summary of both novels, with a focus on the theme of inner conflict. The reviewer concludes that each of these stories tells the tale of a young boy being introduced to adulthood by having his innermost conceptions of truth coming into conflict with the very real circumstances of his life.
From the Paper " In "Araby," the narrator becomes increasingly consumed by idealistic and romantic thoughts of Mangan's sister as the story progresses. There is a tumultuous mingling of the realities in the narrator's life, and the imaginary and exotic dreams that come to dominate his thoughts. Of course, this dangerous combination centers upon Mangan's sister; she represents both the exciting and the mundane. This is fundamentally because although she is a part of the ordinary atmosphere of northern Dublin, she remains something strange and somehow unattainable for the main character."
Abstract The author of this paper uses four films and quotes to illustrate the influence that the Godfather Saga had on the film "Goodfellas". It summarizes each of the Godfather movies including character analysis and connects them to the characters in Goodfellas.
From the paper:
"Gangster films have been popular for many years. Everybody loves a film that depicts the days of mobsters and the many deals and connections that were portrayed within those films. Perhaps there is a small piece of each of us secretly wishing we could throw away the straight-laced life and become a part of the gangster scene back when it had respect. Whatever the reason America loves the films they are a sure moneymaker at the box office. The Godfather Trilogy began in 1972 and had three films to its saga. Each one was popular and picked up where the other left us hanging to continue the story. We expected each Godfather film to resemble the previous work of art. What we didn?t expect was the impact and influence these three films would have on a more recent project called Goodfellas. While Goodfellas is its own movie in its own right the movies is filled with the obvious influence of the Godfather Saga. "
Abstract Among the various styles of producing films, the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s was well known for feminine characters that were the protagonists, the femme fatale. This was most common with the French and later accepted in the United States. This paper begins by introducing film noir, its definition, how it started and also the history of this genre in the United States of America. It looks at films such as the "Maltese Falcon" (1941) and "A Touch of Evil" (1958). In the second section, the paper explores how women are represented in film noir (heroine and femme fatal) by discussing the aforementioned films and analyzing them. The paper examines different authors, such as Ann Mary Doane whose research is based on feminism and psychoanalysis and Ewing Dale ("Style and Content in Film Noir"), to discuss their ideas. The paper also compares two film noirs - the "Maltese Falcon" (1941) and "Basic Instinct" (a contemporary noir), to see how women express themselves, looking to see whether they express themselves through their sexual diversity. In the third and last section, the paper examines how women are represented in contemporary noir by analyzing and discussing one contemporary noir - "Mulholland Drive" (2001). The paper analyzes sequences to demonstrate the movie's connection with film noir and examines the role of women in the film. The paper includes illustrations from movies.
From the Paper "Mulholland Drive reinforces the dominance of the femme fatale in contemporary film noir. In present times the role of the woman in society is observed to have a variation, and this is because of the fact that there is a change in the way that she can express herself. It also highlights the way that she can dominate men without them even knowing it. It is perhaps only when they reach their ultimate doom that they realize that women have exploited them. This kind of character portrayal is one that has increased over the years since the beginning of the film noirs. From then it has developed itself in American filmmaking, which has reflected the strengths and weaknesses both in American society."
This paper examines the horror film genre, also known as realist horror, while focusing on two specific films, "The Blair Witch Project" and "Henry, Portrait of a Serial Killer."
Abstract This paper analyzes the realist horror genre in film. The realist horror genre was spearheaded by Alfred Hitchcock in his 1960 film "Psycho." Horror films proliferated throughout the 1970s, 1980s and 1990s in Hollywood. Most of these films used comedy to portray killings, veering away from realism. The writer of this paper contends that the realist aspect of actual human killers is enough to leave lingering fears long after the viewing has ended. This paper focuses on this particular style of filmmaking, in which the approach is to focus on the killer rather than victim, resulting in terrifying the viewing audience. This well-researched paper notes the similarities and differences in "The Blair Witch Project" and "Henry, Portrait of a Serial Killer." This paper describes how both films leave the viewer with a lingering thought and fear of the real world. Specifically, fear of the horrific possibilities. "Henry, Portrait of a Serial Killer" is based on real-life serial killer Henry Lee Lucas. The movie follows the daily life of Henry, beginning with aftermath shots of freshly murdered victims juxtaposed with images of Henry. This illustrates to the audience that Henry is indeed a bona-fide serial killer. "The Blair Witch Project" is a far cry from the typical slasher film. It uses an entirely different approach to realist horror. The film is shown as a documentary and the actors are not actors at all, but real victims captured on video.
From the Paper "The presentation style changes only during the murder scenes. The pictures are graphic and almost too gory to be real. One woman is seen with a bottle shoved into her throat and the electronics salesman's head goes through a television picture tube - just before the television is plugged in - electrocuting him. Background electric guitar is also present mostly during the build up to a murder. It is not overdone and avoids appearing out of place. Rather, it helps the viewer realize something important in happening. Overall the film does achieve a realism most slasher films cannot approach. This purposeful use of a home-movie style subtly reminds the viewer that the onscreen events are based in truth. Blair Witch takes the realist style one step further by using the camera as a prop in the film. The viewer is constantly reminded that an off-screen character is behind the lens."
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 This paper reviews the Canadian film industry, one that is said to be a composite of three different unique bodies that have combined to create a dynamic film environment; albeit not a uniquely Canadian one. The paper goes on to discuss how while the indigenous Canadian film industry is still extant it might be described as moribund at best. If not for governmental support for the indigenous film industry, independent Canadian film making might already be extinct. The Canadian film industry is relatively healthy overall but the figures indicate strictly indigenous Canadian films, outside of one or two major production houses, may suffer revenue and market difficulties in the years ahead.
Abstract This paper explains that the way women are depicted in film generally reflects how women are viewed in the society, which produced the film. The women in the 1940 films were empowered because of woman who worked in a factory during the war; however, the 1950s film depicted a return to a more domestic image of women, though challenged by the sex bomb. The author points out that these film images of women contributed to the unrest and dissatisfaction that led to the development of the women's liberation movement in the 1960s. The paper analyzes in detail 1940s films "The Philadelphia Story", Mildred Pierce", "Now, Voyager" and "Double Indemnity " and 1950s films "The African Queen", "Heaven Knows, Mr. Allison", "The Girl Can't Help It" and "Some Like It Hot".
Table of Contents:
Introduction
The Forties
The Fifties
Conclusion
From the Paper "Elizabeth Mulvey describes the view prevalent of the woman as being woman as icon, and Tracy clearly does represent an iconic image to every male in the film and to many of the woman as well. She is the goddess to Dexter, Connor, and her fiancee, though in different ways and with differing degrees of acceptance. To her father, she is a failed woman, a woman who will never be a true woman until she changes her way of relating to men and her way of being looked at and being displayed."
Tags: stereotype, film noir, davis crawford hepburn
Abstract This paper studies the concept of suturing which is defined in many different ways such as sewing something back together, gesture or pseudo-identification, the individual watching a film as a stand-in for the camera and more. It looks at the filmmaker Ranier Werner Fassbinder's work 'Despair' as an example of a film that attempts to undercut notions of the gazer of the film becoming sutured into the web of the film and of becoming socially subjected to the predetermined constructions of reality within the film's text. Finally, it concludes that the destabilizing of a master narrative with the particularity of autobiography is better than the complicated suturing.
From the Paper "On a very literal level, to suture something is to sew something back together, usually imperfectly, usually with a substance that is alien to the body that is being altered?such as the doctor's suturing thread that stitches together an open wound. On a semiotic level, according to Jacques-Alain Miller, Miller's definition of suture (in a nutshell) is that the suturing process in culture is the process through which a subject is joined into the signifying chain of culture, allowing a signifier to stand-in for the subject's absence in discourse. (Suture as a Laconian Concept) "
