Abstract The paper examines FedericoFellini's Italian film "LaDolceVita" within the context of its times. The paper looks at how the architecture in the film gives the movie greater resonance and depth and reveals the limitations in the character Marcello's pleasure-seeking view of the world. The paper is of the opinion that the film is a masterpiece by a master-craftsman that uses the architecture of Rome as a most effective tool.
From the Paper "The period 1950-1960 was a difficult one in some respects for Italy. The nation's glory as the seat of power for the Roman Empire was obviously far in the past and the country was still suffering the lingering effects - loss of life and international disgrace - of Mussolini's unhinged efforts to gain for himself (and, secondarily, his country) power and standing by aligning (however uneasily) with Hitler; moreover, the country's embarrassing foray into North Africa during the war years (and during the lead-up to the war) was still fresh in mind. While it can be over-stated, one is tempted to suggest that the events of less than two decades earlier - along with the terrible human toll they exacted - fed a burgeoning cynicism that made Italian young people of the age disinclined to accept the mores of their parents; after all, the Second World War had been, for all intents and purposes, their parents' war. When viewed within that context, the spiritually bankrupt nature of many of La Dolce Vita's characters and the sense of decadence which pervades the film throughout seems to hint at a culture that has lost its way and turned against the strict injunctions and moral coda of earlier times."
Abstract The paper explores how humanistic and existentialist psychology could help Marcello, the lead character in FedericoFellini's film, "LaDolceVita". The paper shows the unhappiness inherent in Marcello's lifestyle and discusses how Marcello needs a father figure or a stern therapist that could authoritatively guide the boy towards manhood.
From the Paper "In Fellini's 1960 film classic, La Dolce Vita, Marcelo Mastroianni plays a wandering play-boy journalist (Marcello Rubini) who seems unable to commit to anyone or to anything. For example, he threatens throughout to write a novel, but never really makes any substantive process on the matter. In terms of his personal relationships, Marcello appears to move from one woman to another without any great enthusiasm for establishing a meaningful relationship with any one of them."
Abstract This paper explains that film noir tends to bend time and to alter the normal chronology of a story as part of the thematic requirements suggesting connections between past and present and strengthening the idea of fate determining the course of events, as if those events were already set in time before they transpire. The post-modern approach to time infused much film making in the 1960s, making time a key element in the structure of the film. The author points out that FedericoFellini's film "81/2 "is autobiographical to a great degree, presented as a surreal meditation through the eyes of the film director, Guido, who dresses in the style of Fellini.
From the Paper "In the next several sequence in the film, Guido interacts with his wife, his mistress, the writer of his film, the producer of the film, and a number of actors wanting to curry favor on the one hand and to get direction from Guido on the other. Guido's response in many of these encounters might be seen as distracted, and indeed he is considering his options, regretting the responsibility placed upon him by all of these people, and reconsidering his relationships one at a time."
Abstract This seven-page argumentative essay of film analysis compares and contrasts FedericoFellini's films, 8 1/2, as well as AND THE SHIP SAILS ON, evaluating subject matter and stylistic choices such as camera movement, visual design, music, and editing to compare the two and determine how they are similar and how they are different.
Abstract The word "auteur" has slipped from common usage when describing an artist of film. Perhaps, and there are critics that would rebut it, only Woody Allen is left as someone who is involved in every creative process of film making. The paper argues that while surely there were auteurs in the early days (D.W. Griffith , Charlie Chaplin, Mack Sennett and Cecil B. deMille), there are three pinnacles in recent times (i.e., since the 1950s) that truly deserve the name that was coined for them: Alfred Hitchcock, Jean-Luc Godard, and FedericoFellini. The paper shows how each provided audiences world-wide with a style that was uniquely theirs; some masterpieces and others just good entertainment. Each worked in a different country (countries, in Hitchcock's case, but mostly, his successes were in America), each brought a particular genre to the film, and it is as different auteurs that their work is examined and evaluated.
From the Paper "La Strada, which was undoubtedly his first international success, Fellini considers "his most juvenile, lyrical, most confessional film." It was also one film which made Anthony Quinn a star- getting rid of his villain roles in American films, and providing him with a powerful image that changed his entire career. While it is often difficult for a writer-director, an auteur, to explain precisely what motivates the film, in the case of La Strada, Fellini said that "Jesus must be sought outside the church....Christ appears to men under different manifestations, even in the guise of a circus performer. Today we are finished with the Christ myth and await a new one." "
Abstract This paper will examine the critical responses to three films, which derive from both immediate and reflective criticism. The films to be discussed are Kenneth Branagh's "Henry V", FedericoFellini's "La Strada" and Fritz Lang's "Metropolis". It will be argued that central to the criticism of the three directors and their films are the sense in which each is regarded as an "auteur". All three cinematic texts produce meaning through the tension between the director's personality and the material with which he is working. It is this pervasive domination by the director of the cinematic text through manipulation of the 'mise en scene' that defines these works as that of "auteurs".
Abstract The paper outlines the themes in the films "La Strada" and "Senso" and shows how both of these movies portray love as an essential part of life, but with different results. The paper relates that in both movies, the male protagonists are materialistic and the woman is emotionally weak and suffers at the ends. The paper also explains why at the end of both stories, the audience is left with feelings of pity.
From the Paper "Italian movies have fascinated and charmed the public in many ways, one of which was through Neo-realism. Italian cinema has truly become master of its own expressive capabilities which has made it capable of communicating with the rest of the world. Two such movies which have been internationally acclaimed are La Strada (1954) by Federico Fellini and Senso (1954) by Luchino Visconti. Both of these movies portray love as an essential part of life, but what makes them different from each other is the result of the love and obsession. Is love a feeling or a necessity? Does love improve a person or turn him into an animal? Can we trust love? Is love a mutual feeling? These are few questions which will hover in our minds while watching these movies."
Abstract The paper discusses FedericoFellini's movie "8 1/2" as being sometimes slow, a product of great acting, genius directing, and good timing. The paper comments that from the opening dream sequence to the end, no one paints surrealistic black and white imagery as effectively as Fellini. The paper notes that this film stands as his supreme masterpiece among many other legendary Fellini films, but no one has matched its original brilliance. Shot in black and white, the paper finds "8 1/2' an exhilarating, confusing, irritating, and inspired journey into a man's consciousness.
From the Paper "Neorealistic films established Fellini in the movie world, but the neoralistic tendency to stress the external economic and social situation of characters never really "took" with Fellini. His concern was with the inner world of fantasies, hopes, and fears of his characters. What he did take from the neorealist tradition was the convivtion that movies could be loose and episodic without forfeiting the interest of the audience. They did not have to bound tightly to a central plot. All of Fellini's films are episodic in the sense that they contain sequences of digressions which are stories in themselves and could be viewed independently. In 8 1/2, sequences such as the memory of La Saraghina, the visit to the Cardinal in the bath, or the harem fantasy could stand on their own fairly successfully."
Tags: vague, memories, venture, a, genius, circus, performers
Abstract This paper is a discussion of the Oedipal structures in FedericoFellini's deeply personal film, 8 1/2. The film is ostensibly autobiographical, but Fellini's reputation for fanciful rewriting of his own history makes it more revealing as a psychological document than as a biography.
From the Paper "This paper is a discussion of the Oedipal structures in Federico Fellini's deeply personal film, 8 1/2. The film is ostensibly autobiographical, but Fellini's reputation for fanciful rewriting of his own history makes it more revealing as a psychological document than as a biography. Looked at from the perspective of the Sophoclean model of the Oedipus myth, the film offers some intriguing glimpses into several different kinds of triangular tragedies. Viewed from the Freudian angle, it also offers interesting examples of unconscious drives and murderous impulses. The Oedipal structures include not only the relationship among the main character and his parents but also a number of other father-mother-son relationships, especially that in which the filmmaker becomes parent to his own project. In many of these circumstances, the most challenging task is to..."
Abstract This paper will discuss the work of a director who is generally acknowledged to be one of the great auteurs of modern cinema, FedericoFellini. It will be argued that his film "8 +" (1963) produces meaning through the tension between the director's personality and the material with which he is working; one of the defining elements of "auteurist" cinema. This paper will demonstrate that what renders "8 +" a work of an auteur is the extent to which Fellini mines the familiar pattern of self-reference - a signature of Fellini as auteur - to such a degree as to make the exploration of radical subjectivity into an objective statement about the role of the director as auteur and his function within the filmic text.
Abstract The paper provides a synopsis of the film, and praises Nino Rota's musical score and Gianni di Venanzo's cinematography. The paper concludes that the film demonstrates the failure of a quest for greatness with the acceptance of mediocrity.
From the Paper "Guido is at a critical point in his career and he has been contracted to do a new film with the actors hired, a massive set of a spaceship built and a crew ready for production, but Guido has not a single germ of an idea for the movie. Beleaguered by actors wanting to know their parts, producers and crew asking what they should do, battling his own inner fears that ridicule his inabilities and at the same time his personal life is coming apart. Guido fantasizes likely scenes and his daydreams are brought to life through exquisite cinematography by Gianni di Venanzo, as he examines his life, his past and all his present problems."
Abstract This eight page paper examines urban sprawl in Las Vegas. The author notes that in writing about urban sprawl in Las Vegas and analyzing its impact on the city future growth it is evident that environmental and city planning issues must be examined, for successful future growth depends upon better solutions to the problems Las Vegas is currently experiencing. The writer further points out that unfortunately the present expansion of the city has been driven by too much of a focus on short term goals, many of which are incompatible with one another.
From the Paper "In writing about urban sprawl in Las Vegas and analyzing its impact on the city's future growth, it is evident that environmental and city planning issues must be examined, for successful future growth depends upon better solutions to the problems Las Vegas is currently experiencing. Unfortunately, the present expansion of the city has been driven by too much of a focus on short-term goals, many of which are incompatible with one another. This has led to urban sprawl, unnecessary traffic congestion, and a host of other problems. Analyzing these issues indicates that the solution to urban sprawl in Las Vegas is to develop the central city first and revitalize the city from within."
Abstract This paper reviews the life of Miguel de Cervantes Saavedra, born 1547 in Alcala de Henares, Spain and how he used his experiences to write the book 'Don Quijote de la Mancha'. According to the paper, while the old fashioned ideals of chivalry, romance and aristocratic justice were steadily becoming hackneyed in burgeoning renaissance Spain, Cervantes took out his pen and wrote the relished story of 'Don Quixotes', the vivacious man from La Mancha whose imagination was as wild as the embraced socio-cultural history of the nation.
From the Paper "This lackluster punctuation of daily duty was of no surprise to Cervantes, whose own personal histories were none too different. After the publication of his first literary work, "Serenisima Reina En Quien Se Halla," dedicated to the birth of Phillip II's second daughter, Cervantes spent his young years under the tutelage of Diego de Urbina aboard the royal Marquesa. In 1571, Cervantes was ill with malaria when his ship was attacked, and imbued with the same raptured infatuation for antiquarian ideals of nobility, he stood valiantly strong with his shipmates. "Cervantes is stricken with malaria but, in spite of high fevers, fights heroically from the bow of the ship, in the 'greatest moment that past centuries have seen and which those to come have no hope of seeing." At the battle of Lepanto, the event was less colorful; he was an injured, low-ranking shipman with little hope for career advancement and the ideals of a hero less applicable in the reality of a fighter struggling for one side in a bloody role for national cultural definition."
Tags:La, Galatea, Persiles, y, Segismundo, tale, knight, battle
Abstract This is a short, yet in-depth account of the John Rieker film, "La Ciudad". The author takes you through the film as if you yourself were watching it. The author takes a personal look at the film and offers personal, subjective opinions.
From the Paper "La Ciudad (which means "The City") is a movie set in the mid to late 1990?s. It was directed by John Rieker, and is in black and white. In La Ciudad, the audience is shown four examples of how Spanish-speaking immigrants are mistreated and abused in the United States. The film is geared towards the American audience, however all but a very small portion of the dialogue is in Spanish, with English subtitles. This method is effective because it puts you directly into the environment of the immigrants, and helps you understand the significance of the language barrier between the two cultures, and make you feel as if you are truly witnessing the events that take place."
Abstract This paper presents a marketing case study of the LA Gear company, which has decided to attempt to penetrate the men's athletic shoe market. The paper demonstrates how this decision evolved, beginning with the company's desire to capitalize on its strength in the women's athletic shoe market. The paper also considers the female coding of "fashion," and ways this might be overcome, or even turned into an asset, in marketing to men.
From the Paper "In seeking to sustain growth in the highly competitive athletic shoe market, LA Gear faces a double challenge. On the one hand its penetration of the women's athletic-shoe market is already strong..."
