Sunday, January 26, 2020

Nostalgia In Cinema Paradiso Film Studies Essay

Nostalgia In Cinema Paradiso Film Studies Essay In Cinema Paradiso, Toto goes to watch a film with 50 lire his mother gives him to buy milk. He is not supposed to go to the cinema house and yet he cant  stay away from Cinema Paradiso. In this scene, we see Toto watching the film in awe along with others from the community. The theater is packed and alive. Gisueppe Tornatore, the director, pays great attention to detail-facial expressions, gestures and reactions of the crowd are well captured. The theater stall and balcony reflect the class divide. The kids take the front row, working class Italians fill the stall, the rich man, who spits sits in the balcony, and the projectionist, Alfredo is stuck in the dingy projection room. Like Toto, I watched films when I was in school. I bunked school and went with my friends to watch an Indian Bollywood film in Mumbai, India. We all chipped in our pocket money and went for the movies. Like Italian Cinema, Indian films were an occasion for families and communities to come together. This was before the multiplexes. The cinema house that I visited was small like Cinema Paradiso. It had one screen, stalls and balcony. People whistled during kissing scenes, some kids danced during a song-dance sequence and grown men sometimes cried during an emotional scene. In that scene in Cinema Paradiso, Toto is watching La terra Trema (The Earth Trembles) directed Luchino Visconti.  The audience reception of the film is lukewarm and most people dont get the language and context of this Neorealism film. But during the kissing scene which is edited out, we see the crowds engrossed, disappointed and then laughing at the strict censorship. Twenty years, and I havent seen a kiss, a man from the audience shouts. During the screening of the Chaplin film, we see the crowd engaged. Kids and adults, rich and poor, men and women laugh together. Cinema thus becomes a great equalizer. But more importantly, this embedded film within a film creates a sense of double nostalgia. The audience in the film is nostalgic as they consume the images in the theater, and we as an audience are nostalgic about our own experiences of watching films, etc like Toto. In Postmodernism, or, the Cultural Logic of Late Capitalism, Jameson writes, Nostalgia films restructure the whole issue of pastiche and project it onto a collective and social level, where the desperate attempt to appropriate a missing past is now refracted through the iron law of fashion change and the emergent ideology of the generation. (19). In Cinema Paradiso, the screened films (Toto and others watch in the theater) create a pasticheHollywood classics, Italian and Art films, popular comedies and so on. However, Jameson explains that the postmodern nostalgia is never a matter of some old-fashioned representation of historical content, but instead approaches the past through stylistic connotation, conveying pastness by the glossy qualities of the image, and 1930s-ness or 1950s-ness by the attributes of fashion (19). Thus keeping Jamesons argument in mind, Cinema Paradiso doesnt represent the historical content by verisimilitude, but evokes the feeling of nostalgia by aesthetic a ppropriation. However, this seems to be a reductive approach to fully understand and appreciate the nuances and texture of Tornatoras film. Joy Marcus, on the other hand argues that in Cinema Paradiso, Tornatore defies the reductiveness of postmodern citation by embedding earlier film footage in his 1989 work so that waning of historicity or aesthetic colonization cannot take place. Every time Tornatora splices images of old movies into Cinema Paradisohe calls attention to what the film is not-that is, he announces the irreconcilable distance between the current work and its cinematic forebears (201). There is a disconnect or distance between the Cinema Paradisos audience watching the embedded film La terra Trema and a simultaneous feeling of connection. Likewise, we also feel a sense of nostalgia and disconnection watching Cinema Paradiso, and watching the audience watch a film. In my viewing of the film, I also noticed that Cinema Paradiso and this scene in particular created a sense of nostalgia for my community, culture and country. The connectedness that Toto and others feel in a small town going to a theater is also the connectedness we as viewers feel towards our past memories of childhood and community. My own experience of watching films in India then symbolizes a nostalgia for the lost homeland and sense of community I once belonged to. The cultural rootedness or lack of it, becomes a way in which the Cinema Paradiso evoked nostalgia for me-or as Jameson puts it eloquently, the film/scene/image consumption becomes a desperate attempt to appropriate a missing past.

Saturday, January 18, 2020

A Dolls house Language Essay

Ever since reading the text in my own time I have, in many of my past lessons been discussing, acting and re-reading parts of the play as well as researching many other aspects to the play. By doing this I discovered things like the play was firstly written in Norwegian and then translated into many languages along with many more complex things. Back in lessons I was doing tasks that specifically looked at the language in the play. For example before rein acting a scene from the play the whole class gathered in a circle to do a warm up exercise which evolved around the line; â€Å"What did you do to die today at a minute or two to two, a thing distinctly hard to say but a harder thing to do†. I had to say this line in many different accents and characters including a posh upper class character like Nora and Torvold Helmer from the play. The language used in the play not only creates the feel of the 19th century but it also reflects the way the characters are. It does this as the 19th century old English is very formal showing there middle to higher class and well educated. The language also shows the society that the characters live in and is significant as it reveals their inner thoughts, feelings relationships and situations. In one particular part of the play Torvold says: â€Å"You can’t deny it, little Nora now can you? It’s a sweet little songbird but it gets through a terrible amount of money you wouldn’t believe how much it costs a man when he’s got a little songbird like you† This rather poetic and metaphoric line compares Nora to a songbird which is petit and shows she can be sweet, innocent and chirpy. It also echo’s how Torvold belittles Nora and treats her like a child, which in them days was the done thing; men overpowering women and controlling the relationship in addition to this it perhaps shows how he has a fatherly figure and likes to take control over situations. Although in saying that Nora is or should I say acts rather childlike and naive herself but at the same time is manipulative, flirtatious and cunning as it proves on the opening line of the play; â€Å"Hide that Christmas tree away, Helen. The children mustn’t see it before I’ve decorated it this evening† As well as giving the audience a rough date and establishing shot it shows how Nora seems just as excited about Christmas as the children do. In most houses the children would be helping to set up the Christmas tree but not in the Helmer household Nora is setting up the tree and rather excited about it too. There is some reference to poetry in the text although it is not the rhyming type, it’s more a usage of poetic words being exchanged. Like in the first quote I made there are countless uses of words like â€Å"songbird† and â€Å"squirrel† being used to describe Nora as well as Torvold (in some parts of the play). There is another quote in Act 1 on page 25 where Nora has just gone out and bought some new things for the family, which Torvold is unhappy about as she has spent so much money which makes Nora unhappy too, it says; â€Å"Now, now! My little songbird mustn’t droop her wings. What’s this? Is little squirrel sulking? (takes out his purse) Nora; guess what I’ve got here! This quote to me shows how he just keeps Nora sweet but does not go out of his reach to keep her happy. Also the use of poetic words is very creative and wise it is saying to Nora do not loose hope or become sad. But it says this in a metaphoric way as Nora does not really have wings but a songbird does and this is what Nora is often compared to by Torvold. The majority of the speech used throughout the play is natural from all of the characters as the play itself is done rather realistically and flows well. There are very rare if any uses of Brectian techniques to break any language or any part of the play up for example; there are no placards to make a particular line stand out, this is probably as each line is just as important as the one before. Even though there is reference to use of poetic language I think it gives the play even more of a realistic effect as people do have little pet names for there husband and wife. In addition to this Henrik Ibsen goes that step further and creates for each character there own realm of speech as a quote from the Methuen Student notes verifies: â€Å"Ibsen creates for each character a habit of speech appropriate to his or her own class and personality† With Torvold he is spoken with a rather fatherly/paternal type of speech, Krogstad he always reflects to his training as a lawyer, Mrs Linde speaks direct and could appear a bit bitter and cold, Nora is excitable but finds resolve at the end of the play and Dr Rank speaks in riddles and fondness of using figures of speech. Over all this coursework has made me realise how important the lines actually are in a play and how important it is to deliver them correctly. As well as consistency when delivering the lines in a certain way the character must keep delivering them in that way. I personally believe that this may enhance my skills as a yr 12 drama student.

Friday, January 10, 2020

Want to Know More About Vmcas Essay Samples?

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Wednesday, January 1, 2020

Analysis of John Singletons Film Boyz N the Hood Essay

Analysis of John Singletons Film Boyz N the Hood The director and screenwriter of the Boyz N the Hood. John Daniel Singleton. The 34 year director, who was born January 6, 1968, in Los Angeles, CA. This black African-American director who won several awards as a screenwriting students at USC. Singletons assured a directorial debut, Boyz N the Hood. An urgent, powerful coming-of-age tale, the film found a spark of hope amid its bleak, violence-ridden south central Los Angeles setting and become one the top-grossing feature ever made by a black filmmaker, because singleton was the screenwriter this film really reflects his ideas and preoccupations. The story that singleton is get through to†¦show more content†¦Tre styles father Furious styles, which said to have grown up in this neighbourhood and, survived it, and understands it in two different ways: as a place where young men define their territory and support themselves by violence, and as a real estate market in transition- where, when prices and lives there find their bottom, investors will be able to buy cheap and then make money with gentrification (valuable city real estate.) Furious is not trying to escape the ghetto but he is trying to make it a better place. In the first twenty-five minutes of the film we see a scene were Furious shoots at a burglar in his houses this shows that Furious uses his weapon for self-defence only. The single-mother of the half-brothers, who live across from the street from Tre, is Reva (Tyra Ferrell) she is nothing like Tres mother, because she is not well educated and Brenda has a mater degree. Reva likes her son Ricky (Baha Jackson) more then she likes the other son doughboy (Donovan McCrary) she start talking nice to Tre after she found out he is Furious son, because she likes furious and show this by saying to Tre, why his dad doesnt come over to play cards and later on in the film she gives him food to take over to his Furious. One of Tre best friends is Ricky, the athlete one of the two brothers who live across the streetShow MoreRelatedThe Boyz N The Hood Based On Criminology Concept Of The General Strain Theory1622 Words   |  7 PagesIntroduction In this paper, I will analysis the film Boyz N the Hood based on and around the criminology concept of the General Strain Theory. The film Boyz N the Hood depicts a story about an African-American boy growing up in â€Å"the hood† of South Central LA. South Central is a place where on average 1 out of 21 African American men will be die as a result of â€Å"the streets†. African Americans within the African-American community are more susceptible to becoming a casualty to gang affiliation and