The Purple Rose Of Cairo

There is a place where not far from my hometown, which, since my childhood, still holds the secrets to life. It was a place where we were free. Free to do whatever we wanted to do, say whatever we wanted to say, it was our place, our river. It was a simple place, no paved or asphalt roads for the commotion of busy traffic, no tall buildings to block out the sunlight, no sense of time to feel rushed or anxious, no effects from the outside world. It was a beach on the coast of Lake Sakakawea called “Little Egypt.”

This movie based off of a southern family living in Memphis, Tennessee will show you a true taste of southern hospitality. In every film you have your list of characters along with their personalities and most importantly their motives. Along with the certain qualities of every character comes the ethos, pathos, and logos. Ethos which stands for the goodness of a film and/or ethics goes hand in hand with the sender of a film, Pathos which is the passion and emotions of a film which goes hand in hand with the receiver, and lastly the logos which is the logic/information that sends a message. Each rhetoric sends a message and surely puts a movie together.

Written in 1989, this piece, like her others, is written in the Post Modernism period. It is a self proclaimed process analysis piece with narrative components. In her work, Dillard aimed to tell the whys, hows, and wheres of her writing. By sharing details about her personal experience, Dillard draws the reader in with her quick wit and creativity. Each essay deals with a different topic or aspect of writing, but all are connected by frequent personal anecdotes and similar styles. This essay deals with the movies versus novels and the power each contains if you are able to see them. She argues that movies are more powerful than novels because they appeal more violently to your senses, but, for one who enjoys reading, a novel can be just as

Harold and Maude, a movie directed by Hal Ashby and released in the 1970’s, did not receive much attention and popularity when first released. Since the movie depicted obsession with suicide through a 20-year-old character Harold, the movie received backlash because during the 1970’s there were high rates of suicides among teenagers and college students. However, over time college students found the movie very entertaining, therefore bringing the movie into the lights and making it a cult hit. In Blue Velvet, a neo-noir mystery film directed by David Lynch and released in 1986, received a variety of critical responses from a wide range of audience, but this movie’s unique style earned Lynch his second nomination for Best Director. The idea of innocent getting caught in a web of evil is portrayed through the character Jeffrey Beaumont, who first encounter’s a severed ear in a grassy abandoned field. In this paper I will compare and contrast these two movies that include key actors Bud Cort, played as Harold, and Kyle MacLachlan, played as Jeffrey and include a few key points that have made these movies enjoyable to watch.

This film highlights the flaws of humanity in a western world. The films ability to touch on topics of classism, prostitution, and alcoholism makes the content mature and unlike typical western films. This revolutionary and innovative western created a foundation for many future films. The sophistication of the content, and lack of adherence to the production code makes this film an “adult”

This essay is about the movie Inglourious Basterds (2009) written and directed by Quentin Tarantino. The significant elements of mise-en-scene in the film will be discussed, along with the film’s elements of cinematography in the opening scene. Film often uses editing techniques in its storytelling that infer meaning, subtle though they may be. These techniques will be identified and discussed, and the meanings explained. Set in Nazi-occupied France during World War II, the film follows a group of Jewish US soldiers as they plan to assassinate the leaders of the Third Reich in a movie theater. Led by Allied officer Lieutenant Aldo Raine, played by Brad Pitt, the “Basterds’” plan coincides with the theater owner’s vengeful plans for the same thing.

The film ‘The Prince of Egypt’ is inaccurate when compared to the story of Exodus. The film was created in 1998 by DreamWorks Pictures and retells the story of Moses. The directors clearly changed the film, so the audience can infer information and excite the audience. The main mishaps are in the setting, the characters and the storyline. Clearly, this account of the story of Moses, is inaccurate in comparison to the biblical account of Exodus.

Film Noir, a term coined by the French to describe a style of film characterized by dark themes, storylines, and visuals, has been influencing cinematic industries since the 1940’s. With roots in German expressionistic films and Italian postwar documentaries, film noir has made its way into American film as well, particularly identified in mob and crime pictures. However, such settings are not exclusive to American film noir. One noteworthy example is Billy Wilder’s film Sunset Boulevard, which follows the foreboding tale of Joe Gillis, the desperate-for-success protagonist, who finds himself in the fatal grips of the disillusioned femme fatale Norma Desmond. Not only does the storyline’s heavy subject matter and typical character

Although this paper uses a mainstream movie, at all times you should use scholarly writing and language throughout the paper.

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

“Sunset Blvd” is not subtle in stating illusion will win out over reality. After all, Norma Desmond, the aged silent movie star who deludes herself into believing that she will be famous again, kills Joe Gillis, our involved narrator and voice of reason. But before we analyze the dramatic pool scene, which dispels any idea that “Sunset Blvd” sides with reality, we must first look at the characters, the embodiments of dreams and of reality in this movie. Norma Desmond, who dreams of rising to greatness again, refuses to believe that time has passed and that she no longer has any fans. Max, her butler and first husband, feeds into this facade by writing her fan mail, encouraging her

This essay is based on films of the same story, told in different ways, with emphasis, themes, meaning and interpretation shaped or shaded by the situation of the storyteller; the cinematic mise-en-scene. Based on the same story, the films reveal and reflect the film-maker’s social norms and views, emerging from their different national contexts. While exploring the two films, this essay will examine elements of film language or semiotics: color saturation (or black and white), sound, setting, type of camera angles used; repetition of visual motifs (Metz, 1985). The two films explored were made in the 1960s. Neither film is American, yet both reveal influences and reflections on American cinema and American power; the Western film, adherence or detracting from Hollywood Classical cinema tropes, i.e. close-ups, shot-reverse-shot, POV, depth of field (Bazin, 1985: 128-9). The two films are Kurasawa’s Yojimbo (1961) and Leone’s Fistful of Dollars (1964), from Japan and Italy, respectively. How are they different; how similar? Why do they use the same plot,

The movie that I have chosen is a classic film from 1988 called Heathers. Heathers is an American cult black comedy film written by Daniel Waters and directed by Michael Lehmann. The film portrays four teenage girls—three of whom are named Heather—in a clique and a teen named Veronica Sawyer who desperately wants to fit in, as well as a crazy and unstable boy named J.D that plans to ruin it all. The focus of this essay will be on three characters. Analyzing their internal and external battles, as well as their social interactions with loved ones and other members of their fictional society.

The review of this movie is based on sociological matters that are outshined in the film and touch on the lives of the individuals, their way of living, morals, behavior and cultural aspects. The film is set in a real society and concentrating much on social issues of the society more than the economic, technological and political status of this society based in New York.

In the 1950’s the melodrama genre came to age and there is no better example than Douglas Sirk’s All that Heaven Allows. The melodrama followed some basic characteristics which can be identified in the film. First and foremost the narrative of the melodrama focused on the family. All that Heaven Allows follows the narrative of the typical melodrama but at the same time also challenges the social conventions. While Sirk follows many of the key themes he does so in a more detached fashion. The protagonist Cary is bound to her community by her social class. Change was occurring in society and the melodrama displayed people’s restraint to this. In All that Heaven Allows Sirk began his focus on the female and her desires in contrast to the more conservative male focused melodrama. As with the melodrama the legibility of the story, displayed through the plot, is simple and easy to follow. “Our engagement with the story depends on our understanding of the pattern of change and stability, cause and effect, time and space” (Bordwell and Thompson, 2008). The linear time flow of the film allows for it’s simple understanding. This is added to by the expressiveness of the melodrama, where everything is brought into the open and nothing is left unsaid. The expressiveness of the melodrama is also represented in the highly expressive mise-en-scene. Sirks use of colour, the human figure, camera work, lighting and music allow him to portray suppressed meaning and significance.