Analysis Of Film Congo

Based off Charles Webb’s 1963 novel by the same name, The Graduate is an American romantic comedy/drama released in the United States on December 21, 1967 starring Dustin Hoffman, Anne Bancroft, Katharine Ross, and William Daniels. The film was directed by Mike Nichols, produced by Lawrence Turman and the screenplay written by Buck Henry and Calder Willingham. The film was produced by Lawrence Turman/Mike Nichols productions starting in March of 1967. Mike Nichols has also directed other well known films such as Catch-22 (1970), Working Girl (1988), and more recently Closer (2004). The film was distributed by AVCO Embassy Pictures nationally and United Artists internationally. AVCO Embassy Pictures studio, founded by Joseph E. Levine, the films executive producer, also claims production/distribution for other hit films such as Godzilla, King of Monsters! (1956), The Fog (1980), and Prom Night (1980). The movie was well received due to its $104 million dollar box office opening tab. The score was produced by Dave Grusin and the songs written by Paul Simon and Art Garfunkel.

Working out conflicts face to face can and cannot make a difference in resolving the problem.“These face-to-face interactions build trust, understanding, and a real sense of a shared mission, and this has made all the difference in the world.” This direct quote from Forbes.com explains how this specific way can improve how the world communicates to each other. Many people will disagree with the previous statement, but it is just one of the basic elements of the social system. Admittedly, not everyone believes in face to face interaction. People can choose whichever side they want to, but people can solve their problems by talking to somebody.

Throughout the play two actors role played multiple characters. Each actor morphed into another character. They had impressive versatility of their characters and played each role with emotion. The facial expressions they exercised appeared to contribute to the

After viewing the first part of Legacies of Social Change: 100 Years of Professional Social Work in the United States, it seems evident that history continues to be presented from the view of those with power and does not acknowledge the downfalls of these movements. History, especially in the United States, is centered toward European and Western civilization and whatever benefits these groups. This film perpetuates this one-sided account of the history social work that worked to only help white people, while diminishing the challenges and progress people of color faced during this period. While one can argue that this film is dated, this is still occurring all throughout our history and has repercussions today. This can be seen with any

Hotel Rwanda is a film directed by Derek George that tackles one of the most shockingly disturbing events in recent history, when the Hutu radicals of Rwanda initiated a frightening crusade of genocide, slaughtering thousands of minority Tutsis while people from other countries did nothing and acted oblivious to what was going on in Rwanda. George vividly adapted Hotel Rwanda in a way that the viewer from beginning to end saw the effects of genocide, political corruption, and the consequences of violence. Depicted in the early 1990s , the views on ethnic conflict in Rwanda and the sequence of events is really descriptive and sometimes hard to watch as George digs deep into what happened in Rwanda. The early scenes in town set the scene amazingly for what’s to come throughout the film and gives us vivid insight on the views and social standing of Rwanda in the 1990’s. Don Cheadle portrays Paul Rusesabagina in the movie playing the hotel manager, his wife in the movie played by Sophie Okonedo is a Tutsi and wants to help when the violence ensues. Their marriage throughout the movie supplies a great sub plot detailing how a relationship can stand through turmoil.

Films are created for many reasons. Some of these include to entertain, inform, and raise awareness. Whilst the film ‘Kokoda’ is entertaining, it also has some value as a historical source. However, its information is limited and some aspects of the battle are not portrayed. The battle conditions for Australian soldiers in Papua New Guinea is presented in an informative way in the movie yet it does not cover the conditions the Japanese soldiers had to face as well. The portrayal of the conditions for the 39th battalion full of Australians is depicted effectively in the film through scenes that emphasise the struggle and difficulties the soldiers faced due to them. We can see the tough terrain in many scenes in the movie such as when the

Movie Analysis Name: Institution: Movie Analysis Lumumba is a French movie that was directed by Raoul Peck. The movie recreates Patrice Lumumba revolutionary struggle towards attaining independence or self-rule in Congo. Through the film, the audiences are not shown the struggle of the Congolese against obtaining self-rule from the Belgian government

The positioning of the characters is important because they are in a line one behind another this shows the leader of the group is at the front and therefore the most important. As they get deeper into the jungle it is noticeable the screen changes from wide screen to take up the entire screen this is done to make the audience feel that they are getting deeper into the jungle. Shafts of sunlight through trees are used to make their adventure mysterious and because little light is used it makes it dark and shadowy to make the characters more heroic. As they are walking through the jungle there are noticeable difference between the three characters, the leader is wearing a leather jacket, a hat and is wearing a whip whereas the two people following have rather worn down shabby clothes and are carrying lots of equipment.

During the end of the 3rd Century, the Playwright Plautus wrote many of the first Roman comedies. A Funny Thing Happened on the Way to the Forum is a musical comedy film adaptation of Plautus's comedies.Set in ancient Rome, many aspects of Roman theatre, including stock characters, were included in the film’s production. While the film is based off of multiple comedies, Plautus's Pseudolus character Calidorus is nearly identical to the film’s Hero. During the time Pseudolus was written, the Crisis of the Third Century led to up to 25% of Roman population being comprised of slaves(Southern). Of the many stock characters Platus included in his comedies, Calidorus/Hero, the son of Pseudolus’s owner and the stock character adulescens, best

In the essay, “The Worthy Rise of the Planet of the Apes,” Kelly Pietruszynski (the author) accesses the profitability and longevity of the movies leading up to and including “Rise of the Planet of the Apes.” In the Essay, Pietruszynski hits on a few main points about the movie One being the spectacular plot, Pietruszynski explains how the plot is so spectacular. Pietruszynski says, “Any attempt to explain how apes become intelligent and humans stupid is finally going to stretch credibility…However is plausible.”(pg 132). Another being the special effects. The special effects are all computer generated like Caesar. Pietruszynski think this adds to the plot.

This scene in the movie poorly appropriates a very famous scene in the play and the movie continues thereafter to make clumsy and indiscreet representations of key events in the play; one has to wonder why he made a movie that hinges on so many poorly executed key scenes.

Marlow, the English narrator, begins the story telling his fellow sailors about the events of the corrupt ivory trade in the Congo. At the onset of the story, he comes upon a scene deep into the jungle an finds himself in "the gloomy circle of some Inferno.” The place is rampant with dying Congolese, sick with disease and living in squalor (Conrad 24–25). Horror struck, Marlow depicts the natives as monstrous, terrifying subhumans. In "The Proximity of Distance: Fascination, Reception, and Heart of Darkness," author Larry Shillock explains Marlow’s disposition upon arriving in the Congo: “Threats emanate from the prehistoric jungle as well. In response to them, Marlow re-experiences the past, which ‘came in the shape of an unrestful and noisy dream’ (34). The disorientation that he felt after arriving is no match for what he feels when observing the jungle's inhabitants” (Shillock). The reiteration of the past through the symbol of the jungle sheds light on the notion that the life in Congo is primitive and uncivilized in Marlow’s eyes. The jungle, furthermore, represents this idea that darkness and evil nature reside within humans. It becomes a mirror that reflects the truth of human

pag) and (“Universal Studios Hollywood” 13). On the island, the filmmakers find that the inhabitants live within a huge palisade as protection from the island's monsters (Selznick, Cooper and Schoedsack n. pag) and (“Universal Studios Hollywood” 13). But King Kong, most fearsome of them all, is only placated by sacrificial offerings of young women (Selznick, Cooper and Schoedsack n. pag) and (“Universal Studios Hollywood” 13). Ann Darrow is kidnapped and offered to the giant gorilla beast (Selznick, Cooper and Schoedsack n. pag). Instead of killing her, he is infatuated, fighting in her defense against the other monsters (Selznick, Cooper and Schoedsack n. pag). Jack Driscoll and the others rescue Ann and capture the giant gorilla that is then taken to New York for exhibition (Selznick, Cooper and Schoedsack n. pag). King Kong subsequently breaks loose and searches for Ann, terrorizing the city (Selznick, Cooper and Schoedsack n. pag). In the end, the great ape climbs with his beloved to the top of the Empire State Building, where fighting airplane flyers machine-gunned him to death (Selznick, Cooper and Schoedsack n. pag).

If we see a film about a jungle, normally the soundtrack is composed of instruments like bongos or shakers. This is because we instantly associate this sort of music with jungles and indigenous tribes.

Cinematic Codes in Moulin Rouge All four cinematic codes work together in a film to inform the audience's understanding of a film and to convey meaning and the ideology in a preferred reading favoured by the film-maker so that the audience interprets the film in the way intended. In the film Moulin Rouge (Luhrman, 2000, US) the cinematic codes, mise-en-scene, sound, cinematography and editing all work well together in the opening sequence to set up the film-maker's preferred reading. The film opens with a conductor on a stage in a grand theatre, signifying a 'show' which links well with the idea behind Moulin Rouge, informing the audience that it is like a show. The curtains behind the