Analysis Of The Film ' Sankofa '

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

The film La Bamba showcases one of the most important historical moments in not only music history but also Latino music history. The star Lou Diamond, portrays Ritchie Valens originally Valenzuela. Ritchie was a boy who did not grow up in a normal childhood. In the film Valens played by Lou diamond is shown working hard alongside his mother Connie trying to make an honest living. His older brother Bob finds his way to his mother and young brother convincing them both to leave the fruit fields where they were working. While Ritchie should have been at school he was working. Once they moved to Los Angeles, Ritchie started attending high school like a normal teen should. His love for music grew strong as he became fond of a young girl named Donna. Donna was from a middle class white family, while Ritchie was from a poor Latino American family. Donna’s parents wanted to keep the two apart from each other as her father did not approve of the romance because Ritchie had nothing to offer his daughter. Ritchie had nothing to offer Donna but his music and hope of someday making a name for himself. One-day Ritchie and his band mates are having a show and a man by the name of Bob Keane stops by to see the performance, while there Keane shows a great interest in Ritchie and reaches out to him. Keane soon convinces Valens that he didn’t need his band mates, that Ritchie was all the talent. Bob Keane not only manages to get Ritchie to drop his band, but he also convinces him to change

The film analyzed in this paper, "Aladdin" is set in an Arab culture following the life of a street rat, Aladdin and his pursuit to marry the royal princess Jasmine. This paper will examine elements in the film such as culture and social class through different sociological perspectives. These will include conflict theory, the functionalist perspective and symbolic interactionism. It will also explore Cooley 's look glass self theory and how Aladdin 's negative self concept affects his actions. Lastly, it will view through the feminist theory how Jasmine and women are portrayed and other stereotypes and discrimination in the film.

In Wolfgang Staudte’s (1951) film, Der Untertan, the main character named Diederich Hessling develops from being a meek and cowardly boy to become a manipulative and self-involved man. The film uses many instances of imagery and subtle moments of foreshadowing to convey the ideals of the people of that time which lead up to the World Wars. Diederich is a typical Prussian citizen who blindly follows, supports the true “German values”, and bows to his superiors while stepping on his subordinates. The film illustrates Diederich’s character development, his shift in personality, and political confrontations through carefully crafted camera techniques that also highlight the time period that the film was set in as well as produced in.

Sankofa is an Ankan word which means, “We must go back and reclaim our past in order to move forward ( Diop, 2014).” The film Sankofa was produced in the year 1993 in Ghana directed by Haile Gerima. It is based on the Atlantic slave trade. It is the story slavery from the point of view of Africans. In the film, all characters represent an element of African American culture (Gerima, 1993). It also shows the traditional racial scale with the whites at the top followed by Half-castes in the middle and blacks at the bottom.

The film “Akeelah and the Bee” delves into the life of an 11-year-old African American girl who appears to have a natural knack for spelling. Akeelah’s sociocultural environment proves to be an impediment to the development of her skill, due to it forcing her to attend a school that does not have sufficient funding’s. Furthermore, being intellectually inclined makes her out to be an outcast. However, through various mentors and new-found determination, Akeelah can harness her formidable spelling abilities, while experiencing joy and victory during the process. This analysis will explore the youth in Akeelah and the Bee, from a developmental perspective while applying the theories of Vygotsky and Ainsworth to further defend my observations. These observations will include the seemingly vital role of an adult during child maturation, the child’s connection to said adult, their response to restrictions and the benefits of play-based learning.

One thing the film did not do so well was an accurate representation of the Arabian people.

The 2016 film Lion, which was first a book called “A Long Way Home”, is a film where a boy named Saroo was separated from his brother in the train station, which leads to Saroo getting on a train taking him thousands of miles away from his family and his home. Saroo, who was only five-years-old when he got lost, had to learn to survive alone in Kolkata, West Bengal. Days after arriving to Kolkata, the city the train left him at, he got admitted into an orphanage, which later turned out to him getting adopted by an Australian couple. But twenty-five years later, he starts to wonder where his first home and family are at the moment. With only his memories, determination, and Google Earth he starts looking and searching where his small

Danny Boyle’s film Slumdog Millionaire follows two brothers from the Juhu slum in Mumbai as they face the trials and tributes of growing up in poverty. Although Salim, the elder brother, is given the same childhood experiences and trauma as his younger brother Jamal, his drive and hunger for power lead him to a life of crime, corruption and misconduct. These actions later have a detrimental effect on his relationship with Jamal, which in turn, becomes his demise. Boyle uses a range of effective film techniques to develop Salim’s growth as a character which helps to communicate the idea that ambition can enhance an individual or be the reason for their downfall. Throughout the film, Boyle uses the varying stages of Salim’s life through

The client is a 26 year old, single, male, African American. He is an active duty ship’s serviceman seaman serving in the United States Navy, aboard the USS Belleau Wood (LHA-3). Seaman (SN) Fisher is residing on board the USS Belleau Wood (LHA-3) that is permanently stationed at San Diego Naval Base, 32nd Street in California. SN Fisher was given orders to report to Navy Mental Health Services Department on base as Involuntary Command Referral for diagnosis and treatments, to get an evaluation and expert psychiatric recommendation about whether the service member is mentally fit to stay in the United States Navy. SN Fisher is unwilling to begin counseling,

The movie Bashu: A Little Stranger, is a heartwarming commentary written and directed by Bahram Beizai in 1989 on the effects of war, love, and racism in a small village community in Iran. Beizai challenges the widely accepted Iranian identity through stars Susan Taslimi as Naii, Bashu’s adopted mother and Adnan Afravian as Bashu. The film boasts a simple plot, yet the societal critiques are strong and apparent. It takes place during the Iraq-Iran war, a war brought forth from long standing border conflicts and fears of revolution. Many critics agree that Bashu is a timeless film. Although produced in 1989, this situation could happen at any point in time.

Cléo from 5 to 7, directed by Agnes Varda, is a film about one woman’s struggle to come to terms with the possibility of her potential illness. Not only is Cléo struggling with her physical health, but she is also dealing with her beauty and the consequences of being an attractive woman in the modern world of the 1960s. When examined through the lens of Laura Mulvey’s “Visual Pleasure and Narrative Cinema” theory, another aspect of the film comes to light. The film seems to objectify Cléo and thus trivialize her struggles with others’ perceptions of her throughout the film by adhering to the construct of the male gaze. Although Cléo from 5 to 7 appears to play into the construct of the male gaze through the repeated objectification of Cléo, it actually subverts this idea and instead confronts the viewer, and the notion of women as passive objects to be viewed.

Films all around the world are filled with lessons and meaning. They are not only created for entertainment, but sometimes to portray specific morals. This way, they can be enjoyable in addition to being informative with long lasting effects. Some smaller things tend to go unnoticed while watching, but when they are seen and analyzed, they can have the greatest impact. The movie Slumdog Millionaire is filled with major social issues, ethics and morals. It has specific goals and purposes for viewers to grasp and think about further. The film depicts a major social issue - economic inequality and power; some of the most prominent examples are the divisions caused by wealth and power, the fact that money does not fix all problems, the tendencies and opportunities of the wealthy, and what extremes people will do for money.

A number of Japanese films from the past to present have revolved around the prominent topic of family and their relationship with society. Many Japanese filmmakers have reflected the main social conflicts that have affected Japanese society in their films. One of those filmmakers is Hirokazu Kore-eda. He prefers to reflect his films on reality and bases most of his works on real events. Directed by Kore-eda, Nobody Knows, is an example of a film that foresees and explores the naturalistic lives of Japanese families and children in symbolic ways through usage of motifs. More specifically, the film allows viewers to ponder about the value of children and their resiliency and fears. Additionally, Kore-eda explores around the ongoing problems of selfish parents and people who are unaware of the family problems of their neighbors. An analysis of the film reveals problems in family and society such as the universal childhood fantasy of parental abandonment and the suspicion of isolation and indifference in cities.

After the most talked about film of Malayalam film industry in last year "Maheshinte Prathikaram" ("Mahesh's Revenge") director Dileesh Pothan and actor Fahadh Faasil comes together for "Thondimuthalum Driksakshiyum" (Roughly translated as "The Exhibit and the Witness"). Even though it's only the second film from Pothan, due to the immense fan following for his previous film which even generated a trend of finding minute details from that film and labeling it as Pothettan brilliance, there was much hype to live up to. By making the subject into a dark humor rather than the previous film which was more of a feel good film, Pothan was able to satisfy and surprise his fans.