Analysis Of The Movie ' Exclaimed Shaan '

Paisan is a revolutionary, documentary-style film, consisting of six separate but seemingly related episodes. Director Roberto Rossellini uses this film to portray the drastic consequences of war on a nation, the people, and overall society. Neorealism was a pivotal movement, and Paisan brought attention to the Fascist influence by showing the harsh economic and social reality of World War II. Rossellini also uses Paisan to allude to regionalism and the importance of a unified nation. Paisan exposes a fundamental truth and emphasizes a need for reconstruction through the use of a complex setting, elements of humanity, and reoccurring themes of revival.

Why is the movie called Glory? Is it really glory? I strongly believe not only is the movie glory itself, but the characters represent the idea of glory throughout the movie as well. Glory is a high rank of honor, which involves tireless amounts of work to get to. Not only did the characters in the movie represent the movie well, but portrayed the Civil War in a proud manner as well. There are many characters that represent glory, but there are three that stand out among the rest. Those characters are Colonel Robert Gould Shaw, Corporal Thomas Searles, and Sergeant Major John Rawlins.

“Who giveth/presents this woman?” is asked by the priest in Vincente Minelli’s 1950 film Father of the Bride and in Charles Shyer’s 1991 remake of the same name, respectively. Both films are extremely similar in content, as the remake borrows heavily on dialogue, temperament of characters, scene progression, and the overall essence of the theme of adoration between a father and his daughter, even though they are set 41 years apart. It would be foolish to say that post-war 1950s gender roles of the original film are the same of those of 90s remake, but regardless of the vast societal progressions and gradual increase of women’s rights from the 50s to the 90s (and now) there is still a subconscious stereotype of a “traditional” family that conforms to the ideas of gender roles that live within films of today.

Pariah is an acclaimed drama written and directed by director Dee Rees in 2011. The film tells the story of an adolescent African American teenage girl named Alike who struggles with her identity as a lesbian. The film introduces Alike to the audience in a club, in which she often hangs out with her openly gay friend, Laura. This rambunctious lifestyle is quickly contrasted by the introduction to her notably structured and religious family. Alike’s mother, Audrey, in particular, seems to not only oppose Alike’s friendship with Laura, but also question her sexuality. Although Alike struggles with an oppressive relationship with her mother, she also does not seem to wholly fit in with Laura and her brazen lifestyle, thus making her a true outcast, a pariah. Amidst everything, Alike forges a friendship with a girl named Bina and a complicated and disastrous relationship quickly ensues, ultimately resulting in Alike’s coming out, estrangement from her mother, and her departure to college. Director Dee Rees draws on particular filmmaking techniques and personal experiences to depict Alike’s struggles to embrace her lesbian identity, ultimately in order to fuel a growing gay rights sentiment.

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 federal government placed many restrictions and discriminatory actions on the black troops. At the beginning of the Civil War, African Americans were not allowed to serve in the U.S. military. By the summer of 1862 it was clear that additional troops were needed. To meet the need, Congress passed two bills that allowed the participation of black soldiers in the Union Army. The Government established segregated units called The Bureau of Colored Troops. The measure lacked popular support and the U.S. Army did not begin recruiting black soldiers until 1863.

Eventually, the treatment of African Americans that Harper so vehemently is against in her poem and Whitehead writes about in his novel sends the United States into a Civil War. Eleven southern states formed the Confederate States of America in which they fought a devastating four year war against the United States. The Civil War drastically changed the treatment of African Americans. The movie Glory is evidence of this. Glory is a civil war movie about the first African American regiment in the United States military. Their commander-Colonel Robert Gould Shaw- is white. The movie details the triumphs and hardships of the regiment, who at first seem to have trouble with one another and their commander, but grow to form a bond of camaraderie. The movie shows just how much hope the African American men have for their country because while they were in the army they were given no good reasons to feel as if they were Americans. They were mistreated by the white regiments and subject to worse conditions. The white men don't’ believe their capabilities, so they do not fight. Eventually their commander tells army officials , “ There's character. There's strength of heart. You should have seen us in action two days ago. We were a sight to see!” (Zwick). This leads the military to ask the regiment to lead a charge on Fort Wagner, a charge they know to be a death sentence. The most touching part of this scene is that these men are not one bit afraid to die for their country. Their

Since 1995, Shoji Meguro (born in Tokyo on June 4, 1971) has been composing soundtracks and original soundtracks (ost), which are classified as music for video game, and is the game director for the Japanese video game company Atlus for 21 years. Atlus, established on April 7, 1986 in Tokyo, is known for producing video game franchises including the Shin Megami Tensei series and Persona series, toward the game genre Japanese role-playing games. The Persona franchise have been selling well in Japan and globally (See Figure 1 and Figure 2). Persona is also very popular to teenagers both domestically and globally for many reasons: 1) Persona is able to uphold the traditional jrpg elements (video game fans), 2) teenagers are able to relate

If lying was a job for Norma Khouri, she truly would have been a billionaire by the end of Anna Broinowski's enthralling documentary, "Forbidden Lie$". Documentaries and films are seen as a reliable medium for providing facts and information yet even after having seen this riveting documentary, you'll find yourself questioning the integrity of the entire documentary. With Broinowski gaining a great sense of authority over this text right from the start, she paves the stones in leading the viewer to eventually gain a greater sense of authority over the film's meaning. Anna Broinowski attempts to pull Norma Khouri apart at the seams in Forbidden Lie$, to finally unravel the ball of lies crafted by the pathological liar herself. This elaborate documentary follows the story of the infamous Norma Khouri from all possible angles, while subsequently proving the words of Christopher Nolan. That "the 'truth' is indeed stranger than fiction."

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.

“Interested in your father’s glorious family tree? You aren’t included, it only includes men’s names.” In the film ‘Wadjda’, directed by Haifaa Al-Mansour, a girl named Wadjda from the male-dominated culture of Saudi Arabia sees a green bike that she strives her hardest to own. Although could the bike be a metaphor for something deeper? Some may say the bike is nothing more than a plain old bike, but in this essay, I will discuss how and why the green bike symbolises more than a mere green bike. The focus will be on the significance of the bike, why it has been chosen to act as the metaphor, and how/why the director has chosen it to show that Wadjda is subversive.

A few years ago, my sister introduced me to the film ‘Benny and Joon,’ a story about a woman in her twenties with a disability that is more or less undefined throughout the film. She lives with her brother who works full-time but hires several “housekeepers” that he has watch over her at home. She comes off quite content, mainly painting all day and going about her everyday routines. At first, she may just come off as a “stereotypical temperamental artist”(Tibbets) but her painting at a rapid rate, extreme pickiness of food (eating mainly captain crunch and peanut butter smoothies), unique mannerisms, and outbursts suggest that she may be on the spectrum. There are scenes where she puts on a scuba mask and attempts to direct traffic in the middle of the street with a Ping-Pong paddle; an episode that the article ‘The Patronizing “adorable” side of Schizophrenia in Benny and Joon’ addressed could be an indication of schizophrenia or bipolar disorders. The most recent “housekeeper” quits after one of Joon’s “outbursts.” After reading critiques by people with disabilities themselves and other sources, I have begun seeing this movie a new light, introducing a sadly patronizing and demeaning representation of disability and her family/societies inappropriate response to her condition.

The Get Down establishes inherent norms over time, creating rules that viewers internalize as defining the show’s storytelling strategies. For example, how each episode starts off with Zeke’s older self rapping a recap of the prior episode in a front of full audience at Madison Square Garden in New York. Being defined as a musical comedy and gritty prestige drama , if there was an episode in The Get Down where Shaolin Fantastic is not spinning turntables, Zeke is not rapping, or Mylene isn’t singing, it surprises the audience. Episodes that violate these norms stand out by in violating fan expectations. Because this is a common for the first half of the first season, viewers would expect music and drama in the second half. To understand The Get Down in its narrative importance, viewers must be operationally familiar to the show’s storytelling norms and consider the importance of individuality inside a formal narrative system, positing claims about how dysfunctional and dramatic it was to be a teenager of color in the capitalism dominated society of New York.

Each day, a lot of parents are asked the question if the boyfriend or girlfriend of their teenager could sleep at home for the night. That question opens a dilemma about the maturity of each person and their responsibilities related to the new situation in the presence of their parents. The point of view of the parents about this question change according to the values they are supporting and their experiences as teenagers. On the other hand, the adolescent are usually open to their boyfriend or girlfriend to come to sleepover because it makes them feel more mature. The article The Sleepover Dilemma, that I read before writing this text, explore many answers given by different people (mother, father, adolescent) about the dilemma.

Ali simply provides the title meaning of the film’s main subject, Muhammad Ali. The title meaning also provides some pride elements as well, due to the fact Ali had to fight to change his name from Cassius Clay.