Analysis Of The Movie ' Julien Donkey Boy '

The animated film, Ratatouille, may seem like just another Disney/Pixar collaboration to some, and while that partnership seems to always produce innovative and interesting films, this film about a rat who realizes his dream to become a chef is something beyond even, what these two giants in the film industry usually do together. It is more than just a sweet story about Remy, an anthropomorphized rat—but not too anthropomorphized—realizing his dream along with the garbage boy, Linguini, who teams up with Remy. Both of them discover who they really are and overcome insecurities that previously prevented them from realizing their full potential, but the movie is a recipe for success in many ways. The loving care and talent that is combined in the making of this film is the same kind of care and talent that Remy—or any real chef—puts into his food. Still, it seems impossible that a rat making food in a Parisian restaurant could possibly have the right ingredients to produce a successful result—however, Ratatouille proves that it does. Just like the painstaking attention that goes into a chef’s creation of a meal, the care and skill that resulted in the film sets Ratatouille above the typical animated movie and makes it a classic in not just unusual story-lines, creative computer graphics, and groundbreaking film-making, but also as a study of human behavior. There is truly something for everyone in this feast of a film.

Despite being one of the most popular, if not most popular, animated movies of all-time, Toy Story offers a limited perspective when it comes to gender because of manhood acts, homosociality, and stereotypes. The manhood acts in the film suppress women at the same time as they support the hegemonic masculinity, which is the masculinity that actively attempts to suppress women and inferior masculinities (Bird pg. 129). When the male characters in the movie do this, it approves of this negative behavior that limits the voice of the female characters. Additionally, the lack of female characters causes the film to portray homosociality, which prevents young girls from seeing a variety of representations of women in the toys. Also, the stereotypes in the movie reduce women to second class citizens. Both male and female stereotypes in the movie support the hegemonic masculinity. Ultimately, the depiction of manhood acts, homosociality, and stereotypes in the film, Toy Story, actively support the hegemonic masculinity at the expense of other gender identities.

In a world that is focused on consumption, living sustainably means living against the grain. Our final lecture reflection studied different lifestyles that oppose traditional norms and embrace sustainability. Minimalism is a documentary on people who defy the idea that possessions bring happiness and choose to live with as little as possible. Toke Miller emphasises the importance of changing our ways, to see the world with kindness, love, and consciousness. Finally, Steve Mannell shares the story of the Ark in PEI which promotes a self-sufficient alternative to modern housing. By examining and changing the ways that we live our lives we can approach a way to live sustainably.

In an article for The Atlantic titled “Wes Anderson's 'Moonrise Kingdom' Opens Cannes on a Sweet Note” (2012), Paris-based film critic Jon Frosch argues that the refreshing adolescent romance in Wes Anderson’s Moonrise Kingdom displays an intimate side of the director that manages to overcome the “dollhouse aesthetic” and pedantic cinematography of the 65th Cannes Film Festival opening film. By pairing brief narration of the film with personal opinion, Frosch illustrates how his attitude towards Moonrise Kingdom transitions from skeptical during the initial scenes, to intrigued when Anderson characterizes his two quirky protagonists, then to impressed when witnessing a revived take on the classic kiss, and finally to a forfeiting acceptance upon realizing Anderson has delivered a uniquely eccentric yet heartwarming film. Frosch analyzes

Lawrence’s use of cinematography emphasizes the complexity of human interactions when faced with a responsibility of making a morally acceptable decision. The establishing and aerial shots of the ominous landscape highlight the desolate country town and its crucial role in the interpersonal dynamics. Scenes begin with close-up and mid-shots of main characters, introducing viewers to reliable figures and allowing them to focus on the interaction between the characters. Lawrence’s use of close-up shots enables viewers to understand the characters emotions, allowing them to feel empathy for the character. Moreover, Susan’s body is cut at a high angle, forcing the audience to see her as the small, powerless victim in comparison to Park who is shot from a low angle, further exploring the complexity of relationships between races and genders.

She was important because her films involve traveling to big cities to find a better life , sometimes with her donkey Filemón, becoming an every woman for the Latin American immigrant. The actress most successful performance when she played “La India María,” a comedic interpretation of Mexican indigenous women, for a Mexican TV show in 1972.Fans took social media to express shock at losing someone they say “shaped their childhood”.

Vertigo (1958), directed by Alfred Hitchcock, is an American psychological thriller film that communicates ideas, themes and issues through the use of its visual style. The visual stylistic choices enable the exploration of madness, scopophilia and feminist film theory within the film. This paper will critically analyse how this is realised mainly through the use of “the Vertigo effect”, spirals as a motif, the male gaze and colour. The theme of madness is a centerpiece to the film.

The distinction between the plot and story of a film can be difficult to distinguish. These elements both play an important role in communicating the movie maker’s ideas to the viewers. However, the key differences between the plot and story of a film revolve around their main functions and based on how they interact with the key components of the narrative. The plot of a film lays out all of the events that take place in the exact order presented and can utilize a variety of developmental elements to move the film from the beginning to the end. The story of a film is the culmination of the plot, along with additional inferred information that was mentioned implicitly or explicitly throughout the film in chronological order which illustrates

In literature, plot is what drives a story, gives it purpose and depth. The same is true in cinema, and theatre as well. Some works of literature that have been transcribed into works of cinema try to keep true to the source material, but many are changed and rewritten into slightly different , and often completely different stories. While this may be unfortunate for those who prefer the original texts, it may be a more enjoyable experience for those who prefer cinema. A very good example of drastic change and deviation from the source material, is the cinematic adaptation of Richard Matheson's 1970 short story; “Button, Button”. In 2009, it was adapted into a Motion picture, and we retitled “The Box”. This cinematic version was quite different from the source material, as the entire story and its plot were re-worked from the ground up, and much of the original themes and elements of the story had been changed completely. You can almost look at it as an experiment in storytelling, with constants and variable that change and do not change at all- constants being self-explanatory, and variables being deviations from the source material.

Although Hollywood screenwriters often champion and follow the three act narrative structure by Syd Fields in his book “The Screenwriter's Workbook” (Fields, 1984), however the three part formula does not hold up very well practice due to the restrictive nature of the formula, for films that

“I don’t get it,” Billy said, scrunching up his eyebrows and squinting his eyes. He looked about as pensive as a ten year old could, leaning forward as he sat on the blue trunk of the Honda. The brick school building off in the distance held his gaze as it blocked his view of the sun fading into the horizon.

Directed by Martin Scorsese in the year of 1976, one of the epic movies of late 1970’s movie history, without any doubts is ‘‘Taxi Driver’’. The movie is not only about a Vietnam war veteran who drifts through the dark streets of Scorcese’s New York City, but also it is about his transformation within the terms of how he turns into a ‘‘monster’’ while actually turns into the hero because of his attempts of trying to save a young, 12,5 years old prostitude. While watching, Martin Scorsese’s use of cinematic devices -in order to convey the state of mind - of the protagonists’ the movie let audiance to see with the eyes of the protagonist character, who’s name is Travis Bickle, played by Robert DeNiro. In Taxi Driver, Scorsese utilizes film-noir characteristics and apply to his film in order to convey Travis’ delirious vision of New York. The New York that we see in Taxi Driver is actually what Travis sees. And audience, engage with his loath, disgust, anxiety via this neo-noir approachportrays the protagonist of his movie Taxi Driver ,Travis, as an isolated, insomniac,

Another part of the film that is also very Disney and very Pixar is the visual feast that the eyes enjoy while watching. Robertson says, “Pixar has created something unique. The light. The colors. The textures. Ratatouille is not a film with brightly colored toys, fish, bugs, or cars”, which would allow it to perhaps be the most Disney of the films on which Disney and Pixar have created together (Robertson, 20). Yet, even without those interesting aspects, Ratatouille is very visually appealing, like a dish one eats first with one’s eyes. Robertson quotes Michael Fong the supervising technical director at Pixar who says, "We tried to make this film look different…One of the big things was to break away from what standard CG [computer graphics] looks like. We got rid of straight lines and did a lot of hand tweaking. We wanted it to feel handmade. The other part is lighting and shading” (Robertson, 21). From that special attention, like a chef gives his signature dish, the team that collaborated to make Ratatouille created a delicious result.

Beginning around the late 1990s, a transgressive cinematic movement by the name of The New French Extremity emerged and brought forth an “aggressive and abrasive [form] of cinema that [sought] a more confrontational experience.” (Palmer, 22). Among the numerous films within the movement, few films have maintained their initial notoriety, and far less have continued to be as provocative as Martyrs (2008). Like other films within the New French Extremity, Martyrs aims to be uncompromising and unpleasant through its implementation of avant garde filming techniques and its pushing of social boundaries.

The first movie I looked at was Irréversible, a French movie written, directed and produced by Gasper Noé. Noé employs a non-linear narrative to force the audience to think about the actions taken by those seeking vengeance before the reasons behind these actions are known. The movie is told in reverse order, beginning with the main character murdering the person he believed brutally attacked his girlfriend. The intention of this