Analysis Of The Movie ' Lara '

The film Pelo Malo takes place in the city of Caracas, Venezuela and is about a young boy and obsession with straightening his hair. In the movie, the main characters Junior his single mother Marta and baby brother live with in an apartment complex with in the city of Caracas. This movie takes place in 2011, during the time that Hugo Chavez came down with cancer. The film’s primary themes were homophobia, and racism. The movie detailed a young boys struggle for acceptance and love from his mother and his struggle to obtain his desire of straight hair. Throughout the movie, the young child is seen living in an apartment complex that is located within a lower socioeconomic status area. When Marta, was not able to find a baby sitter to watch over her children when she worked she was forced to take the children with her on the bus through the city to her work. One of the places that she was shown to work was in a gated residence where she worked as a security guard for the area. The primary conflict in the movie revolved around the mothers fear that her son was “gay” due to his obsession with straightening his hair and his singing. Due to many of the things that the young boy does in the movie, the mother Marta fears that her child is homosexual and during one particular scene is worried that she was the cause of it. Since during the scene where she is speaking with a doctor about her son, she discussed how it was her fault because she did not ‘touch his thing’ and that she

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.

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

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

What is National Cinema ? A Question proposed by Tom O’Reagan in Australian National Cinema (2005). The question leads to the sociological understanding that national cinema is constructed by both national and international film industries, the national film text and also by the various cultural, social and political contexts. National Cinema is a vehicle for social processes, emerging social identity and movements. A film may categorised as a ‘national cinema’ based on a number of factors: the language spoken in the film, the nationalities or dress of the characters, the country that supports the film financially, the setting, music or cultural elements present in the film.

The film begins on February 26, 1995, with American Tejano music singer Selena (Jennifer Lopez) performing to a sold out concert at the Astrodome in Houston, Texas. In 1961 Corpus Christi, Texas, a young Abraham Quintanilla, Jr. (Edward James Olmos) and his band Los Dinos, are rejected for an audition by a white restaurant owner due to their Mexican American background, and are later booed and chased out of a club for performing ballads and not knowing any Mexican dance music. Crushed, Abraham gives up music.

Throughout the film Amandla! A Revolution in Four-Part Harmony, black South Africans began converting their historical roots in music into a fight for freedom. As these oppressed individuals struggled for racial equality during the twentieth century, music classified as freedom songs emerged as the fight against the inhumane Apartheid intensified. These freedom songs, which are performed and played throughout the film, protest white supremacy and segregation using a combination of inspiring and punishing lyrics to ignite a flame in the hearts of the persecuted. Black South Africans found a way to rally together, fight, and survive the National Party’s attempt at complete segregation through music.

There cannot be a discussion about borders without also discussing the metaphors that are linked to them. When speaking about the border people know the physical borderlines between countries, but to understand borders one must look pass the physical boundaries. As a society we must be and make ourselves more aware of the cultural identity, language, and community surrounding the Latino American population.

Ex Machina goes above and beyond when it comes to science fiction and philosophy, if anything the movie leaves us with more question than answers. In the movie we are introduced to Caleb, a person we think has won the lottery only to find out he was chosen to be a participant for a Turing Test against AI, Ava, to see if she can pass as human. We are also introduced to Nathan who is the AI’s father of some sorts, he is wild, crazy genius that throughout the movie we are never sure if he is trustable or not. Nathan represents humanity at its darkest state; he is a self-destructive drunk who seeks his own demise. When he talks about the future and how the robots he created will take over the world, he talks about with awe like he can’t wait for

The movie Precious, is based off of the novel Push by Sapphire. In this movie, there is a 16 year old girl named Precious. She is pregnant with her second child from her father, still in junior high, and is morbidly obese. Not only that, but is continuously abused by her mother and father; verbally, mentally, and physically.

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.

“Working Girl,” depicts important battles that women are still fighting today, it brings light to the ridiculous judgments and barriers that women had to smash to establish themselves in the business field. The film was written by Kevin Wade and released in 1988, the story is based in New York City from the inspiration of New York commuters and the noticing that many young women were wearing white tennis shoes on their way to work, carrying high heels to change into once arriving to work. Tess McGill, an undervalued and mistreated sectary to the ultimate feministic triumph, Kathrine Parker who steals Tess McGill’s idea for a radio deal for their company, are the main characters. While Kathrine Parker is on a skiing trip and breaks her

A trope states different categories of figures of speech e.g. similes and puns. They used to describe and analyze a convention that can easily be understood and recognized as its common applied. Popular cultures are the images, perspectives and ideas that are within a given culture and is directing a certain mass. Final girl, a horror movie is among those movies that have many tropes in them. This movie is about a certain woman who becomes the last in line to ever confront the killer. She becomes the only person to ever narrate the story. This all happens after all her friends were killed by the killer holding her. The killer won’t let her go as he is holding a knife to finish what he had started. Hence, the essay below analyses tropes in pop cultures in the movie, the final girl.

Nothing will ever go according to plan. Tests are failed, people are changed, loves are lost. As is the case with Tim Burton’s The Corpse Bride, following the story of an elegiac young man, the son of newly rich fishmongers. Victor Van Dort (Johnny Depp) is betrothed to Victoria Everglot (Emily Watson), the daughter of penniless aristocrats, to heighten both of their families, and despite his initial terror, he falls in love with her. Unfortunately, Victor has a horrible time at the rehearsal and cannot remember his vows, leading him off into the words where, while practicing, he inadvertently puts the wedding ring on the Corpse Bride (Helena Bonham Carter), a young woman who was murdered on her wedding day for her parent 's money. Victor’s adventures in the land of the dead tear him between his new wife and his intended bride, while teaching him more about himself and those around him. Throughout the film, the elegantly lifelike clay figures portray the lifelessness of the living juxtaposed with the liveliness of the dead in Victorian Europe.

Raitt in conjunction with Aragay’s and Gemrna’s claim agrees that adjustments, improvements, and changes from the source material to the adaptation must be mandatory in comparison to when the timeline the adaptation is set as well as its publication date to remain refreshing and contemporary in its material. Once again Raitt makes a use of the film Bridget Jones Diary by focusing on its transition from Regency era context to a more relatable twentieth- century cultural context as well as relying assertions from Aragay and Germna to support his claims. Raitt acknowlges that,