Analysis Of The Movie ' The Battle Algiers '

The film The War Room is a documentary about Bill Clinton that has very little to do with Bill Clinton himself. The primary focus of the film is devoted to the team of campaign strategists that got Clinton to the presidency. The two main players the film focuses on are James Carville--the Lead Strategist for the Clinton campaign and George Stephanopoulos the Communications Director. The film follows them and their team of campaign strategists and experts as they try to get Arkansas Governor, Bill Clinton, to the presidency. The documentary highlights many key moments in Clinton’s campaign, for example the Gennifer Flowers scandal. However, the film showcases what was happening behind closed doors in the War Room, where Clinton’s

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, ‘The Prince of Egypt’ is a not a very accurate copy when compared to the story of exodus from the Bible. The 1998 Dreamworks production ‘The Prince of Egypt’ was created to follow the remarkable story of Moses, Leading his people from slavery but was changed by the directors to give it some originality. The setting, the characters and the storylines are some of the things that have been changed in the animated story. Therefore the Dreamworks Pictures film is inaccurate and does not flow along the same page as the Biblical story of Exodus.

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

The narrative of Davis’s monograph and Vigne’s movie has similarities and differences as well. For example, the return of Martin Guerre after eight years to the court in the neck of time is basically the same in both works, but the starting point is different in terms of time and place. The book starts with a detailed background of Martin’s family, their journey from the Basque region to Artigat, and how they adopt the life of the new place by changing their names, changing their customs, and learning the language so that they become like the villagers. On the other hand, the film begins with villages of Artigat and soon with the marriage of Martin and Bertrande in order to capture audience’s attention to be engaged in watching the film. However, the movie’s director ignores all the background of the Martin’s family.

In a freezing class, two brilliant minds unlocked the fiery passion that is their talent one an artist the other a writer. Bringing to light a history long forgotten creating abstract thoughts arbitrary to our own. Komi Olaf the artist and Okey Ndibe the writer not only enlightening the class but also the world with each brush stroke and each word. Every creation stemming from the hands of these masters tell of issues at the heart of Africa from colonialism to existential dilemmas. Thru spoken word, hip-hop, art, music, poems and literature issues close at heart to the artists and to Africa are portrayed. This paper will focus on the art exhibit by Komi Olaf and Foreign Gods inc by Okey Ndibe as spoken by them during their discussion in the class on October 13th. Where the talks focused on the key course objectives being stereotypes, post-colonialism, youth culture, and resistance.

Casablanca, the crowning achievement of director Michael Curtiz, which was released in 1942, is a film that had to work against the pressing concerns associated with World War II to stay relevant in both cinematic and general audiences. The writing, which was done by Julius J. Epstein, Philip G. Epstein, and Howard Koch, had to be inspirational yet uncontroversial. With actors like Humphrey Bogart as Rick Blaine, Ingrid Bergman as Ilsa Lund, Claude Rains as Captain Louis Renault, and Paul Henreid as the French revolutionary Victor Laszlo, Casablanca has a respectable cast. The movie initially appears to fit the film noir genre because of its smoky backdrops with muted colors,

The “Lost Battalion” film was a great film about World War One. It showed a lot about the horrors of the war. It also brilliantly depicted the reality of the war.

Since its release in 1966, Gillo Pontecorvo's The Battle of Algiers has divided critical opinion. The film which depicts the Algerian struggle for independence against French colonial power, was awarded the Lion d'Or at the 1966 Venice Film Festival. Yet, despite this acclaim, the inherently controversial film was banned in France until 1971 due to its graphic portrayal of torture and repression during the Algerian war. The politically engaged director had however sought to make The Battle of Algiers within a 'dictatorship of truth,' neither supporting the Algerians nor reducing his film to propaganda. Influenced by the distinctive film style Neorealism, Pontecorvo rendered such an extraordinarily accurate reflection of social reality that

What makes for a classic Hollywood film? Increasingly, films have evolved to the point where the standard by which one calls a “classic Hollywood film” has evolved over time. What one calls a classic film by yesterday’s standards is not the same as that of today’s standards. The film Casablanca is no exception to this. Although David Bordwell’s article, “Classical Hollywood Cinema” defines what the classical Hollywood film does, the film Casablanca does not exactly conform to the very definition that Bordwell provides the audience with in his article. It is true that the film capers closely to Bordwell’s definition, but in more ways than not, the film diverges from Bordwell’s definition of the typical Hollywood film.

Casablanca, first released on January 23rd, 1943 is undoubtedly one of the masterpieces of Classical Hollywood film. Written and released in the midst of World War Two it explores themes such as love, desire and especially sacrifice. Although the love story of the protagonists is the cause and catalyst for most of the narrative, one would not necessarily associate it with the conventional Classical Hollywood love story. Rather as a fabula based on the principle of the importance of sacrifice in order to overcome a common enemy, in this case the Nazis. Casablanca does indeed contain many of the common characteristics identified with the Classical Hollywood film. An example being the the way director, Michael Curtiz used a mainly chronologically ordered narrative structure and the utilisation of a Cause and Effect chain. In this essay I will looking at the various ways I believe this film does fall into the criteria of a Classical Hollywood narrative and also how some could perceive that it does not.

Defiance is a movie written, directed and produced by Edward Zwick. This movie’s setting is in Nazi occupied territory in Belarus during World War II. The storyline follows the Bielski brothers as they attempt to evade capture and fight for their lives, and over the course of the movie, the lives of twelve hundred other Jewish survivors on their quest for life, liberty and the new promised land. The film features Daniel Craig as Tuvia Bielski, Liev Schreiber as Zus Bielski, Jamie Bell as Asael Bielski and George MacKay as Aron Bielski. The film is based upon the novel Defiance: The Bielski Partisans written by Nechama Tec and is a true story s of survival during the Nazi occupation of eastern Europe. This is a gripping movie full of

Soviet challenge; all parties agree upon the city of Las Vegas, Nevada as the exhibition site.

The 2005 film, Jarhead focuses on the life of the protagonist Marine, Anthony Swafford. The viewer watches as Swofford endures the vicious training to be a US Marine, which eventually leads to his deployment in Kuwait in to fight the 1990 Gulf War. Undoubtedly, many aspects of the film link back to Gender, however for the purpose of this critical review, I will be focusing on the way in masculinity in Jarhead serves to highlight key ideas about hierarchy and freedom. Although broadly defined, I have interpreted ‘masculinity’ as men being expected to behave with particular characteristics, such as being strong, heroic, protective, and rational. This review will argue that through the focus on Gender, particularly masculinity, Jarhead provides a critique of the military’s dependence on masculinity as a means of shaping the ‘worth’ of men, an aspect which often leads to emotional and mentally isolation and entrapment, as well as raising questions about the masculinity of the state. Moreover, Jarhead criticises how the repression of aggressive masculinity, as fuelled and promoted military training, can have consequences, as the men do not have an outlet for this aggressive masculinity, for example, combat.

Written and directed by Ousmane Sembene, a Senegalese novelist turned filmmaker, Black Girl tells the story of a young African woman named Diouana who leaves her home in Senegal with her French employer, hopeful the work and opportunities offered by France will lead her to an improved life. What begins as an optimistic journey soon reveals itself a grand disappointment as Diouana realises her role as the children’s caretaker has morphed into that of a maid and France reveals itself to be a prison rather than a liberation. Between cooking, cleaning, taking care of the children and enduring constant disrespect from her employers and their friends, Diouana’s hopeful nature fades as she starts feeling the weight of her isolation and alienation. Through the use of his carefully chosen and curated settings, Sembene comments on the questions of postcolonial identity and displacement, offering to his audience Diouana’s journey as an example of the inner turmoil of defining African identity while still under the influence of colonialism.