Analysis Of The Movie ' The Manchurian Candidate '

In George Orwell’s ‘1984’ he patronises the women he creates as we see an insight into the weaker sex who are often degraded with humiliating names and vulnerability. Orwell stereotypes the female characters, which reflects his somewhat limited view of women and their important role ion society. He creates a problem in the way that masculinity and femininity lose all value in the totalitarian state. As the misogynist Orwell is, it is not surprising he has portrayed women in such silent, sad and solitary ways.

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 movie takes place in the early 1990’s, when Jordan Belfort partners with Donny Azoff to start his brokerage firm, Stratford-Oakmont. After the introduction given by Jordan, we follow his life from the time that he is 22 years old when he had just started on wall street, all the way to the time of his arrest. Throughout the movie, you can see Jordan’s narcissistic personality aid him in his rise to the top and eventually lead to his fall.

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."

During the late 1940s and the early 1950s, the thought of communism instilled fear within many Americans because it was portrayed in such a way that confined diversity and corroded political culture while the United States was supposed to be the land of the free. This fear of communism was nicknamed the “Red Scare” and was fed by Joseph McCarthy’s accusations of hidden communist in the country. The Manchurian Candidate was a black-and-white American film released in 1962 that depicted the Cold War and the affects of that paranoia had on the nation. It was released at the peak of the Cuban Missile Crisis and the spread of communism. This film was about Raymond Shaw, the son of a right-wing political family, who was brainwashed to act as an assassin

In a letter to Brenda Salkeld in 1933 Orwell considered a “fearful tribe” of feminists to be one of the threats to civilisation. He reflected on two directions toward which the world could move: a complete overthrow of the present order by means of a revolution or the continuing and consummate hegemony of business accompanied by the feminists’ coming into power (Csaszar).” Orwell had inflated his fear so much to where he believed that feminism will take over the world as if it was a dictatorship. Hegemony is the process of a woman coming into power at a business and that fact scared Orwell so much to where he felt that if they were given power in 1984 a revolution would start. “Winston finds himself cheated out of something that he feels he ought to have. Possibly even cheated out of a sense of masculinity that might come with having sex with a young woman like Julia (Meia).” Orwell wrote Winston as a man who would pursue younger women in hopes of seeming more masculine. In society a man is congratulated if he has sex with lots of girls, yet women are shamed for the same actions as men. When 1984 was written gender roles were very different from today’s time era and when we see women being written like this we are very astonished and want to know

In an effort to capture the effects of paranoia of the Red Scare in 1950s America, The Manchurian Candidate is filmed with the intentional techniques of character-following shots, plays on lighting, and mise-en-scene. These film techniques are utilized to make the argument that paranoia can be used to control others with the use of force as one tries to make sense of the chaos around themselves. Throughout the film, audiences fall into a sort of confusion when trying to determine the characters on the side of good or evil. Just as the audience gets trapped in the confusion of the film, the American people fell into pandemonium during the Cold War and were forced upon by the government to be on the side of freedom and democracy or be forced

Gender roles have been, and unfortunately still are, evident in our everyday lives for quite sometime. Women are often portrayed as sexual objects, or delicate individuals; a body with no brain or strength. These traits are easily found within many novels and movies- old and new. In Alfred Hitchcock’s films, Rear Window and Strangers on a Train, Hitchcock begins his films representing women with the same characteristics as stated above. They are very stylish, attractive and presented as second-class individuals to males. But after examining these two films, Hitchcock does something that many directors in his time would not have dared to do. By making the women the heroine and arguably the protagonist of the storyline, Hitchcock proves to

The films The Manchurian Candidate (1962), Seven Days in May (1964) and Fail Safe (1964) were the emergence of a new political film genre recognized as political thrillers. The films individually focused on specific political issues that were going on in real American society like The Manchurian Candidate focused on McCarthyism and communism, Seven Days in May focused on inside betrayal in the White House, and Fail Safe focused on issues with Russia. What made these films create a new genre was that collectively they had a twist that the audience wouldn’t expect to see. For example the Manchurian Candidate add a complexity to each and every character that for the length of the film they’re deemed to be troubled like the brainwashed veteran from the Korean War Major Bennett Marco portrayed by Frank Sinatra to assassinate when commanded to do so. The shocking conclusion of the film is that in the end it was his mother (portrayed by Angela Lansbury) who was commanding him to do so since she herself was a communist and did a very well job at manipulating not only her son but blaming other people for being communists in order to keep her own cover something that wasn’t incorporated into films quite yet until this film. The twists, complexity, and manipulation by the characters are what made this a political thriller and the first and foremost established as one in 1962. The thrill continues in Seven Days in May, but the story line shifts completely, it’s something fictional but

The September 11 attacks were tragic events that had spread shockwaves of horror and grief across the United States. The tragedy became the subject of controversy as some skeptics began to doubt the details reported to have transpired that day. Some people question its legitimacy, theorizing that the Bush administration devised and orchestrated the attacks to further its agenda. Filmmaker Dylan Avery discusses and promotes this prevalent conspiracy theory in his documentary, Loose Change 9/11: An American Coup. Avery argues that the government possessed foreknowledge of the attacks by comparing them to precedents of similar situations. He challenges the official explanations and provides his analyzations of evidence from the reports and media. Avery effectively appeals to pathos, ethos, and logos in his film, but his compelling argument is ultimately undermined by fallacies.

The bewildering and anti-human experience of a person living in a totalitarian state is likely to bring about the kind of alienation apparent in 1984. Winston, the most obvious example, is severely cut off from the outside world. Alone and lonely, he feels alienated from his family, his neighbors, and the rest of society. Even with Julia, Winston does not find someone who shares the same thoughts and opinions that he does. He hates women and children. The Party’s war against love and sex for purposes other than reproduction has succeeded in cutting off Winston from half of the human race. As a result of the Party’s oppression, Winston’s psychological and sexual life has been crippled. Winston is able to perform his duties for the Party without thought or question, but inwardly he represses every contrary or unorthodox thought in the

Were it a testimony to the rigors and cruelness of human nature, it would be crushing. As it is, it shatters our perception of man and ourselves as no other book, besides perhaps Anne Franke`s diary and the testimony of Elie Wiesl, could ever have done. The prisoners of the labor camp, as in Shukhov?s predicament, were required to behave as Soviets or face severe punishment. In an almost satirical tone Buinovsky exclaims to the squadron that ?You?re not behaving like Soviet People,? and went on saying, ?You?re not behaving like communist.? (28) This type of internal monologue clearly persuades a tone of aggravation and sarcasm directly associated to the oppression?s of communism.

Desire is a powerful and dangerous emotion which has the ability to overtake and disregards any rational state of mind, creating disorder and life-threatening consequences, thus making it feared as a form of disorder or misdirected imagination. However, desire cannot exist without a lack of satisfaction, allowing the once forbidden to become desirable. These illicit desires which are in conflict with social laws and norms are often repressed into the unconscious. Emerging in forms which are disguised so that they may be unrecognisable to the conscious mind due to the dangerous, forces and consequences they present. Such desires can be identified in George Orwell’s Nineteen Eighty-Four (1949) which mirrors post-war social and political issues, portraying the devastation, destruction and control on the outer limits of humanity in a dystopian world. In a world where thought, history and relationships are manipulated and governed, romantic and autonomies desire become a means of rebellion in order to maintain sanity, truth, and an objective reality as a means of resistance against the governing party. Margaret Atwood’s novel The Handmaid’s Tale (1985) is a speculative fiction which explores the need for a sustained political, feminist consciousness and activity among woman by exploring the political and social consequence of their absence. In The Handmaid’s Tale, we see illicit desire through the use of language and literature in a dystopian world which governs class

The purpose of this analysis is to show how the themes of the novel are loosely based on the events in the soviet union, and the similarities between the world of big brother and Joseph Stalin’s communistic leadership.

Rashomon (1950) is a film by Akira Kurosawa that deals with themes of truth, humanity, and morality. There are multiple approaches one could take to analyze this iconic film, this essay will focus on how each character performs their gender and how that affects how they are perceived by the other characters. While there are obviously many different personalities within each social class, these characters are primarily identified by their roles in society: the bandit, the husband, the wife, the commoner, the priest, and the woodcutter. These archetypes play out their gender roles through both how they present themselves in their own tellings, as well as how they are utilized as characters in the film, in fascinating ways.