Charlie Chaplin's Commentary On Society In The Film 'City Lights'

In the article "Why the Audience Mattered in Chicago in 1907” there was an element in the population that was left out of the mainstream focus of the entertainment business. Their cry out for attention created enough noise in the industry that caused laws to be put into place to protect the youth from the hypnotic effect of the big screen.

Tim Burton uses creative and sometimes cramped camera angles to convey the primary concepts of aloneness and self-discovery, in addition to augmenting the veiled themes of societal homogeneity and discrimination, to the audience. This perception is suggested all through the movie through the director’s use of high-angle panoramic shots of the unvarying suburbia and long-shots of

City Lights (1931), directed and produced by Charlie Chaplin, was one of the best silent movies ever made for its time. The cast includes; Charlie Chaplin, Virginia Cherrill, and Harry Myers. Chaplin was also the creator

(1933) felt the effects of conservative ideas, which later led to the censorship code’s introduction. The analysis of the Pre-Code film

The paradoxic realism that defines Jacques Demy’s film The Umbrellas of Cherbourg is evident even in the title sequence. Pastel umbrellas dance over the cold gray sidewalk, falling in and out of perfect symmetry. People walk to work, to school, no doubt grumbling that they are caught in the rain. Life goes on, but a mundanity of life suddenly becomes worthy of Michael Legrand’s sweeping orchestrations. In contrast, Hollywood musicals made it their job, their purpose to make people forget that the rain was there at all; to provide an idealistic escape from a harsh, weary world. Eventually, these addictive fantasy worlds and conventional narratives about love and the human experience became uninteresting—war, counterculture, and a growing desire for revolutionary art turned audiences away from such fuzzy comforts and towards radical cinema. The genre needed something new to shock it back to life, and this shock came in striking form with The Umbrellas of Cherbourg. By subverting classical Hollywood conventions by way of an unresolved ending, sung-through musical style, and taboo subject matter, Demy’s The Umbrellas of Cherbourg provided an escape from the never-ending formulaic cycle of musical films threatening to bulldoze the genre into delirious self-obsession, giving life to the form of musicals and restoring them to what they have always had the capacity to do: reveal the most vulnerable, intimate truths of what it is to be a human being, to fall in love, and to fall out

Darkness can be a comfortable place for anyone. Without having to look at yourself or have people see you, one may not feel as judged or insecure. Light is revealing. In a bright room, you can’t hide tears, blemishes, or emotions. Blanche, from A Streetcar Named Desire, knows the pain of light all to well. Blanche flees a failed company and a failed marriage in attempt to find refuge in her sister’s home. Through her whirlwind of emotions, the reader can see Blanche desires youth and beauty above all else, or so the readers think. In reality, she uses darkness to hide the true story of her past. In A Streetcar Named Desire by Tennessee Williams, Williams uses the motif of light to reveal Blanche’s habit of living in a fantasy world until the

Over the past two centuries, America has been plagued by a sharply contrasting vision of what is and what should be. Since the Civil War, and even decades before the conflict began, authors and filmmakers have attempted to highlight problems that exist in society and cast them under a critical spotlight. They criticize and mock society’s faults and urge their respective audiences to enact positive change. Although one may see Mark Twain’s Huckleberry Finn and Charlie Chaplin’s The Gold Rush as two completely separate and different works of high comedy, their similarities are much more visible upon analysis. Using satire as a critical tool, Twain and Chaplin call for social change that fits in line with the ideals of America, such as justice, equality and respect. By using satire in Huckleberry Finn and The Gold Rush, Twain and Chaplin argue that real American life is so far from being idealistic that the gap between the real and the ideal is shocking, unnerving and a cause for immediate reflection on behalf of audiences.

In conclusion, classical films usually stick to accepted plans and formulas. In this essay I talked about how the film In the Heat of Night is characterized as a classical film by talking about the theme of equality. I believe the goal of the film was to show how everyone is equal at the end of the day. I enjoyed the film because it showed that being ignorant of others could only hold you back mentally. Even though Virgil and Gillespie didn’t solve all the worlds’ problems they were able gain insight of the opposing color and develop more

It had been a hot, midsummer day when Jacques Kubrick bestowed a camera upon his son, Stanley. It had been an old, Graflex camera, and from that day forward, young Stanley could be seen lugging around his father’s gift everywhere he went. He spent much of his time snapping still photos and creating home movies depicting the Bronx, his hometown, in all its glory (Uhlich). No one could have predicted that this gift was one that would affect the world. That day - July 26th, 1941 - had been renowned American filmmaker, director, and screenwriter Stanley Kubrick’s thirteenth birthday, and it had been a ripple in time, the simple start of a visionary whose future work would one day be celebrated on various platforms by more than one generation. As

Chaplin affirms that one of the main reasons for his success is that he makes films that portray what an audience wants to see. “Even the most inoffensive of us has sometime or other conceived the grotesque idea of pulling those millionaire whiskers––just a fleeting, absurd idea” (Chaplin 6), states Chaplin. As the audience has an innate desire to see a high-class business man lose their composure and status, they also have a desire to see hope in dire situations. The same

The absolutely stunning film, Citizen Kane (1941), is one of the world’s most famous and highly renowned films. The film contains many remarkable scenes and cinematic techniques as well as innovations. Within this well-known film, Orson Welles (director) portrays many stylistic features and fundamentals of cinematography. The scene of Charles Foster Kane and his wife, Susan, at Xanadu shows the dominance that Kane bears over people in general as well as Susan specifically. Throughout the film, Orson Welles continues to convey the message of Susan’s inferiority to Mr. Kane. Also, Welles furthers the image of how demanding Kane is of Susan and many others. Mr. Welles conveys the message that Kane has suffered a hard life, and will

Charlie Chaplin's City Lights is an overall heartfelt film that follows the antics of Chaplin's Tramp, a poor man, as he tries to win the heart of a blind floral girl. This movie is widely accepted as a romantic comedy, but many of the comedic acts have an underlining view into the American life that was being happening at the time. One scene in particular is full of slapstick humor, but a closer look really puts the wage-gap that 1930's America was experiencing into perspective.

Charlie Chaplin did not use sound to communicate to the audience in his movies. Despite the fact that there was no spoken language, his movies were sensational and the audiences loved them. Chaplin was thought of as cinema’s first genius and has been called the single most-influential artist in the history of motion pictures. I am researching Charlie Chaplin to learn how he became a sensational comedian and one of the best actors of all time.

Genre is a reflection of society. Film noir is a genre that has a distinctive relationship with the American society from 1941 - 1958 because it reflects America’s fears and concerns from when they experienced major upheaval after The Great Depression and during World War I. In particular, the unstable atmosphere from the aftermath of World War 1 as Bruce Crowther, author of the book ‘Film Noir: Reflections in a Dark Mirror’, elaborates on how Film Noir films produce “a dark quality that derived as much from the character's depiction as from the cinematographer’s art.” These dark moods are transparent through the key features of the femme fatale, the film techniques and the impact of the Hay’s code on American film and American society.

The biggest factor about Charlie Chaplin 's speech that really draws people in is its emotional factor. As the great dictator in the film is based off of Adolf Hitler, the format in which Chaplin gives the speech mirrors Hitler 's style. Like most of Hitler 's speeches, The Jewish Barber starts off subtle with a soft and gentle voice saying “We want to help one another, human beings are like that…” The first three paragraphs are given very softly with a touch of sorrow and remorse. Chaplin pitties humanity with words such as “More than