Hyland Vs Hollywood

Despite the fact that Asian Americans have been in Hollywood for decades, there are very few positive representations of them in film. More often than not, they’ve been depicted as stereotypical caricatures, and more specifically, as foreigners who can’t speak grammatically correct English. Moreover, the negative representations of Asian Americans in film has perpetuated certain misconceptions about their culture. Chan is Missing (1982) calls for more genuine representations of Asian American identities through its cast of complex characters and defiance of Asian stereotypes. The film also urges its viewers to critically think about their own notions of identity through the use of several recurring themes and filmmaking techniques.

Glory: Hollywood vs. History Glory is a movie about the 54th Massachusetts Infantry Regiment, one of the first official all black units in the United States during the Civil War. It’s an inspirational story of how a young Union soldier, Robert Gould Shaw, is offered the chance to lead an army

The Idea of Orientalism Portrayed in James Cameron’s Avatar Abstract In brief, this study discusses about the representation of orientalism idea which is portrayed in the film Avatar. The film tells about the conflict between human and native people in Planet Pandora, where human exploits the land and oppresses the native. This

Quotidian Magic In his essay “E Unibus Pluram” David Foster Wallace critiques the fast-cutting tropes of contemporary cinema and television as meretriciously catering to our desire to transcend our average daily lives. These hysterical collages are, in his words, “unsubtle in their whispers that, somewhere, life is quicker, denser, more interesting… more lively.” We leave these films dazzled, punching the air, ready to do combat with a gang of bad guys or lose a pursuer in a car chase, but enjoy none of the edifying potential that Leo Tolstoy and other early theorizers of cinema’s potential saw in the fledgling art form. Contemporary independent cinema often works in stubborn self-conscious contrast to the transcendence aesthetic, but too

Although the best reasons for “going to the movies” are to be entertained and eat popcorn, understanding a film is actually quite complex. Movies are not only a reflection of life, they also have the capability of shaping our norms, values, attitudes, and perception of life. Through the media of film, one can find stories of practically anything imaginable and some things unimaginable. Movie-makers use their art to entertain, to promote political agendas, to educate, and to present life as it is, was, or could be. They can present truth, truth as they interpret it, or simply ignore truth altogether. A movie can be a work of fiction, non-fiction, or anything in-between. A film is an artist’s interpretation. What one takes away from a film depends upon how one interprets what has been seen and heard. Understanding film is indeed difficult.

Span claims that the real villains existed in New York: Mayor John. F. Hylan and William Randolph Hearst. Hylan had been fired from Kings County Elevated Railway in 1897, and was believed to have had his own personal animosity toward transit companies (Span). In the 1920s, many transit companies had a standard five-cent fare that could no longer pay their extensive bills. Streetcars were required to pay fixed franchise fees as well as provide street sweeping and snow clearance. This, combined with fixed fairs, put transit companies under terrible financial pressure (Span). Meanwhile, Hearst’s paper stirred up public animosity towards the streetcars (Span). Hylan refused to aid transit companies in the face of bankruptcy (Span).

Movies are constantly created by producers and writers to convey a particular meaning to their audience they are reaching out too. The meaning can be interpreted in several ways. For example, one can understand the meaning that was intended by the creators, or it could be an individual’s own understanding

It is known that one of the industries that reflect a multitude of human stereotypes is in the cinema. Although this may be true, to some people it is not completely obvious; especially if the stereotyped individual in the film is different from the person watching. The 2009 remake of the movie Fame has numerous moments that represent mediated stereotypes between different races. Using examples from Ramirez-Berg in his piece, “Stereotypes in Film”, the stereotypes I recognized were much more clear. Additionally, cinematic devices such as scripting, costuming, and sound effects played a role when discussing oppressed populations (Ramirez Berg).

Over the years, Bollywood has emerged as its own distinct identity in the global Film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. ( Pillania 1) However, Hollywood is still the leader in revenues generated. Due

Student’s Name Professor’s Name Course Date Film Review: The Snow Town Murders Culture, the way of life of a group of people is a very important aspect of human existence. Indeed the culture of a certain people is extremely significant to them that they strive as much as possible to prevent its extinction

In subsequent years following the establishment of the People’s Republic of China came a revolutionary new approach to not only producing films, but also film’s very role in communist society. During this period the state gained complete control of the filmmaking industry, decreeing that the utilitarian functions of art and literature were to become a powerful weapon in serving the revolutionary struggle. In an otherwise artistically stifling period in which socialist realism pervaded all creative outlets, Xie Jin managed to retain some autonomy and emerged as one of the cleverest Chinese directors in the early 1960s. In his 1961 film Red Detachment of Women, Jin provides a classic revolutionary melodrama, yet also displays elements of formalism so that the viewer becomes conscious of the manipulations of his film technique. To analyze this film, I will use Mao Zedong’s 1942 “Talks at the Yan 'an Forum on Literature and Art,” clip #10 “Landmark 2,” and clip #6 “We are joining the red army” to elaborate on the major themes and cinematic style that distinguish Xie Jin’s work from his contemporaries.

The romantic idea of the auteur is described by film theoretician, André Bazin, observing the film form as an idealistic phenomenon. Through the personal factor in artistic creation as a standard reference, Bazin primarily refers to an essential literary and romantic conception of the artist as central. He considers the relationship between film aesthetics and reality more important than the director itself and places cinema above paintings. He described paintings as a similar ethical creation to film stating a director ‘can be valued according to its measurements and the celebrity of the signature, the objective quality of the work itself was formerly held in much higher esteem.’ (Bazin, 1967: 250). Bazin contemplates the historical and social aspects that indeed hinder a director’s retribution to their own personalised film, thus en-companying their own ideological judgement upon the world ‘more so in cinema where the sociological and historical cross-currents are countless.’ (Bazin, 1967: 256)

As cultural identity being questioned in global screen due to the influences of transnational cinema and Diasporas in different places, this clip question further the possibilities in future transnational cinema. Through the emergence of cinema styles, all films are to be considered transnational. This essay will argue that transnational cinema

I am a ----year old Christian woman. I come from Pakistan and am currently working on my Master of Divinity program at Garrett- Evangelical Theological Seminary, Evanston, IL. I am looking forward to graduating on May 12, 2017. I am a United Methodist and a certified Candidate for Ordained Ministry.

Scarface: The Shame of a Nation (Hawks, 1932) According to film theorist Thomas Schatz, “a genre approach (to film) provides the most effective means for understanding, analyzing, and appreciating the Hollywood cinema (Schatz vii).” His approach to film is strongly supported by theorist Edward Branigan’s and the narrative representation of character interaction (Branigan), and André Bazin’s arguments that the objective reality pressed against audience interpretation.