Lee Tamahori's Once Were Warriors Essay

In the book Warriors Don't Cry by Melba Pattillo Beals, the author describes what her reactions and feelings are to the racial hatred and discrimination she and eight other African-American teenagers received in Little Rock, Arkansas during the desegregation period in 1957. She tells the story of the nine students from the time she turned sixteen years old and began keeping a diary until her final days at Central High School in Little Rock. The story begins by Melba talking about the anger, hatred, and sadness that is brought up upon her first return to Central High for a reunion with her eight other classmates. As she walks through the halls and rooms of the old school, she recalls the

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

In her memoir Warriors Don’t Cry, Melba Pattillo Beals describes her experiences as she became one of the first nine black students educated in an integrated white school. She and her friends, who became known as the “Little Rock Nine”, elicited both support and criticism from their family members, friends, community members, military troops, in addition to the President of the United States. Melba’s experiences, while heartbreaking and sobering, highlight the strength to overcome that individuals can have over a system intent on keeping them down.

In this chapter, we learn some basic things about the main character, Melba, and we know that she is born on December 7th, 1941. Melba's birth was a complicated one, but she eventually made a full recovery and on top of all of that, Melba also had to go through the harsh reality of segregation when she was five years old.

Throughout this course, you have been compiling a blog and writing essays that analyze various elements of film such as theme, cinematic techniques, and genre. It is now time to combine those elements into a comprehensive analysis of one movie.

Have you ever faced life-changing experiences, or turning points which impacted yourself and your country? In the past, some people had been not only changed their lives, but also their countries. This idea explored in the memoir Warriors Don’t Cry by Melba Pattillo Beals, I Never Had It Made by Jackie Robinson, and “The Father Of Chinese Aviation” by Rebecca Maksel, which highlight Feng Ru. Melba Pattillo Beals, Jackie Robinson, and Feng Ru all faced life-changing experiences and made a difference in their lives and their countries.

The dramatic tone of the film has only one lighthearted moment. The drive from Dallas Airport, shot in bright light with

The aesthetics of realism in each film can be utilized in many diverse ways to offer certain truths about the world of the film to further express the film’s story. These theatrical elements emphasize what the film attempts to relay to the audience; moreover, it intensifies the authenticity of each aspect of the film. The use of real people, on-camera interviews, textual information, and of direct address to the camera displays the realism of each film.

Development and adaptation of the western genre has occurred throughout the twentieth century in relation to the shift in context, this is still relevant. Stereotypes of a western genre and the context are determined by the time in which the film is being produced. The time in which they were produced determine how social construction, gender ideas, values and attitudes, the setting and SWAT codes are demonstrated. I have chosen to present this speech by looking at the film studied in class, and a film of my choice and how the difference in context has changed in the tie of these two films.

The book The Warrior Ethos, by Steven Pressfield depicts the warrior’s mentality from ancient times to the present through a variety of different aspects and stories. In The Warrior Ethos, Pressfield states that men are not born with the certain qualities that make a good warrior, but instead are inculcated through years of training and indoctrination, stating at an early age. He goes on to show how different societies have been able to instill the same or very similar ideals throughout history while maintaining their own unique characteristics. Things have changed from ancient Sparta where parents would be enthusiastic about their children going to war, and even more elated

Theorist Vsevolod Pudovkin claims that narrative films are mainly a “product of construction” and cautious compilations of “selections of images that have been shot” (Renée).

An early scene shows the funeral service of villagers, many of them children, murdered by cartels. A sobbing villager’s interview tells how they were brutally beaten to death.

This is a different sort of Pressfield book. Unlike the historical fiction genre in which he’s written such best-sellers as “Gates of Fire,” “The Afghan Campaign, and “The Profession,” “The Warrior Ethos” is the culmination of years of discussions Pressfield’s been having with Marines and others who were taken with the blend of courage-under-fire and humanity shown by Leonidas, Dienekes, Matthais, Gent, and the other characters in his books. “I wanted to give something back to our men and women fighting overseas,” Pressfield told Gazette, so I put together the best anecdotes and stories from all my research about the Spartans, Alexander's Macedonians, the Romans, and Rommel.”

The next shot is an establishing shot, showing the street where the main character, Leister, lives. Its fall/autumn time and the trees are bare or dying, possibly indicating and foreshadowing a death later on in the movie. Also the streets are very linear, all vertical and in uniform, as it were.

The movie Once Were Warriors was released in New Zealand in 1994. The film focuses on an urban family of Maori descent, the Hekes. Within the family there is a lot of poverty and domestic violence, primarily from the father, Jake. The family also includes the mom (Beth), oldest son (Nig), teenage son (Mark aka Boogie), 13 year old daughter (Gracie), and a very young son and daughter. Although any family member would make for an interesting case study, I choose to focus on the mom, Beth.