Mad Max : Fury Road

Mad Max Fury Road depicts a post-apocalyptic environment in which the basis of survival depends solely on the citizens following a social contract in which survival is achieved at the cost of any sort of freedom. Not only is this evident in the totalitarian style society, but also in regards to the environment which makes survival impossible without resources and more specifically, a war machine. The director attempts to exploit the idea of environmentalism within the sub texts of the movie by placing the setting in a dystopian environment in which a battle of man vs nature becomes the main obstacle of the main characters rather than the more obvious theme of man vs man. Specifically, the scene of the movie in which the war machines head straight

Olivia Erickson Psych 3203 “12 Angry Men” The film “Twelve Angry Men” does an excellent job exemplifying many psychological processes. This compelling film featured twelve men that must decide weather or not a certain slum kid was considered guilty or innocent on behalf of a murder trial. To begin the votes, all but one decided the man was guilty. Throughout the film, heated discussions sway the minds of the men to vote not guilty.

1). The main purpose of the film is to show how media controls women figure and in some cases men’s look or ideal body shape.

The author states, by using Miller’s work on The Anatomy of Disgust, that figures within a social class are given a stereotypical character, and become animated figures within the media - for example, Tyler states that figures within the media ‘the toff, the yuppie, the public school boy, the suburban wife, the flat-capped working man, the gypsy, the chav’ are portrayed in ‘emotive ways’ which are communicated stereotypically depending on background and

The golden days of Ellen Louise Ripley are long past. References of never being hungry again- aimed at the young-adult generation-fall on deaf ears. The man-eating, hard-working female protagonist had fallen completely off the cinematographic map until 2015. Originally a bestselling movie franchise series directed by George Miller, Mad Max: Fury Road was released on May 15, 2015. In comparison to its pop-culture counterpart the Divergent series, Mad Max: Fury Road endorsed a story line that was predominately plot-centered. The true enigma in Mad Max: Furry Road was not its story line, it was its female protagonist: the bitter but never brutal, lovely yet lethal, Imperator Furiosa.

It gives the audience an ultimate insight into the world of a female during the time portrayed. It shows the clothing worn, the position they are stood in and the facial expressions they wear. It shows things as they are without too much distortion. For example in Tracy Moffet’s artwork “useless,1974” the artwork shows a woman wearing 70’s style clothing, stood in a sort of dominated nature , washing the lights of a car while wearing quite a resentful face. Accompanied by the caption “ Her father’s name for her was ‘useless’ ” we are able to see a woman in a period of great feminine oppression, forced to wash a car for a man who considers her to be useless. This kind of irony shows the insignificance thought to be surrounding women during this time.

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

Reflecting on my childhood, my sister would say a shark was under my bed and I was so scared of sharks. Doing this, she was able to keep it as a threat and use it to get what she wanted. If she wanted a drink, she would make me go get it. If I didn 't, she would say she would tell the shark what I did. This is also like in Mad Max and the Pedestrian. The Immortan Joe, Aunty Entity, the Cop Car, and Emptiness are use paranoia to keep themselves in control.

In an ideal future, most people would expect to see a world devoid of sickness, disabilities, violence, and terror; but what if the more realistic future holds all of these things to be the norm? What culture would then arise from the ashes of this new wasteland society, where people survive off the misfortune of others and the human body is a degenerate vessel for lost souls? Mad Max: Fury Road encapsulates every aspect of this future with all of the explosions and car chases of a classy action film and then some; for many, it stands as a masterly produced action thriller, but for me, the cultural implications, disabled heroes, and purposeful desexualization of female characters in the film prove that Fury Road is about so much more than simply

I have never head of or seen Mad Max: Fury Road before and WOW! was I impressed. In my journal, I will be talking about The Cult of the V8, Nux, and Imperator Furiosa.

In the movie, Conan the Barbarian, the director John Milius provides the audience with the opportunity to enter into a fictional world where a man has the ability to transform into a snake. Throughout the course of the movie, the lead character, Conan, experiences many hardships including the death of his parents, being a prisoner, and even death. Another movie that involves a fictional world is Mad Max 2: The Road Warrior, directed by George Miller. The setting of this movie in a post-apocalyptic Australian outback. The main character in the film, Max, is a very isolated man who keeps to himself until he goes looking for a gas tank. He comes in contact with two competing factions during his search. The factions battle each other in

This highlight area of his eye is the part of the frame which has the greatest contrast, so naturally the audience is drawn directly into this man’s stare,

George Miller uses editing techniques to draw the audiences eye to just the right places, taking amazing shots to perform some of the most outrages stunts with as little CGI as possible. The innovative costuming and makeup accompanied by such captivating characters helps set this post-apocalyptic film into action. Mad Max: Fury Road was not a movie that was expected to make $375.8 million in the box office and it was a definite surprise that it got ten nominations and six awards at the 2016 Oscars. Miller managed to make basically a two-hour car chase into a masterpiece that had audiences sitting on the edge of their seats. In 1980, he released his fist Mad Max movie starring Mel Gibson and followed in 1982 with “Mad Max 2: The Road Warrior.” After his third and final movie

Action-packed and highly-rated, Mad Max: Fury Road is a critically-acclaimed film about a journey of survival through a post-apocalyptic wasteland. There is no doubt that post-apocalyptic films are becoming increasingly popular among audiences as seen with movies such as the Hunger Games. However, Leggatt (2012) describes another variation in the post-apocalyptic genre, one that has been dubbed post-9/11 after a string of patterns prevalent in some post-apocalyptic films. Leggatt’s definition of post-9/11 apocalyptic films are ones that have a pessimistic tone towards the future of a society. As the world evolves and progresses, many new issues overlap and outgrow previous issues that have plagued the world before - though this transgression, the film industry follows suit in order to invent stories and media that is thought-provoking and relevant to changing society. Mad Max: Fury Road (2015) is a film that encapsulates many elements of Leggatt’s post 9/11 apocalypse film genre through the apocalyptic setting, derailment of redemption, and societal obsession with apocalypse over utopia.

The camera tracks backwards as Szpilman walks towards us. It gives the audience the feeling that he is limping into our hands as if we are helping a poor elderly man. Then the camera tracks from right to left as we get the impression that he is searching for something. The director chooses to track his movements slowly to make the audience feel as if Szpilman is moving along in a fragile house just like himself. The camera tracks along showing the audience a full view of him showing us the little steps he is taking just to get to the other room. There is very low lighting in this scene which shows as if he is looking for something quietly without making noise. Szpilman then finds something on the floor, so he bends down and this is shown by tilting the camera down to a low angle. The director has chosen to do it this way because it makes it flow with Szpilman’s movements. Then the camera tracks and zooms into Szpilman walking into the next room. When Szpilman finds a tin opener and uses it the camera focuses on it even though it is a small object and not important. As Szpilman carries on trying to open it the camera is still focused on it. The director makes the audience focus on that repetitive movement of trying to open it but at the same time distracting them from the characters emotions if anything surprising happens.