Narrative Analysis Of Casablanca

When Japan was at the turning point of its economy and in the process of forming a new government, Nakae Chomin wrote A Discourse by Three Drunkards on Government, a political theory book that primarily deals with question of Japan’s future with an interesting debate between Champion and the Gentleman. Character Champion thought that Japan should step out of their isolated island and become more forceful in its handling of foreign disputes. He believed that Japan will stay weak if Japan did not have the strength and forces to conquer other nations. The Western learning Gentleman on the other side is a proponent of the modern Western notion of liberty and equality. He criticized Western nations for maintaining large armies that drained their economy. He suggested that Japan should abandon all attempts to compete with the West militarily and commit itself fully to the values that the West did not have. Approximately sixty years has passed since then, and Champion, Gentleman, and Master Nankai have gathered around once again to discuss the postwar Japan, the rise of the militarism, imperialist aggression, and the subsequent adoption

     In Casablanca, the prominent themes of unhappy love and self-sacrifice set this romantic melodrama apart from most in its genre. These themes are best expressed in the interactions of the three main characters: Victor Laszlo, a heroic political leader; Ilsa Lund, an enigmatic femme fatale; and Richard (Rick) Blaine, a seemingly morally ambiguous night club owner. An unusual love triangle forms with the two men’s mutual love for the intermediary woman. Unlike the archetypal romantic triangle which includes the betrayed husband and the victorious lover, this situation results in unhappiness and loss for all involved. All three are willing to sacrifice for this love,

Japan believed they were the fountain of the Yamato race and believed they were superior to any other asian race (Document A). Japan also thought that America would crumble and become “Old Orders” (Document A). Japan's expansion into Asia caused them to go after the bigger countries.

Casablanca has all the basic structures of a Classical Hollywood film, as indicated with the opening shots. In the first few minutes of the film, few details are told to the audience, explaining that the Germans were talking over Europe, the coming of World War II, and the political refugees fleeing. Lisbon was the common point of exit and there was often no easy way to get there, so many people travelled to Casablanca, in Morocco. In Casablanca, people would do anything to get an exit visas. The narration was beneficial for audience to easily follow and this helped the story to develop.

In the 1942 film, Casablanca directed by Michael Curtiz, is a classic film noir. A film noir or black film, is characterized by the tone of dark elements, physically and psychologically, the element of crime, and the element of World War II and post-war disillusionment with influences of German expressionism. This film captivates the classic film noir characteristics thematically through Rick Blaine’s behavior, the characters and atmosphere, and the significance of the one setting used through the entire film as well as cinematically through the overall cinematic elements that establish scenery.

Nevertheless, it seems that they represent American society in the 1940’s. The character of Rick portrays an unconventional hero who tries to stay outside of everyone’s business, but in the end it is him who saves Laszlo’s and Ilsa’s life. This reminds me of the role of America during WWII. At first, the United States tried to stay out of the war, but when they were forced to react after Pearl Harbor, they got involved. The film also refers to this when Rick asks his friend Sam if he knows what time it is in New York. Before Sam can reply, Rick says that it must be December 1941, which was the time when the attack against Pearl Harbor occurred. Ilsa, on the other hand, represents the role of American women. She is described as the most beautiful woman that has been seen in Casablanca. Her appearance reminds me of the typical image of an ideal American girl – blonde, pretty and conservative. She tries to act in a moral way when she finds out that her presumed dead husband is still alive and she leaves Rick at the station in Paris. This reminds me of how women were treated during the 1940’s. It was their responsibility to take care of the family business, but in the end men would have the final decision. Ilsa tries to get the transit-visa from Rick, but she tells him to decide what she should do next. Rick sends her away with Laszlo and restores the perfect family union between Ilsa and Laszlo. Another

If you were to stage the play on which Casablanca is based, how would you use lighting in your production? Describe one scene from the film and the lighting it uses. Would you change the lighting in any way for a stage production of the scene? Why or why not? Well if i were to do a movie on Casablanca i would not have made the movie black and white, but the way that the film had its lighting was pretty good, but in some parts like in the time period “4:04” before the man stole the other man's wallet they were under a shadow which showed that there was light out, but when it came to the detail of the face, it was not so great. I would have changed this by having some type of light reflectors just so the detail of the main character in that shot can be

The Japanese empire was in great power by this time period, and they thought themselves as the king of the East Asian race. Japan, the “old order”, also believed that some day Europe and America would take over their power and become the “new orders”(Doc A). Japan was one

They were taught that they were the supreme beings and everyone is beneath them as shown in their actions. There have been multiple accounts of soldiers witnessing the cruel brutality of the Japanese soldiers. Their belief that they are superior was supported by a Japanese Citizen asked about why they believe that Japan will win the war, “Japan has never lost a war. She cannot be beaten. All of Japan is one mind” (Doc B[2]). This statement confirms that Japan was sure of herself. This signifies the strong and deep belief that the citizens hold of

The Japanese held themselves as the superior Yamato race destined to conquer all of Asia. The United States wasn’t far behind this supremacist thought. In fact, it had a long history of white supremacy and would go on to establish authority in many strategic areas of Asia just as Japan had attempted. MacArthur’s secretary/advisor goes on saying “[t]here are those among us who advocate slaughter of all Japanese, a virtual extermination of the race.” This statement carries supremacist tones that cannot be confused with the ideologies of the Axis powers.

In contrast, Rick's lighting creates an exhausted image of the older night club owner. His key light casts shadows which emphasize wrinkles. This wearied picture of, complicates the relationship between Ilsa and Rick. Clearly Ilsa, who has wronged Rick, sympathizes and wants to reach out to him. However, her relationship with Lazlo precludes the possibility of Ilsa consummating her love for Rick. Thus, the lighting places a difference between Rick, a pathetic bachelor, and Ilsa, the innocent, angelic lady. The characters posses qualities that are both acceptable, however in this particular instance it's easy to believe that the audience still is glued to Rick and isn't fooled by the angelic portrayal of Ingrid Bergman's Ilsa.

In the film Casablanca they show various different aspects of American culture during the wartime forties. These things are cumulated in the films sole American, whose name is Rick. However this film not only shows the culture of Americans but also shows a look into what Americans viewed the war as. The values of people and what was considered obtuse for society are ever changing, and you can see this as plain as day within the movies and films of the time. Casablanca is an amazing example for this because it is special in the fact that it’s the only play written during the time that was never played but was instead turned straight into a movie. Now let’s take a more in-depth look into the movie and how it’s connected to the people who were meant to watch it.

How the United States and Japan integrated “previously despised populations into their nations in unprecedented ways, while at the same time denouncing racial discrimination and even considering these peoples as part of the national populations and, as such, deserving of life, welfare, and happiness” (Fujitani

To give a proper analysis of "The Grand Budapest Hotel", it is necessary to understand the several layers through which the story is told. The film begins with a monologue from the narrator (presumably in the present day) describing to the audience what it is to be a storyteller. He then proceeds to give an exact account of how he, a writer, came to meet and have dinner with an old gentleman named Zero Mustafa when he was staying at Grand Budapest during its "decline into shabbiness." The body of the film is then presented from Zero 's perspective during the course of an elaborate dinner, as he tells our narrator how he came to own the Grand Budapest. The storyteller seems to be an omnipotent paradigm of the film, and Wes Anderson seems to be encouraging people to tell the story of others. As stated by the narrator at the end of his opening monologue: "Of he who tells the story of many, many stories will be told." "The Grand Budapest Hotel" is the story of relationships; the relationship between Gustave and Zero, and the relationship between the Grand Budapest itself and the characters that inhabit it the relationship between storyteller and audience.

The culture of a place is an integral part of its society whether that place is a remote Indian village in Brazil or a highly industrialized city in Western Europe. The culture of Japan fascinates people in the United States because, at first glance, it seems so different. Everything that characterizes the United States--newness, racial heterogeneity, vast territory, informality, and an ethic of individualism-- is absent in Japan. There, one finds an ancient and homogeneous society, an ethic that emphasizes the importance of groups, and a tradition of formal behavior governing every aspect of daily living, from drinking tea to saying hello. On the surface at least, U.S. and Japanese