Poverty – Filmmakers sought to be more true to life than they consider most classical filmmakers had been. (show poverty and issuses)
Analysis of Why the Pledge of Allegiance Should Be Revised Why the pledge of allegiance should be revised, by Gwen Wilde, is a very well written essay that the reader would most likely deem convincing. Gwen Wilde states that the Pledge in its latest from simply requires all Americans to say
Society tends to associate propaganda films with issues such as Nazi Germany and their film messages for their country; however, it is also possible for small independent companies, groups of like-minded people and individuals to use the media of film to incorporate messages for our society (The Independent, 2010). These messages are often in relation to changes that individuals should make in order to improve the standards by which they live their lives and changes to everyday habits that will benefit the individual, the individual’s family, a group of individuals or even a single person (Barnhisel and Turner, 2010).
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).
Handout 1: Questions for Triumph of the Will by Leni Riefenstahl (1934/35) 1. Why does this film begin with a view of the clouds from the cockpit of an airplane? What might this image symbolize? I believe that the film began with a view of the clouds from the cockpit probably
“Since the early twentieth century, critics, filmmakers, and actors such as W.E.B. Du Bois, Clarence Muse, Sidney Poitier, Spike Lee, and Henry Louis Gates Jr. have argued for various approaches to representing African Americans in film, and it is unlikely that this conversation will become simpler or more unified in the near future. In fact, conversations are bound to become more complex as the nature of racial identity in America has become more heterogeneous in the last few decades”.
1. I like this because it has thesis statement, strong three supporting details, and reliable evidence. This essay is very effective that state his position strongly, “it is their social responsibility to avoid stereotyping ethnic characters because they are harming society by exploiting racial stereotypes, undermining ethnic groups, and the fact that they are very influential.” The writer express his opinion well in this essay, especially, I liked he used the statistic facts to provide the evidence of how much Hollywood is influential to people.
The novel Documentary Storytelling by Sheila Curran Bernard delves deep into the behind the scenes of the development of documentary. She writes powerfully and informatively on the structure of documentary and how time on screen can be used. In the chapter entitled Planning and Pitching, Bernard discusses the importance of selecting a cast of experts with a wide range of viewpoints (Bernard 148). I agree with Bernard that having a diverse range of opinions may add credibility to the film, but I must argue that having too large an amount will undermine the direction of the film. While having a wide range of viewpoints may balance the film, those viewpoints may contradict each other and make the concept of the film difficult to understand.
The substance of Moore’s documentary is made up of interactive interviews. On page fourty-four, Nichols writes of the Interactive Mode: “ The filmmaker’s voice could be heard as readily as any other, not subsequently in an organizing voice-over commentary, but on the spot, in face-to-face encounter with others. The possibilities of serving as mentor, participant, prosecutor, or provocateur in relation to the social actors recruited to the film are far greater than the observational mode would suggest.”
After WWII “political avant-garde” films flourished. These social documentaries challenged political institutions that oppressed the many for the benefit of the few and called for political change taking up causes from feminist movement to Civil rights (Benson 8). This call to action is what Grierson thought documentary films were missing.
One of the rhetorical choices made in my research argument was the deliberate focus on logistical appeals when providing evidence to my audience. An example of this is when I highlight that “it is estimated that nearly 10 million pounds of antibiotics are added to cow, hogs, and chicken feed individually” to prove that raising livestock in healthy environments would cut back significantly on the cost of antibiotics in the meat production industry. In this example, I identify a large cost for meat producers, and then go on to explain how the benefits of raising chickens ethically would allow for them to significantly cut back on antibiotic costs. Large companies focus almost entirely on numbers and profits. Therefore, it is important to make logistical appeals, such as showing how certain changes would save them money, when trying to convince them to make changes.
Minow’s push for beneficial, valuable broadcasting led to the eruption of documentaries. Despite public opinion, documentaries can have ulterior motives for content such as propaganda and subjective aims. According to Minow’s speech, “program materials should enlarge the horizons of the viewer, provide him with wholesome entertainment, afford helpful stimulation, and remind him of the responsibilities which the citizen has toward his society” (Minow). All television entertainment should be designed to present the viewer with an unbiased view. In Harvest of Shame,
A film, generally speaking is digested on a surface level as a piece of entertainment and some elements can pass the viewers by. However films are cemented in the time and place they were made and the filmmakers unique self-expression is presented in an artistic form to fully give their work depth. Typically, feature films are narrative driven and focus on a central set of characters and their trials and tribulations. However, the film can mean something deeper when fully delving into the content of the work, whether it is cultural, political or ideological in its message. These elements presented give the work depth thus allowing deeper discussions and analysis of a work that may seem simple on a surface level. Student filmmakers have always strived to implement these points in their work. With the aim of improving their practice, it is considered a necessity to include these elements in order to fully dissect the elements of specific works to understand the method in which these messages are implemented. In this assignment, I will discuss the content of the cult film They Live (They Live, 1988) so I can fully grasp the symptomatic and ideological elements behind the film and how it has inspired other artists.
There were three films we saw in class; these three films were made during political and social change in their respective countries. The three films have a similar style and it helped people to cope with this reality. These films represent the political social freedom of speech. First, The Great Dictator, a film with humor, was made at the beginning of World War II when Charlie Chaplin spoke for the first time representing different characters to prove his opposition against Nazism and mocking Hitler. His humoristic film relieves political stress over society. Next, No Regrets For Our Youth, a sentimental film, was made at the end of World War II and represents a new generation with new changes. The principal character projected the new style
The Pursuit of Truth The films Banished and Shattered Glass are very different films that argue similar and relevant points on ethical decision-making. The most prevalent comparison between the two is the protagonist journalist’s pursuit of the truth in both films. The exhibitions of ethical dilemmas the characters face prove that despite the existence of unethical behavior, restoring credibility and accepting consequences is necessary for reformation. Making decisions based on the feelings of good or bad instead of right or wrong affect others more abundantly and shows a devaluation of accountability on the part of the actor. Antagonists of the films, sought out to fulfill selfish needs by basing their decisions on whether they felt good or bad about their actions. In comparing the films, I found that both Banished and Shattered Glass personified ethical dilemmas by examining the need for full disclosure on the parts of the ethical. The ability of the community officials in Banished to use conscious thinking to make better decisions for the community differs from that