Realism In Still Walking

The influential career of Leni Riefenstahl has been a point of great contention amongst scholars and filmmakers over the last few decades. The legacy Riefenstahl leaves behind are her achievements and failures of her

Butterflies are often used to reveal big ideas. As an example, Simon description of said wildlife changes throughout the novel following changes in his personal life. Butterflies go from “returning to their roots,”(58) to “deserting the open space.”(151). The opposing ways that butterflies are mentioned creates the idea that they symbolize Simon no longer conforming to the group’s idea of a submissive follower. Simon is instead having revelations of his own and choosing to follow a different path. Simon being comfortable in his own skin and aware that you know what’s best for yourself shows a maturity he previously lacked. In the same manner Jack provides an image of butterflies being too preoccupied in the clearing to stop dancing.(149). The authors word choice develops the idea of Jacks savagery because it is eerily similar to the phrase associated with characters killing. Yet again the butterflies represents Jack. It seems to reveal how Jack is to focused on the pleasure he gets from taking a life to feel any remorse and stop. Remorse is necessary to prove a person still has trace amounts of good in them. recognizing the

Early cinema is often referred to as a progression to narrative cinema, Tom Gunning would argue that it was not a progression but had its own purpose and coined the term The Cinema of Attractions in his essay ‘Now you see it, Now you don’t’. This is the concept that a large quantity of the first film makers produced films that were more about the spectacle, most of the films leading up to 1900 reflected the fascination with technology and how things happened rather than why. Gunning noted that there were three assumptions of film; the general ideas that people had about the timeline of film and where it would end up. There is the cinematic assumption, the idea that film was ‘restricted to the technological reproduction of theatre’ (Gunning T.1993) early cinema was primitive and only a practice for what was to come. The narrative assumption is that film is ‘only important as it is a predecessor to a more engaging and effective form of film,’ (Gunning T. 1993) this suggests that narrative cinema is the natural form of film. The final assumption is the idea that ‘cinema only truly appeared when it discovered its mission of telling stories.’ (Metz C. 1974) These assumptions all encompass the idea that narrative is the end form of film. In this essay I am going to discuss Tom Gunning’s theory of The Cinema of Attractions and the differences between them and narratively driven films.

Gojira (a.k.a. Godzilla) has come a long way since its 1954 debut, spawning dozens of increasingly silly sequels and growing into one of the most recognizable franchises to date. However these ridiculous sequels have created a tendency to overlook Ishiro Honda’s “Gojira” as just another monster movie, but Gojira is much more than that. From a technical perspective, Gojira is a collaborative effort from some of Japans most renowned film makers, most notably film director Ishiro Honda and special effects expert Eiji Tsuburaya. They raised the bar not only from a technical standpoint, with their ingenious use of visual effects and intricate sets, but also helped further a more or less unexplored genre of movie in Japan (and arguably the world) which influenced a whole new generation of films. The film itself acted as a much deeper social commentary for Japan during the post-World War II era - it was a way to discuss what still were taboo subjects at the time. These subjects were mainly related to the recent nuclear bomb testing and the recent horrors of nuclear warheads the country experienced during World War II.

Symbolism - Pappachi’s Moth Pappachi’s moth throughout the book is a symbol and marker for the reader that earmarks Rahel’s feelings, whether it be comfort or fear. When Pappachi loses the credit for discovering a new species of moth, he is cranky for the rest of the novel. The repetition and referral to Pappachi’s moth draws contrast between Pappachi’s emotions and Rahel’s. Pappachi felt that “his life’s greatest setback was not having had the moth that he had discovered named after him”, this relates to how Rahel feels at certain points in the novel, in the sense that he feels fearful of a potential regret. When Rahel feels especially fearful, the moth seems to be creepily present; “A cold moth with unusually dense dorsal tufts landed lightly

e sidewalk. The boy hits a bump in the sidewalk and he flies over his handlebars and lands in the street. He has a few scratches but he seems to be OK. You’re not sure if he is hurt.

The sturdy hand of a magnificent film architect, who expresses herself with original sculpting techniques, shapes ordinary people with all their strengths and weaknesses. Ms. Reichardt’s cinema is more meditative than rousing, elusively beautiful in its conception, and constructed further beyond artistic superficiality.

In David Desser’s “Ozu’s Tokyo Story” he mentions that casual viewers fail to notice Ozu’s “scenic construction and segmenting of screen space” (12). Ozu Yasujiro’s use of the 360-degree space within the film Tokyo Story (1953) may seem like a “mismatched” action. The 180-degree line is a rule where the camera is position at an eye-line perspective. It causes the action within a film to continuously stay on one side of the axis line. Through the editing of 180-degrees, the audience has a connection to the film that makes them feel as if they were not watching a film, but rather, watching the action in person. Ozu, like many other Japanese filmmakers, was influenced by Japanese culture, especially architecture (17). Desser states “the first time we see the Hirayamas in the film, they are seated next to each other, each facing right. Yet by the time the sequence ends we suddenly notice that now they are facing left” (13). Near the end of the segment when a new character, Noriko, walks into the scene. At this moment in the film, Tomi is on the left side of the screen and Shūkichi is on the right. The film cuts and shows Noriko entering the room, cut, then Tomi is on screen right and Shūkichi is on screen left in a long shot. Desser clarifies “characters who converse with each other seem to shift spatially in relation to each other and to the space in which they are filmed” (12).

It seems as though the happiest person at the gathering is Ryota’s sister’s husband. His time is entirely spent with his kids, and doesn’t seem all too concerned about the stressful situation that the rest of the family is experiencing. He is a good example of how one should live. Another takeaway is that it is not good to take out your negative feelings on others. Throughout the film we are made to feel sorry for Ryota for being treated like the son who should have died, and then we are made to feel bad for the boy who Junpei saved. We are made to feel sympathy for them because they did not intentionally cause anyone else to suffer, but they are made to suffer nonetheless.

A very good morning to Mrs Gan and my fellow classmates. I am Choo Jin He from Biomedical Engineering course. Today, I will be sharing a book that I had read a few weeks ago. The title of the book is Chaos Walking: The Ask and The Answer by Patrick Ness and this actually the second book of the Chaos Walking series. All in all there are three books of the Chaos Walking. This book emphasizes on adventure, romance, mystery, Science Fiction and politics.

Kurosawa creates more realistic fight scenes in Stray Dog, Drunken Angel, and Roshomon by showing desperation, lack of finesse, and doing whatever they can to get ahead in the fight, and the use of diegetic sound to add to the narrative. This paper will be focusing on the confrontation in Stray Dog between Detective Murakami and Yusa in the woods; in Drunken Angel, the fight between Matsunaga and his boss, Okada; and in Rashomon, the woodcutter’s retelling of the fight between Tajōmaru and the samurai.

Overall, butterflies and moths are used to represent the transformations many of the characters have taken throughout the story.The novel as many different references to the butterflies and moths. Butterflies are sometimes seen as the spirits of the dead. They can also be used to represent a journey through life. Willa Cather used the insects to compare some of the characters to, and to explain Emil and Marie. In Conclusion, butterflies can represent much more than a insect with wings.

For decades now, one intrinsic film has been brought up on a list of renowned movies that are missing from the distribution. The movie Walkabout is a 1971 drama about two British siblings a little boy and his older fourteen-year-old sister, who are marooned and lost in the Australian outback by their father and are saved by an Aborigine boy who is, walking his rite of passage into manhood. "Nicolas Roeg was a cinematographer before he was a director, and this is one of the best-photographed films ever filmed" . This movie is also about peace and tranquility on earth, which finds beauty in small things such as mankind's kindness and how it can adapt quickly to harsh environments while civilization just tries to pave them over or wall them off. The movie takes its magnificent name from a tradition among the Australian Aborigines: "At the time of transition to young manhood, an adolescent

In this essay I will look at the emergence of Italian neo-realist cinema and how Italian Neo-realism has been defined and classified in the film industry as well as how its distinct cinematic characteristics could only have been conceived in Italy and how these characteristics set the neo-realist style apart from other realist movements and from Hollywood.

Luhrmann is eccentric and unconventional in his filming as he illustrates ideas and themes to modern audiences while still working with older texts. He uses Red Curtain Cinema in all his movies. Red Curtain Cinema breaks classic Hollywood traditions and the purpose of it is to entertain,