Rent The Movie

2. What forces are driving changes in the movie rental industry? Are the combined impacts of these driving forces likely to be favorable or unfavorable in term of their effects on competitive intensity and future industry profitability?

Though the first thing we learn about her is that she is afflicted with AIDS, she persistently lives an existence based on kindness and giving. The audience is immediately endeared to her when she saves Collins at the top of the show and patches him up. Right off the bat she is proven to be generous and tenacious, as she tells Collins, “I do not take ‘no,’” before healing him, buying food for him, Mark, and Roger, and then telling the absurd tale of how she procured the money to do so. As Angel and Collins fall in love, we see the impact she makes on the group of friends’ outlook. In the movie version of Rent, Roger is shown to have a change of heart and attend Life Support with Collins and Angel. This is a huge step for him because it’s been established that he never goes out and doesn’t want to talk about his illness. Angel’s presence is most profoundly felt when she is no longer there. At her funeral, when almost all of the characters have only known her less than a year, each of them is heartbroken. They share their most treasured memories of the outstanding character. Maureen says, “Angel always said how lucky she was that we were all friends. But it was us, baby, who were the lucky ones.” Angel’s death represents a turning point for the whole cast. Roger and Mimi have a split and fight at the funeral, as do Maureen and Joanne. Mark finds himself utterly alone. Roger moves to Santa Fe. Mimi starts getting sicker and returns to Benny.

When the recession happened, and the housing market crashed in Los Angeles a few years back many people lost their homes. The foreclosure crisis displaced many homeowners, drove up demand, and rental prices increased. Now, it is almost two years later, and the dramatic rent increases continue to soar. There would be no issue with cost of living increase except; the increases in income have yet to make the same shifts. “In many cities, rent is rising out reach of

Both Gold Diggers of 1933 (Busby Berkeley, 1933) and Swing Time (George Stevens, 1936) feature the now-infamous Ginger Rogers in two very different roles. In Gold Diggers, she plays a supporting role as the chorus girl Fay Fortune, whereas in Swing Time, she is the top-billed star playing the show business hopeful Penny Carol aside her perennial film and dance partner, Fred Astaire as show business veteran Lucky Garnett. These two Ginger Rogers roles provide insight into the socioeconomic roles women played in the societal landscape of the 1930s. By analyzing the same actress in two roles, one leading and one supporting, in two film musicals produced three years apart, we can isolate exactly what characteristics were fit for a leading lady at that point in film history. Upon close examination, many of the changes made from the supporting role of Fay to the leading role of Penny can boil down to two overarching themes: sexual repression and heterosexual coupling.

The movie is about two teenagers, David and Jennifer who get drawn into the 1950s fictional, black-and-white television sitcom, Pleasantville. The show portrays a very stereotypical image of the 1950s. In Pleasantville, both David and Jennifer are forced to take on the roles of Bud and Mary-Sue. As they play along in the perfect town of Pleasantville their presence influences drastic changes. As the citizens of Pleasantville discover sex, art, books, music and the concept of nonconformity, color takes over the black-and-white world.

After hearing about her father’s lose she was a complete wreck. A year after the star player of the Los Angeles Bullets death, Miranda lost everything. Her mother never had a job and always depended on her husband. Miranda and her mother found it hard to live in Los Angeles because they were not economically stable, so they decided to move to Boston. They got a mini apartment for the two of them. The apartment had two bedrooms, a dining room, a kitchen, and a bathroom. Some

Homosexuality had become increasingly accepted in many forms, and had survived the AIDS crisis that had so began with decimating its population. The main character Cliff would have more of a focus in this re-adaptation, his own “sexual past” with others, known to be “slow with women” due to his clear “attract[ion] to men.” The musical itself also demonstrated a much more overt sexuality; with the Emcee, played by Alan Cumming, displaying “sexual exhibitionism” with groping other actors, himself, and using “pelvic thrusts and groin movement[s]” to radicalize the musical even further to create an atmosphere that suited their present context and drew the audience into the story, even through uncomforting them with such behavior. This musical, one of the most recent adaptations of Isherwood’s original work, certainly creates a connection between the time of its creation and the context it acts out, with the sexual overtones of recent years receding in the finale of the musical, as the Emcee reveals his concentration camp uniform that beings audiences to difficult realizations of how possible such atrocities did and still can occur

This show has a handful of “faggots, lezzies, dykes, cross dressers, too.” There is a lesbian couple consisting of Maureen Johnson, a “drama queen,” and Joanne Jefferson, a public interest lawyer. They publicly kiss and have episodes leaving most of the audience feeling a bit uncomfortable. Maureen presents a performance piece against commercial development and in support of aid to the homeless titled “leap of faith.”

The musical Rent is a representation of the Bohemian lifestyle of being different and being able to explore and be unique. What makes this musical so unique is its revolutionary musical style and a plot like no other. The lyricist and composer of the musical Jonathan Larson did something no one would ever imagine and go outside of the box. Who would have thought of putting lesbians, gays, HIV and AIDS victims, and the life of a Bohemian into one rock and pop based musical? This struggle to survive and accomplish things makes Rent amazing.

The plot of Rent borrows heavily from its predecessor. La Boheme was also based on young artists and free-thinkers, and these characters were afflicted with the plague of the time period, tuberculosis. Similarly, in Rent the artists are all affected in some way by the HIV and AIDS epidemic of the 1990s. The story highlights the two roommates Mark and Roger. A former tragedy has made Roger numb to life, and Mark tries to capture the ups and downs of his friend’s lives on tape through his attempts to make a film.

Before going in depth of the play, I would like to focus on Alison Bechdel works. Bechdel was born into a Roman Catholic home. Before the graphic novel of Fun Home, she was originally known for her “Dykes to Watch Out For”. This comic strip story ran from 1983 to 2008 and it represented lesbian popular culture at the time. You will follow the story of Monica Testa (or Mo Testa) with her friends on how they react to political events, such as Michigan Womyn’s Festival, and Gay pride parades that affect lesbian culture. Having read this comic myself, for a LGBT class in the University of Maryland, you get a slight understanding of what Bechdel is thinking. We see in the comic strip that she lives normally like other people and share those experience.

This year marks the 60th anniversary since the premier show of “summer of the 17th Doll”, and the State theatre company’s immersive and compelling illustration of typical suburban dystopia does not disappoint. The exciting saga of the touch and go relationships between two working-class barmaids and their cane-cutting lovers, who have come down south for the off-season, is met by an equally charismatic cast that allows the director (Geordie Brookman) to fully explore the notion of 1950s stereotypes and the chaos that ensues when they are broken.

It follows the story of a suburban housewife named Carol White (Julianne Moore) who develops an illness her doctor cannot diagnose and her husband (Xander Berkeley) cannot understand. The film raises various factors into play such as class, gender, race, self-help culture and so on. The biggest question to answer is whether Carol’s illness is real or not. Haynes does not provide his audience a direct answer to this predicament.

Rent  is a 2005 American film adaptation of the Broadway musical, which was based on Jonathan Larson’s Pulitzer and Tony Award-winning musical. The movie depicts the lives of several Bohemians and their struggles with sexuality, cross-dressing, drugs, life under the shadow of AIDS, and paying their rent. It takes place in the East Village of New York City in the late 1980s.

The film Rent (2005) is based on the musical by the same title, which is a story about people trying to make ends meet while being directly or indirectly affected by AIDS. The title is a little misleading, because the story mainly follows the relationships between characters and the effects AIDS make on their lives, while the subplot is them struggling to pay the rent. There is one main heteronormative relationship that is followed in the film, but the other two are not. One includes a gay man, Collins, who is with a person that is inferred to be a transgender woman, Angel. The other relationship is about a bisexual woman, Maureen, who loves a lesbian named Joanne. The original musical was written by Jonathan Larson, who incorporated autobiographical aspects, such as his bisexual girlfriend who is portrayed by Maureen, who left him for another woman. Larson was inspired by the La Bohème opera, but changed the gender of Joanne’s character to be based on to a woman. Larson was known for exploring social issues in his works and illustrates topics of homophobia, addiction, and multiculturalism in Rent. The musical and film reaches out to people that are considered to be unconventional, giving the message to take pride in who you are and characteristics or qualities that are considered to be disgraceful. The different relationships are used to show there is more than just non-heteronormative relationships, providing a message that taking pride in