Summary Of Murnau's The Last Laugh

The varying social interactions between status groups in Katsu Kokichi’s autobiography, Musui’s Story, convey a shift from the hierarchically strict Heian/Kamakura epochs to the more socially open late Tokugawa period. Throughout the work, Katsu illustrates his various dealings and communications with peasants, merchants, artisans and fellow samurai. While in theory a social hierarchy still presided, Musui’s Story dismisses the notion that social groups remained isolated from each other, as in previous Japanese eras, and instead reveals that people of Japan in the late-Tokugawa-era mingled with one another during their lives, regardless of their social status. Considering the

In the 1931 film “City Lights”, Charlie Chaplin “opens our eyes”, so to speak, about how society values trivial elements of people over the deeper person by using blindness. In this film, Chaplin brilliantly mixes lighthearted comedy with deep and complex ideas about problems with society. Chaplin uses music, gags, and a genuine love connection to portray this point in multiple ways throughout the movie. Chaplin also took the bold step of not making a talking movie, even though they were available at the time, making the details in the pictures and sounds he was creating that much more important. What makes “City Lights” so special, and different from other comedies, is Chaplin’s natural blend of comedic scenes with tense and serious scenes. Chaplin weaved together a masterpiece that culminates in the end with the lady seeing who she fell in love with, which is also the moment Chaplin slaps the viewer in the face with the realization that the priorities in society are misguided and that the important things cannot be seen with the eye.

The attack on Pearl Harbor by the Japanese led to the entry of the United States in the World War II. While the war was going on, the United States decided to put Japanese into camps an effort to get rid of Japanese spies and make sure that nobody had contact with Japan. In Farewell to Manzanar, an autobiography written by Jeanne Wakatsuki Houston and James D. Houston, the author shares her experience at camp Manzanar in Ohio Valley, California during the 1940s. The book was published in 1973, about 31 years after Wakatsuki left camp Manzanar.

Farewell to Manzanar is a collection of all of Jeanne Wakatsuki’s memories at Manzanar, an internment camp designed for Japanese immigrants. During World War II, the Japanese-Americans were relocated in Manzanar; the reason behind the relocation was due to them being accused of being threats to national security. I believe that the following paragraph is able to capture the struggle the author and the other residents of Manzanar faced in the journey home.

Musui 's Story is a samurai 's autobiography that portrays the Tokugawa society as it was lived during Katsu Kokichi 's life (1802 - 1850). Katsu Kokichi (or Musui) was a man born into a family with hereditary privilege of audience with the shogun, yet he lived a life unworthy of a samurai 's way, running protection racket, cheating, stealing, and lying. Before we discuss how Musui 's lifestyle was against the codes that regulated the behavior of the samurai, it is essential that the role of the samurai in Japanese society be understood.

Visualizing the scene of this tragedy proved to be an effect strategy Beller used to illustrate his tone. The visualizations the author provides generates the specific ideas Beller wants his readers to recognize: “The whole street paused, froze, screamed, and some people broke into tears, many people brought their hands up to their mouths, everyone was momentarily frozen, except for the ashen guy, who just kept walking¨ (Beller, 62). This perception of the crowd creates an image in readers minds. With that image accepted, readers can more fully grasp Bellerś chaotic tone.

Poetic Realism was a film movement in France during the 1930’s that combined qualities of both Impressionism and Surrealism to create a unique way to tell stories through narratives, long, continuous shots, and sets that took a slice of reality and made it their own. The various techniques used to create shots “more real than life itself” were groundbreaking for this time period. In the past, sets of films were unrealistic and exaggerated; they were telling stories outside of reality, so their sets were not attempting to immerse their viewer in the film’s location. The 1920 film The Cabinet of Dr. Caligari used very simplistic sets to tell its story, but the filmmakers did not expect or want the audience to take them as reality. They were entirely aware that the walls

Leni Riefenstahl was one of the most revolutionary and certainly most controversial filmmakers of the early twentieth century. The lasting influence of her innovative filmmaking techniques on twentieth century cinema is undisputed by scholars throughout history, but the exact nature of her work is surrounded by ongoing controversy. Riefenstahl’s production of the feature films “Triumph of the Will” (Source 3) and “Olympia” (Source 1) have left a lasting imprint on history; these films established Riefenstahl’s influential career as a film director under the years of the Nazi regime. Although these films are attributed by scholars and critics to be Riefenstahl’s greatest achievements they are also considered to be her greatest fault, for

The time after the fifteen hundreds marked a time of great change in Asian countries. Places like China saw a new dynasty take control of the country. And almost every Asian civilization from India to Indonesia came in contact with people from western nations which changed the way people did business and the way Asians viewed the world. Japan, however, seemed to keep separate from the rest of Asia in the way that they were hesitant to deal with westerners. Despite their separateness, this period in time still brought an immense amount of change to Japan and its culture. The autobiography titled Musui's Story shows what life was like during Japan's time of change. When taking Musui's Story in context, one can see not

The dust storms, the communal mess halls, and the open latrines are culturally insensitive examples of Japanese Americans at Manzanar. First, the living environment in the internment camps is harsh. Dust and sand cover the entire bare floor. They envelop the people’s entire mattress, clothes, furniture, and so on. The dust is so bad that Jeanne’s mother has to exclaim: “We can’t live like this. Animals live like this” (26). Next, with the birth of the communal mess halls, the internees stop eating as a family. Jeanne’s mother has to bring food to Granny in the barrack. Jeanne and her siblings begin eating with their friends, or they try other mess halls for better food. The Jeanne’s family “after three years of mess hall living, collapsed as an integrated unit” (37). Lastly, the foul latrines without partition make the living condition in the internment camps not only unclean, but lack of privacy at least a person should have. Like most of the people there, the using of latrines is a humiliation for Jeanne’s mother and she “just learned to endure: shikata ga nai, this cannot be helped” (33).

Cinema of Attractions is concerned with the ability to display. Attractions wanted to show the ‘here and now’, interacting with its spectator with the aim of satisfying the audience’s curiosity quickly (Gunning, 2004: 44). It displays current events, scenes form everyday life, composed scenes, vaudeville performances and also camera tricks (as pioneered by George Méliès). Cinema of Attractions aims to astonish its audience (Strauven, 1999: 50). through displaying, rather than amusing its audience through narrative content. This is seen in films such as G. Méliès’ ‘ L'homme-orchestre (One Man Band)’ (1900), or his ‘L'homme à la tête de caoutchouc (The Man With The Rubber Head)’ (1901) where the actor(s) constantly address the camera/spectator and the audience is

In the story The Laughing Man, John Gedsudski’s life drastically goes downhill after his girlfriend gets an abortion, which he portrays the way he feels in his final version of the laughing man. The story is being told in 1928 by a nine year old boy in the Comanche Club troop. Standards and the way of life in general were very different then. One custom was to wait until you’re married to have intercourse but in the case that one did participate and got a girl pregnant, then the man would have to marry the girl, it was the right thing to do. The chief is described as not very attractive but is very athletic is good at telling stories.

Gunning goes on to define the cinema of attraction as “a cinema that bases itself on the quality that Leger celebrated: its ability to show something. Contrasted to the voyeuristic aspect of narrative cinema analyzed by Christian Metz, this is an exhibitionist cinema,” (Gunning, 230). It’s a cinema before narrative where the focus lied in testing the boundaries of what was possible with the medium, much like avant-garde today. It’s a cinema where narrative was always second, if even there, to the spectacle of what was possible with the medium. Lumiere’s Demolition of a Wall displays some of the possibilities of the medium quite clearly in its later half when the reel is re-winded to create the effect of the wall rebuilding itself. As Gunning reminds us, we should never forget that “in the earliest years of exhibition the cinema itself was an attraction,” (231). Cinema was defined by the machine instead of the films in this period, and thus the simple fact of being able to see moving pictures was itself astounding. Looking at Maxim Gorky’s first accounts of viewing a motion picture in his article The Kingdom of Shadows, he writes the “extraordinary impression it (cinema) creates is so unique and complex that I doubt my ability to describe it with all its nuances,” (Gorky 7). The people of the

In the silent era, most American horror movies were somewhat nervous efforts, more likely than not to have their supernatural elements explained away, and to be leavened still further by the insertion of the most painful kind of “comedy relief.” As far as actual screen horror went, the Germans expressed their films in their way; this would not change the way horror films were created until sound cinema. The year 1931 would prove to be a landmark in the history of screen horror. Horror films during this period reflected the need of the population for entertainment that bore little resemblance to their real-world circumstances. The viewer's favorite movies had highly fantastical creations and featuring supernatural creatures from 19th-century literature. Universal Pictures was undoubtedly the studio that most successfully tapped the audience’s desire for escapist horror during the period. There were successful horror films produced by other studios in the 1930s.

From the first scenes the viewer can clearly notice how the machines (often seen in the foreground of the frames) are ruling the life of the workers. As for his most appreciated works, Chaplin’s view is between slapstick and satire, showing the spectator a visualization of the Great Depression by enhancing the tragicomic situation of his factory-owned Tramp, in his last appearance on screen.