The Film, Like All Extremist Films

Despite the brevity of the short film genre, the lack of commercialist motives associated with the production of these texts present film directors with the personal choice of addressing social critiques. Vincent by Tim Burton explores the use of experimentation through criticising a society’s exclusion of a psychologically disturbed child and the impacts it can have on this individual. In September 11 (Iran), Samira Makhmalbaf concisely presents the innocence and ignorance Afghan children possess, criticising the incessant political turmoil of Iran, which normalises the concept of death and terrorism. The large extent of personal choices a director can present within short films allows for the selection of themes and the social commentary

A body genre is one that literally attempts to provoke affect, or a physical response as opposed to an intellectual one, from the viewer. The repetitive formulas and spectacles of film genres are often defined by their differences from the classical realist style of narrative cinema. In Linda Williams’s, Film Bodies: Gender, Genre, and Excess, she describes how cow these classical films have been characterized as efficient action-centered, goal-oriented linear narratives “driven by the desire or a single protagonist, involving one or two lines of action, and leading to definitive closure” (Williams, 3).

Development and adaptation of the western genre has occurred throughout the twentieth century in relation to the shift in context, this is still relevant. Stereotypes of a western genre and the context are determined by the time in which the film is being produced. The time in which they were produced determine how social construction, gender ideas, values and attitudes, the setting and SWAT codes are demonstrated. I have chosen to present this speech by looking at the film studied in class, and a film of my choice and how the difference in context has changed in the tie of these two films.

It isn't hard to see why Breathless (original title: À Bout de Souffle) manages to distinguish itself from general film, being now or at the time it came out. Despite being the first film by influential French director Jean-Luc Godard, its visual style and unconventional approach has led to the film being labeled as historically significant and brought international acclaim to the French New Wave movement. It

In this essay, I will explain why a documentary is always more realistic than a fiction film. I will show my thesis by exploring elements that influence how realistic a film is: film editing and format, genre, and transparency. I will use the documentary of Armadillo (2010), by Janus Pedersen, and the fiction film of The Chronicle of Anna Magdalena Bach (1968), by Danièle Huille as examples.

However, they don't know what goes on behind closed doors; at first the marriage was amazing, filled with kindness and love, but then complications began showing up in the pregnancy, her body was too weak and there was an immense risk of losing the baby. Her husband, Steven was filled with uncontrollable rage while their little town wept in sadness for the unborn little girl. Sierra was in shock, the thought that the little heartbeat she'd grown to love in her stomach could just stop one day and all as a result of her had a devastating effect. She was ripped from her heart wrenching memory lane by the sound of her husband's car pulling in the driveway, she gasps in surprise and whips her head towards the clock not believing what time it was. The thoughts of all the cleaning she didn't do flooded her mind and her heart stopped as the sound of the keys turning in the lock cause a fuzzy feeling of fear to fill her from head to toe, she knew she was going to be in an abundance of pain tonight. She quickly shoved the music box back in the drawer and shut it, her heart pounding in time of her husband's heavy steps coming up the stairs towards their room. The door handle turns slowly almost as if he knows she's in there and is trying to torture her with the suspense of her pain, the door pushes in. He walks in the room with a large scowl on his handsome face, but to her amazement, he walks right pass her, as if he

Breathless is a 1960 French New Wave film, written and directed by Jean-Luc Godard, about a wandering criminal and his girlfriend. The film premiered in France, attracting two million viewers and winning both the Prix Jean Vigo and the Berlin International Film Festival Award for Best Director in 1960. Godard’s interesting use of numerous jump cuts in the story as well as documentary style cinematography is what makes Breathless so iconic and recognized as one of the earliest and most influential examples of the French New Wave genre. One of the main components of the film is its use of jump cuts. In Godard’s work, every scene with slow intervals was edited or removed, creating multiple jump cuts that represented the passage of time.

Making an impact on their viewers is something documentary directors have always strived for. This is exactly what Agnès Varda, a French filmmaker often associated with the French New Wave, does in 2000, at the age of 70, in her first digital film, Les Glaneurs et la glaneuse, a documentary about gleaning in all its possible different forms. In order to convey her ideas about gleaning in her documentary Les Glaneurs et la glaneuse, Varda uses both technical tools and thought-provoking content. This is evident through the way she utilizes her chosen mode of production as the base for film’s design. It is also made clear by the impact this design has on the themes and content. The film can also be associated with Wasp, a British short directed by Andrea Arnold, because of their captivating thematic and formal similarities.

Oscar Wild once said, “The truth is rarely pure and never simple” and he is right. But no matter what the outcome is, or how complex the truth is, we will always strive for the truth. The concept of truth is no stranger to film documentaries, and one filmmaker that certainty was aware of that was Dziga Vertov. During the 1920’s Vertov created a newsreel series to promote the concept of ‘Kinopravda” which translated to English mean “Film truth.” Unfortunately, Vertov was ahead of his time, and this concept disappeared along the filmmakers’ path. It wasn’t until the 1960’s that other filmmakers around the world once again recognized the importance of the truth. Two movements with the purpose of revealing the truth of life, emerge in

The Battle of Algiers, which was produced in 1966 and directed by Gillo Pontecorvo, is a film which explores the Algerian struggle for independence between 1954 and 1962. The film is constructed using a documentary style and was filmed on the actual locations where events unfolded. The Battle of Algiers is an example of neorealist filmmaking which purports to give an objective, realistic account of the battles waged between the FLN (National Liberation Front) rebels and the French military. The formal elements of style which create the narrative can be examined using semiotic theory in order to better understand how the viewer can be interpellated into particular ideological positions.

In this paper I inquire about the distinctions between the genres of hard core art cinema and pornography. Given that the definitions of both pornography and hard core art cinema are rather contentious and the dividing line between these genres is quite blurry, this curious question is of importance. In this paper I attempt to examine where and why this dividing line is usually drawn. In order to do this, I take as examples two controversial films – Une Vraie Jeune Fille by Catherine Breillat (filmed in 1975 but never shown until 1999) and Pretty Baby by Louis Malle (filmed in 1978) – and trace critics ' responses to them in order to compare different reviews and opinions, especially on the issue of sex scenes and nudity presented in the films. I chose Une Vraie Jeune Fille because this film contains close ups of genitalis and scenes of unsimulated sex that were deemed obscene at a time. By contrast, Pretty Baby has been deemed offensive and obscene not because of sex scenes but because it contains nude depictions of a twelve-year-old actress. This paper is structured in such a way

The Dardenne brothers presented a world providing a silent revolution inside the art film with an unmistakable mark, humanist realism. A hand-held film following the characters as we dive to discover more of the narrative as the conflicts start to unfold. A sordid story about illegal immigration, moral failure of principles, a tutorial about social dilemmas faced by a new Europe and an emotional odyssey of a boy who seeks to acknowledge his own awareness when evolves his own code of values.

The parts with the movies will mainly focus on the documentary “Sex Slaves” by Ric Esther Bienstock will be analysed thorough a Formal Analysis Approach. A formal analysis of a film or films requires that the viewer breaks the film down into its component parts and discusses

Catherine Breillat is another filmmaker that criticizes the aesthetics and societal demands to fit into the norms of femininity and the burden it brings to the female sex. In her film, Anatomy of Hell, she indulges in taboos and the society's indifference towards the female sex to shine a light on the traditional and oppressive views of the female body and human sexuality. She explicitly explores the depths of the female’s sex and indulges in the men’s view of the female body and the feelings it brings about. The film follows a man and a woman in a four day exploration of women's sexuality in a secluded home where the woman is in her most vulnerable stage (nudity) in hopes of understanding how men view women. The film opens up with her in a gay club where she is openly isolated as the only woman and excluded in her otherness. She is surrounded by men on men sexual activity through kissing, dancing, and oral stimulation. The scene overwhelming indulges in the isolation of women in their femininity and thus becomes a metaphor for women’s place in the world and society. Their appearance is viewed as that of Other where they can not appear and move in the same way as men and this scene explicitly shows how excluded women feel from public space in a society dominated by man. The woman enters this scene and feels overwhelmed by the masculinity surrounding her and the inferiority imposed on her through their immense presence, so she goes to the bathroom where she brushes past a man who actually sees her. She sees him the way he sees her and goes to commit suicide. In an interview with Breillat, she states “More than desire, she is looking for her sexual identity, for her ‘self.’ For her, he is a kind of image. It’s not a club for homosexuals, it’s a club where men come together, men who don’t like women, and there are many places on the planet where men don’t like women. It’s an allegory” (Kevin Murphy, Hell’s Angels: An Interview with Catherine Breillat on Anatomy of Hell). Being in a room surrounded by men that hate her, she goes to end her life. She slits her wrist and the man walks in and stops the bleeding. He asked “Why did you do that?” in which she replied “Because I’m a woman” (Catherine Breillat, Anatomy of

I denne projektrapport foretages en analyse af filmen Dogville, 2003, instrueret af Lars von Trier. Ved premieren og i den debat, filmen vakte, blev den karakteriseret som anti-amerikansk, moralsk, religiøs m.m. Projektet er udarbejdet ud fra den tese, at Dogville er en film med en meget kompleks form, hvilket gør det svært at tage den til indtægt for bestemte holdninger. I analysen undersøges denne tese, og i diskussionen holdes filmens form op imod dens indhold. Rapporten konkluderer, at filmen er udpræget formbevidst, og at de temaer, den præsenterer, er underlagt dette. Filmen er en æstetisk provokation. Analysen er eksemplificeret, men ikke gennemført dokumenteret, hvorfor rapportens forfattere tillader sig at anbefale