The Seventh Seal And Wild Strawberriess By Ingmar Bergman

These support groups (notably, the testicular cancer survivors’ group, “Remaining Men Together”) give Jack the emotional stimulation he so desperately craves. It is the enveloping comfort of cathartic release that is his salve; but, like all addictions, tolerance sets in, and the fix must be elevated. Henry A. Giroux, in his essay “Private Satisfactions and Public Disorders: Fight Club, Patriarchy, and the Politics of Masculine Violence”, maintains the argument that Hollywood films, being in a position of public pedagogy, exhibit a great deal of influence and must be regarded carefully; he criticizes the film, saying Fight Club:

Fight Club is a complex movie in that the two main characters are just two sides of the same person. Edward Norton’s character is the prototypical conformist consumer working a morally questionable office job to feed his obsession with material possessions. He works as a recall coordinator for a “major car company” and applies a formula based on profitability, rather than safety, to determine the necessity of a recall. Though never explicitly stated, he seems to be in his late twenties or early thirties and throughout the movie has a constantly haggard appearance because of his insomnia and fighting. Brad Pitt’s character is a carefree nonconformist and the manifestation of Edward Norton’s

Miloš Forman and John Steinbeck in their texts One Flew Over the Cuckoo’s Nest (1975) and Of Mice and Men (1937) heavily use and explore the key ideas of ambition and companionship explored throughout their texts, primarily through the use of characterization but also through imagery and symbolisms. Alongside techniques, Forman and Steinbeck utilise other themes and ideas to further develop and convey their ideas, exploring the effect and power of ambition and dreams alongside belonging and individuality being used to explore themes of companionship.

African Americans have been discriminated and were not treated fairly from the beginning of the American colonies up to the 1960s. Their history included about 250 years of slavery followed by another 100 years of discrimination. However, many people state that throughout the 1800s, the whaling industry helped African Americans thrive as a race. In addition, they were treated as equals and could gain glory and wealth from it. In most cases, this is not true because negroes for three main reasons. Almost all African people did not receive high positions on their crew ships. Also, they experienced segregation on ships and were treated not equally. Finally, they were taken for their cheap and hard labor in a dangerous, unrewarding industry. Using internet sources and the novel, In The Heart of The Sea, by Nathaniel Philbrick, African Americans in the whaling industry had low status within crews and faced harsh working conditions as well as discrimination and racism.

David Flincher's movie, Fight Club, shows how consumerism has caused the emasculation of the modern male and reveals a tale of liberation from a corporate controlled society. Society's most common model of typical man is filthy, violent, unintelligent, immature, sexist, sex hungry, and fundamentally a caveman. In essence Tyler Durden, is the symbolic model for a man. He is strong enough to withstand from society's influences and his beliefs to remain in tact. Jack, the narrator, on the other hand is the opposite. He is a weak, squeamish, skinny man who has not been able to withstand society's influence; therefore, he is the Ikea fetish. Unlike Tyler, Jack is weak minded. Both Jack and Tyler are polar opposite models of

David (Dudi) Bergman was born in 1931 in Velikiye-Bychkov, Czechoslovakia. The town he grew up in was annexed by Hungary. He grew up in a very tough environment with serious conditions going on in his homeland. There are few facts written about Mr. Bergman’s childhood or environment he lived in when young, but we know that he had a tremendously nightmarish experience that no one should ever have to go through.

Fight Club is a movie based a man deemed “Jack”. He could be any man in the working class, that lives and ordinary life. The movie starts out giving an overview of his life, which consisted of a repeat of flights and cubicles. He is basically to the point of break when he takes another business flight and meets a man that calls himself Tyler Durdan. They instantly become friends and after an unfortunate explosion in “jack’s” apartment, he moves in with Tyler. One night after last call at a local bar, Jack and Tyler start fighting in the parking lot for no reason other than essentially to feel free and do something other than the norm. Later in the film this bar-back fight turns into a club run by the both of the men, or so it seems. At the

In the early 1990s Laura Mulvey’s thesis concerning the patriarchal structure of an active male gaze has influenced feminist film critiques and Hollywood. Mulvey’s project is to use psychoanalysis to uncover the power of patriarchy in Hollywood cinema. Patriarchal influence upon cinema is found primarily in pleasure (pleasure in looking) or as Freud’s has put it, scopophilia. Mulvey suggests that it may be possible to create a new for of cinema due to the fact that patriarchy power to control cinematic pleasure has revealed.

The classic 1996 film Fight Club is a social commentary about our generation, which is in many ways devoid of spirit and marked by consumerism. It is the story of a man's spiritual journey towards enlightenment in modern society and his attempt to find his place in the world. It stresses a post-modern consumer society, reveals the loss of masculine identity amongst gray-collar workers, and examines the social stratification marked by our developing society. It follows the life of the narrator, who is referred to as Jack, (Edward Norton) as he struggles with insomnia and feelings of inadequacy in his desperate search to find meaning in his own life. The film, although

I utilize two scenes from the movie American Beauty, the two office scenes including Lester (Kevin Spacey) and Brad (Barry Del Sherman).The cinematic techniques are identified with mise-en-scene, which is the term used to portray everything 'put into the scene'. I concentrate on decor, lighting and props, costumes, body language (e.g., posture, gestures and facial expressions) and composition. I additionally take a gander at how these components are confined as far as camera stature, camera point and camera separate, all of which fall under the class of cinematography. The scene seems right off the bat the movie. Toward the start of American Beauty, the hero, Lester Burnham is disappointed with his life. At home he and his materialistic, aspiring

generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much

The romantic idea of the auteur is described by film theoretician, André Bazin, observing the film form as an idealistic phenomenon. Through the personal factor in artistic creation as a standard reference, Bazin primarily refers to an essential literary and romantic conception of the artist as central. He considers the relationship between film aesthetics and reality more important than the director itself and places cinema above paintings. He described paintings as a similar ethical creation to film stating a director ‘can be valued according to its measurements and the celebrity of the signature, the objective quality of the work itself was formerly held in much higher esteem.’ (Bazin, 1967: 250). Bazin contemplates the historical and social aspects that indeed hinder a director’s retribution to their own personalised film, thus en-companying their own ideological judgement upon the world ‘more so in cinema where the sociological and historical cross-currents are countless.’ (Bazin, 1967: 256)

Fight Club is a unique film that has many different interpretations consisting of consumerist culture, social norms, and gender roles. However, this film goes deeper and expresses a Marxist ideology throughout; challenging the ruling upper-class and a materialist society. The unnamed narrator, played by Ed Norton, represents the materialist society; whereas Tyler Durden, played by Brad Pitt, represents the person challenging the controlling upper-class. Karl Marx believed that the capitalist system took advantage of workers, arguing that the interests of the upper-class class conflicted with that of the common worker. Marx and Durden share the same views about the upper-class oppressing the materialist, common worker. By interpreting Fight Club through a Marist lens, the viewer is able to realize the negative effects a capitalist society has on the common worker by seeing the unnamed narrator’s unfulfilled and material driven life in contrast to the fulfilling life of Durden who challenges the upper-class. The unnamed narrator initially fuels the upper-class dominated society through his materialistic and consumeristic tendencies; however, through the formation of his alter ego—Durden—the unnamed narrator realizes the detriment he is causing to himself and society. He then follows the guide of Durden’s and Marx’s views and rectifies his lifestyle by no longer being reliant on materials. Also by forming fight club, which provides an outlet, for himself and the common worker,

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a

Ingmar Bergman is considered as one of the most influential of all time. He brought a new fresh and stayed productive by his knowledge and his play-within-a-play style. His films are various and creative with different genres. Despite the critics, he managed with the new gen-eration of the young directors. Earning numerous awards among his career, he conquered the international field. As Tytti Soila wrote, he “had and had been given a place apart in the histo-ry of Swedish cinema when viewed from several angels”