The Trailer For Kill Bill

     Critics of Kurt Vonnegut’s are unable to agree on what the main theme of his novel Slaughterhouse Five may be. Although Vonnegut’s novels are satirical, ironical, and extremely wise, they have almost no plot structure, so it is hard to find a constant theme. From the many people that the main character Billy Pilgrim meets, and the places that he takes us, readers are able to discern that Vonnegut is trying to send the message that there will always be death, there will always be war, and humans have no control over their own lives.

Identity is an essential part of all our lives. Our actions determine our identity, and in turn, our identity structures our actions. One’s desire to seek a self-identity is an essential for the alignment of his or her pursuit of happiness. However, when such desire to fulfill one’s standards grows too strong, one might neglect other parts of his or her life. This neglect could lead to graver consequences, such as one’s sensations of failure and even his own downfall. In movie Citizen Kane, the director Orson Welles presents a complex and pessimistic theme of a spiritually-failed man, Charles Foster Kane, through discovering his life story from several perspective by different characters, to tell a tragic epic story of a “rags-to-riches” child

Q. Tarantino's Use of Different Film Elements in Kill Bill and Pulp Fiction Quentin Tarantino has used the lightning, colour, sound, camera, mise-en-scene, iconography, speed of editing and special effects in Kill Bill and Pulp Fiction to make the audience want to carry on watching. These film elements have been used very effectively by the director in the openings of both films to build audience interest. The first aspect – lightning was very helpful in building interest in Kill Bill. The opening scene of Kill Bill is in black and white.

Michael Cimino’s film The Deer Hunter would receive mix reviews as well, even though it won best picture in 1978. Vincent Canby’s review in the New York Times, would say The Deer Hunter was both deeply troubling and troublesome (for the manner in which Mr.Cimino manipulates the narrative), but its feeling for the time place, and blue-collar people are genuine, and its vison is that of an original new filmmaker. In critic, John M. Wilson’s review in the Los Angeles Times, he notes that during a screening viewers left the theater stunned. Follow up phone calls found cases of people agitated and oddly silent, others crying unexpectedly later that night. And even a man that was so disturbed from it disappeared for two days. Some Veterans described

Since the 1990’s Quentin Tarantino has been viewed as one of the most iconic directors of modern cinema. His most praised scenes are always his combat scenes, or the finals scenes of each film. While there are plenty of good combat scenes in each Quentin Tarantino film, the Showdown at House of Blue Leaves scene from Kill Bill Vol. 1 (2003) is by far the most beautiful and impactful. Kill Bill Vol. 1 follows an female ex-assassin- The Bride - on a brutal

Cut to the Tuskegee airmen receiving a distinguished unit citation from the President of the United States for their outstanding bravery and sk

First off, I love Mathias Clasen’s paper, about people becoming reanimated corpses or zombies. I would not know what I would do if my Mom become an undead monster, or worse, what if my father, who passed away six years ago, came back from the grave. Could I bring myself to kill them, (well kill my dad again because he already dead) or tie them up, lock them in my basement and just go to see them, like the movie, Shaun of the Dead. The dynamic questions come into that what are monsters within and without. Clasen talks about zombies being “dull creatures” and having one life goal, “to eat fresh and brains” (3) compared to vampires or werewolves, who retain their intelligence. Compared this cultures and looking from the outside on taboo monsters that are alive monsters (aliens, killer sharks, or killer humans), the undead breaks the code of

A. O. Scott from The New York Times wrote a review of Kill Bill: Vol. 1. Titling this review as “Blood Bath & Beyond”. This title is not only accurate but it fits the theme of the movie by adding humor to an extremely tense situation. The film focuses on the Bride (Uma Thurman) as she starts marking people off of her “Kill List”. While the movie is not in chronological order, it is clear who she is killing, and especially who she is saving for last. The last scene is the unnamed main character creating this list, but this is actually the first thing she does, prior to killing anyone. The opening scene is the Bride being brutally beaten and is displayed in black and white. It is quickly revealed that she is bearing a child and after the harm she

Personally, I did sense a change in the overall “mood” of the film, (through the progression of scenes and such). I thought that it became lighter but also (mainly) darker throughout the whole movie. For one, the director Orson Welles, opened the entire movie with a very caliginous, horrendous and intimidating scene-that follows the death of the main character or “hero” of the film. So, right off the bat a very daunt thing occurred. As the movie progresses, I felt the dark mood begin to (in a very minuscule way) deplete a little, and grow almost lighter. As the movie continued, it seemed like it was reversing in Kane’s life, showing his affair, his first wife’s relationship, his campaign for becoming the governor etc. It continues like this throughout the entire story. But, as it lightens it also grows darker as well, hitting on the points of Kane’s life that were unforgivable (leaving his family, forcing his new wife to sing, etc). In these moments the mood grew darker. Since the movie was based off of Citizen Kane (and basically his rude behavior) the mood did grow darker in more aspects but, it had light hearted moments, especially in the end when the researchers and other people were going through Kane’s house and personal items, they seemed to joke and state Kane’s life in a blunt way-it was almost as if the somewhat apologetic manner for Kane’s death was simply a social need. Whenever someone commits one’s last breath, it is polite and socially correct to pay your

In every hero’s journey I’ve read in the past, the heroes are always the male character and there were never any females that were a hero/heroine. Joseph Campbell talked a little bit about the heroine, who is a female hero, and most people do not believe that women can be heroes. The first thing that caught my attention in The Hunger Games movie series was the main character and hero, Katniss Everdeen. She was a great example of a hero. She embodies the definition of a hero by the sense of the word; she was not only a great fighter in front of a strong male but she also volunteered to take the place of her little sister who was chosen in the first place. This was an act of heroic self-sacrifice. One of the main roles of the game was to be the sole survivor, but Katniss sacrificed her chance of winning only to save Peeta, whom she developed love for during the game. The actions displayed by Katniss align with Joseph Campbell’s ideal of a hero; “A hero is someone who has given his or her life to something bigger than oneself.” On multiple occasions Katniss exemplifies this version of a hero.

Fargo’s opening scene sets the tone for the rest of the movie (fig. 1). As the opening credits are rolling across the screen, there is nothing but stark whiteness behind them. At first, this looks just like a simple white background. As the movie plays on, the viewer discovers this stark whiteness is actual footage of a snow-covered highway in Middle America. The epic and foreboding score in the background matches the harsh whiteness of the setting. To the untrained eye, this has nothing in common with film noir. However, the Coen brothers have the ability to create a postmodern film noir that disguises itself as a murder mystery with a rustic setting and comical characters. This movie tells a contrived tale of American culture, and more specifically

In American society, we believe that monsters are typically perceived as scary, with big teeth and claws, and gross looking. Sometimes they are hairy and smelly. In popular stories, we think of them as the villain ninety five percent of the time, but they can also be supporting roles to the main villain who doesn’t look as monstrous or doesn’t have monstrous actions. Despite some belief, they can end up changing their state of mind and switch to the good side, but that is rare. They are usually nonhuman, like vampires, werewolves, or even aliens. Monsters are insane and crazy. Their acts are murderous and often manipulative to get what they want in the end. They also want to take over the world and rule over mankind. Although that’s their

Slaughterhouse-Five tells us about true events such as the fire-bombing of Dresden, but it also presents a planet and with aliens who do not see things quite the way we do. There are many theories of what the meaning of the aliens and time jumps in this book are meant represent. The passage in question supports the explanation of Billy’s obsession with being abducted by aliens one night and having “time-jumps” throughout the book are his way of coping with his war memories.

Heart of Darkness, written by Joseph Conrad and “Apocalypse Now”, a movie directed by Francis Coppola represent two outstanding examples that compare relevant ideas regarding racism, colonialism, and prejudices. The two combine film along with descriptive language to portray their mastery during different eras. For Heart of Darkness, Conrad uses his writing techniques to illustrate Marlow in the Congo, while in “Apocalypse Now”, Coppola uses film editing and close ups on important scenes with unique sounds to identify Willards’ quest for Kurtz. Both portray the idea of colonization in foreign lands that otherwise may have been uninhabited by their own people if left alone.

V for Vendetta is a movie that immediately grasps the viewers attention. It has a tendency to seem twisted and dark. However, after examining the film more closely the themes began to emerge and started to make sense. V for Vendetta seems to align with Plato’s ideals making V’s actions seems less terroristic and begin to shape up to be that of a vigilante.