Theme Of Sunset Boulevard

Sunset Boulevard and Double Indemnity, are just two out of the many incredible films directed by renowned director Billy Wilder. The two films which were released six years apart, (Double Indemnity- 1944, and Sunset Boulevard- 1950) are uniquely similar, in that both films share many of the same aspects, idea’s, and similar in narration, as one another. Both of these extravagantly, directed films are indeed classics. The films, both tell an intriguing story of spiritual loneliness of a female character, and how they use their power, money, and provocativeness, to “lure” the male character. We see the life of a once innocent (male) character, who is being hurtled towards his own self destruction, the character is “supposedly” unaware, of his own self harm through his seemingly ‘good/beneficial’ decisions that he makes.

The film’s main focus largely represents the Hollywood star system to which Norma Desmond is a victim of. The film particularly highlights the fantasy world in which Norma lives in, the world where she is the ‘greatest star’ (Norma Desmond, Sunset Boulevard, 1950). Sunset Boulevard steps into Norma’s mixed up world where hundreds of photos of herself clutter her crumbling mansion and where she watches herself on screen on a weekly basis. The crumbling and deteriorating mansion could be seen as a metaphor for Norma’s fall from stardom, the collapse of her career.

In this film. Norma Desmond is obsessed with herself and she seems that she is the best actor to ever live. She doesn't get any help from he butler Max, who sends her fake fan letters to please her addiction. Her addiction is very important in the film because it shoes that she neglects what she truly is and not what she could be. When Joe steps in the scene, she regains that passion and love for someone and she actually starts being herself. Towards the end of the film you see Norma's true side, she attempted to kill herself on New Years but Max was able to call the police and save her. Joe then hears about the tragic news and heads over to see if Norma is okay, we see Norma depressed and sad about her actual life and Joe see's his impact on Norma's life. Through the film you think everything is okay between Joe and Norma but Joe is trying to find a way to get out. In the end is surprising

The film Sunset Boulevard (1950), directed by Billy Wilder, Norma Desmond exemplified a Borderline Personality Disorder (BPD) by being demanding, intense and unstable. These behaviors that are consistent with the elements of abnormality include suffering, social discomfort, dangerousness, and irrationality and unpredictability. The first element that is consistent with Norma Desmond’s character is suffering. Desmond being one of the greatest movie stars in history suffers as she experiences the fall from stardom. She also suffers from identity disturbance as she reaches an unstable self-image notion. In one scene when Desmond recognizes for a moment about her age, she claims, “Look at me. Look at my hands, look at my face, look under my

Sunset Boulevard (Wilder 1950) explores the intermingling of public and private realms, puncturing the illusion of the former and unveiling the grim and often disturbing reality of the latter. By delving into the personal delusions of its characters and showing the devastation caused by disrupting those fantasies, the film provides not only a commentary on the industry of which it is a product but also a shared anxiety about the corrupting influence of external perception. Narrated by a dead man, centering on a recluse tortured by her own former stardom, and concerning a once-promising director who refuses to believe his greatest star could ever be forgotten, the work dissects a multitude of illusory folds to reveal an ultimately

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

The star-studded romantic comedy Midnight in Paris is one of Woody Allen’s most recent films which he did both, wrote and directed. It is a film about a man named Gil (Owen Wilson) who travels to Paris with his fiancée’s parents in order to expand his imagination and he ends up embarking on a journey to the 1920s while walking the streets of Paris at night. Not only is this film engaging and witty, but it also manages to provide both, overt and covert examples of postmodernism in film. By analyzing Woody Allen’s 2011film Midnight in Paris, we can identify the presence of many underlying motifs in both the narrative and the characterization of the film when using some of Frederic Jameson and Jean Baudrillard’s concepts on postmodernism.

Sunset Boulevard follows an unsuccessful screenwriter, Joe Gillis (William Holden), whom a past movie star, Norma Desmond (Gloria Swanson), hires to help her return to the big screen. Police find the body of Joe Gillis in a swimming pool. In a flashback, Joe explains events that happen prior to his death. Joe tries selling a script to Paramount Studios to pay for his car but they refuse his script. When a group of men try to repossess Joes car, Joe escapes by hiding the car in a deserted mansion. Norma hires Joe to rewrite a script that she wants to star in and accepts his situation by moving into the mansion. Joe learns that Norma use to be a silent film star who believes that she’s still famous. Norma’s butler, Max Von Mayerling (Erich von Stroheim), explains that he writes Norma fan letters and that Norma has made suicide attempts. Later, Joe wants to leave the mansion but returns since Norma cuts her wrists. At nights, Joe sneaks out to work on a script with Betty Schaefer (Nancy Olson) and the two fall in love. Joe informs Norma that no one remembers her and that there will be no comeback causing Norma to shoot Joe who falls in the pool. Policemen and reporters appear at the

Sunset Boulevard is a film noir movie that was released in 1950. When looked at, the main character Joe Gillis, portrayed by William Holden, can be seen as an anti-hero. Joe shows his anti-heroic behavior in many ways. For example, he is dishonest, he uses the people around him, and he also is only focused on elevating himself. One of the many examples of the dishonesty of Joe.

Fully aware that his film was unconventional and daring, Hitchcock used the media to sell his film to a younger, fresher audience (Kapsis 13). It was advertised as: "Alfred Hitchcock's greatest, most shocking mystery with a galaxy of stars" (Greene 1). The stars themselves (Janet Leigh, Vera Miles, and Anthony Perkins) were of a younger generation than the top stars Hitchcock had previously employed for his films (Finler 131). Posters for Psycho featured a scantily clad Leigh wearing

As the audience knows well already since the very first scene, Sunset Boulevard does not have what one would call a “happy ending.” In this sense, the movie gives itself away as film noir considering the fact that all such works of cinema which fall in this style category are known to have dark themes predominantly sending a message of hopelessness and meaningless existence. With Joe’s lifeless body floating around in a swimming pool in mind throughout the entire movie, audiences of this motion picture are filled with a sense of pointlessness for Joe’s life, since his personal resolutions and growth as a

The beautiful silent film released in 1927, ‘Sunrise: a Song of Two Humans,’ is directed by the famous German director, F.W. Murnau, and is starred by George O’Brien and Janet Gaynor who take the main characters as the Man and the Wife respectively. It is a story of married couples that have conflicts over the husband’s immoral actions, but however, they become reconciled through their journey in the City. Apart from love, another underlying theme of this film is the experience of human with modernity. Similar to ‘Sunrise,’ ‘The Notebook,’ the all-time famous love novel written by Nicholas Sparks, is adapted into a film by Nick Cassavetes, and is starred by Hollywood popular actress and actor, Rachael McAdams and Ryan Gosling

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

The Great Gatsby is a beautiful film based upon the 1920’s society with its glitz and glamour, along side the refutal realities of the time. In Baz Luhrmann's adaption of the popular novel you will expect a new rendition of the word amazing. Not only will you become immersed in a Jazz Era repertoire, but you will become part of the live life of the Roaring 20’s. Luhrmann’s spectacular musical choices and imagery will be engraved in your memories for so long due to the closeness the film has to its creator. Certain instances might fall off the boat from your original thoughts on a certain scene from the mysterious novel. However, you will be transported back to the loveable affairs of both Tom and Daisy, and the inescapable Gatsby with his own arsenal of surprises.

An Austrian physician by the name of Sigmund Freud, a well renowned psychologist, aside from his studies, was once rumored do have done enough cocaine to kill a baby horse. Other than his cocaine addiction he also developed the theory of Psychoanalysis, which in short means that he studied the longstanding difficulties in the ways that people think and feel about themselves, the world, and their relationships with others. Sigmund Freud’s ideals of psychoanalysis was translated to in a way where we are able to analyze media in all it’s shapes and forms. Psychoanalytic media analysis argues that literary texts, like dreams, express the secret unconscious desires and anxieties of the characters within a movie, and the literary work is a manifestation of the Id, Super-Ego, and Ego. The text that I will analyze using the psychoanalytic media theory will be the film The Great Gatsby, originally a novel by F. Scott Fitzgerald. I will be using Freud’s primary psychoanalytic theory of the ID, Ego, and Super-Ego to analyze the movie The Great Gatsby, and also analyze the potential cultural and societal impacts of an authors use of psychoanalytic theory.