Muriel Ou Le Temps D Un Retour Themes

but they view the reconstruction of the African state through the hands of Lumumba a fellow African who was the Prime Minister. The movie depicts the desire of Lumumba of bringing an orderly and a peaceful transfer of power that leads to him having enemies in all political spheres. The militants were advocating for freedom and demanded that the white officers in the military be replaced with the African soldiers. The Belgian colonists are met with violence and these leads to a

“You saw nothing in Hiroshima. Nothing.” In Hiroshima mon Amour, mise-en-scene and editing are used in conjunction with inspiration from the French New Wave Movement to express the severity and complexity of the traumas endured following the atomic bomb in Hiroshima, Japan in 1945. In this trauma narrative, mise-en-scene and disjunctive editing create a unique tone that ultimately represents the crippling struggle between past, present, and future. This “struggle” also allows for an emerging theme between personal and public tragedies, understanding the link between She (Emmanuelle Riva)’s experiences and the bombing in Hiroshima.

The process of decolonization proved to have its own struggles within those who were seeking their independence from imperialist powers. Evidently, these nationalist movements were different in many regions, but they generally shared the sentiment that “Westernization” had taken something away from them. This proved to be the case in Africa and Asia, where the colonization movement from imperialist powers was of strong presence, and that had trouble weakening during and after the Cold War. Part of this struggle was due to the forms of government that were imposed, and because many of these colonies had been in this position for such long time that they were not able to predict upcoming conflicts after their independence. However, in many cases, the problems were more complicated and often implied a combination of reaction to westernization and internal conflicts. Undoubtedly,

Both texts show a significant amount of disaster. Both the novella and the film do not know that they were getting attacked. In spite of what was happening around, they still carry on to their everyday life. In the movie war of the world, the disaster is different compared to the book Hiroshima, but they are some similarity. Throughout the film and the novella, the disaster is the main theme that is portrayed. If it isn't for the disasters that occurred both the film and novella would have a story to tell. In the novella Hiroshima, the bombing is the main disaster that occurred, but after the bombing different disasters started to happen for example after the dropping of the bomb the aftermath is horrifying because there are so many people

One of the world’s worst humanitarian crisis is currently unfolding in the Darfur region of the Sudan. For the past 22 months, more than 70,000 Sudanese have been killed, and nearly 2 million people have fled their homes to neighboring countries. This paper attempts to explore this present day civil war and genocide taking place in the Sudan. This is an event of epic proportions that will have vast implications for the future of the country and the continent. Understanding the history of European colonialism in Africa, as focused through the lense of the Sudan, is the purpose of this paper. Primarily, the paper will analyze the history of European imperialism

A massive departure from their predecessors in the genre, these post-Stalinist films examined war’s effects on the individual level. For example, in The Fate of a Man, Andrei Sokolov’s constant ruminations on war’s pointlessness, and his breakdown following his son’s death at the front, were revolutionarily humanistic depictions of war’s consequence in Soviet cinema. Another hitherto avoided theme brought to the forefront by the films of The Thaw was that of war’s strains on romantic relationships. The Cranes are Flying provides an illustrious example of wartime heartache as it portrays the growing distance between those on the frontline and those they left at home, and furthermore, the suffering those at home undergo when their loved ones do not return at all. Ivan’s Childhood, one of the last films to be released prior to the Soviet Union’s reestablishment of strict artistic controls in the late 1960’s, tells the story of a twelve year old orphan, Ivan, who works as a scout for the Red Army. At its core, Ivan’s Childhood is the tale of a childhood innocence snatched away by the grim reality of warfare.

“The effective war film is often the one in which the action begins after the war, when there is nothing but ruins and desolation everywhere…”

Pontecorvo created the Battle of Algiers not too long after the end of the Algerian War, which ended in 1962, with Algerian independence from France. The director’s intent to film so shortly after the end of the war speaks to the type of feel he wanted to convey. Pontecorvo captured the heartbreak and sorrow that came out of the war,

This is a tale of horror and tragedy in the Congo, beginning with the brutal and exploitative regime of King Leopold II of Belgium, and culminating with the downfall of one of Africa’s most influential figures, Patrice Lumumba. The Congo is but one example of the greater phenomenon of European occupation of Africa. The legacy of this period gives rise to persistent problems in the Congo and throughout Africa. Understanding the roots and causes of this event, as focused through the lense of the Congo, is the subject of this paper.

To fully comprehend why and how this cinematic motion took place, it is valuable here to establish the wider social climate of France at the time, and the active forces which heavily shaped New Wave cinema. Between the years of 1945 and 1975, France would undergo “thirty glorious years” of economic growth, urbanization, and a considerable baby boom, all of which came to expand and radically alter the parameters of French culture (Haine 33). Beneath the surface affluence however, France was in a state of deep self-evaluation and consciousness. Following WW11, the

One of the main issues, within the book Hiroshima, was that women and men were receiving different treatment after the bombs were dropped. This is still an issue with men and women being treated differently, but now men are receiving the better end of the stick, while women get slightly less. Over the course of the story, the author did show how our rights have evened out over time a bit.

In this essay I will be comparing two films, “Hiroshima mon amour” by Alain Resnais, and “Level 5” by Chris Marker. I will discuss the similarities and differences between them, going through the plot, the cinematography and the theme of each movie. I will also talk about the protagonists, actions, technical stuff, and how these are aimed at each film’s target audience. First of all, I would like to represent each movie. “Hiroshima mon amour” is a 1959 drama film, directed by French film director Alain Resnais.

What effect has decolonization brought? The decolonized nations cope with their own course of action on all fronts - economic, social, political and cultural. Even as they struggle to rid themselves of the shackles of the erstwhile influences, they try to regain touch with their ‘golden past’ and also believe in a brighter future. With centuries of economic exploitation to undo, it does seem to be a daunting task. However, colonial theorists like Frantz Fanon believe that the colony regaining its place in the order, returning to its hierarchic origin is but inevitable.

Algeria was not always been independent and has been a part of several border and authority changes. Since its independency, Algeria has struggled to define its cultural identity. Several strategies have been employed to gain ground on its identity, such as promoting a policy of Arabization, loosening up the economy, and opening their political sphere. “Today the Algerian government seeks not only to sustain the recent ebb in violence and insecurity but also to promote greater unity within the country” (Defense Language Institute Foreign Language Center, 2011).

The five films in the "Battles without Honor and Humanity" series are Kenji Fuakasaku's magnum opus, of which "Hiroshima Death Match" is the most cult, particularly due to the participation of Sonny Chiba and Meiko Kaji.