American cinema

Reflection #1 – Hugo (Scorsese, 2011) “What precisely is the cinema of attractions? First it is a cinema that bases itself on the quality that Leger celebrated: its ability to show something.” – Tom Gunning It was in a large, packed cinema that I first viewed Hugo in 2011. During this initial viewing it had not occurred to me that this film was a spectacle of the history of cinema. However, upon revisiting the film with a more developed understanding of film history, I was delighted to be able

definitely not another Anglo-American period costume drama. Described by one reviewer as “East meets West”, Chadha’s film “marries a characteristically English saga [Austen’s Pride and Prejudice] with classic Bollywood format “transforming corsets to saris, … the Bennetts to the Bakshis and … pianos to bhangra beats” (Adarsh). Bride and Prejudice, thus, clearly belongs to the upcoming genre of South Asian cross-over cinema in its diasporic incarnation. Such cross-over cinema self-consciously acts as

Japanese samurai film directed by the famous Japanese director. A story about… I saw this movie for the first time when I was 13 years old. This movie is not just important to japanesejapans cinema, but it’s important to the history of cinema in general. Seven7 Ssamurai wasere a watershedwater shed moment in cinema, creating severalserval still highly recognizable tropes still in use today. The most notable is the plot device of assembling a team of heroes to accomplish a goal. Thanks to Akira Kurasawa

within Latin American countries dating back to the colonial period. This has been frequently interpreted as a “failure of civilian institutions to address persistent problems such as poverty and corruption”. Brazil was one of the countries that has experienced complete political unrest – especially during the 1960s till the early 1970s. The change of a socialist president, Joao Gollart, to a military dictatorship changed many cultural and social factors in the country including Brazilian Cinema. Under

which can influence an artist’s project. In Philip Lutgendorf’s article, Is There An Indian Way of Filmmaking? (2006), he attempts to suggest how texts from the Indian cultural heritage could be used for the discourse of both Indian cinema as well as to the study of cinema itself, which justifies discussion. This essay will attempt to challenge Lutgendorf’s ideas within his article through Hayao Miyazaki’s film, Spirited Away (2001) through the discussion of manga/animae origin, Japanese mythology,

to The Good Road (2013), the cinema of India, an extremely important part of our cultural identity celebrating its centenary this year. Has been working as an ambassador of India to a global audience since the day of its inception. In India, it is often seen that films made in Hindi targeted at a larger audience, commonly known as mainstream movies or Bollywood films, employ a different grammar of filmmaking than that is used in so-called sensible or parallel cinema while representing or portraying

Both Jeanne Moreau and Alain Delon star persona’s are notable for being embodiments of two distinctly different approaches to France’s burgeoning modernity in a post war context. Though each star 's representation of a new form of French modernity deviate due to their different gendered experiences. Their images of modernity challenged traditional codes and conventions of France’s past and represented different and new ideas of the French individual. These challenges were particularly gendered,

India’s many spoken languages. Tollywood is another form of Indian cinema and its movies are made in Bengali and Telugu. In fact, in his article, “Surviving Bollywood,” Madhava Prasad explains that the word Bollywood is actually based on “Tollywood.” In 1932, Wilford E. Deming, an American Engineer who claims to have supervised India’s first sound picture, helped come up with the name for Tollywood. He writes in his book, American Cinematographer, “In passing it might be explained that our Calcutta

beginnings, to the British influence and then the American dominance after the 2nd world war, the entertainment industry has seen it all. Bollywood, the Hindi-language industry in Mumbai is considered by many to be the heart of the Indian film industry. Although the format of Bollywood films has changed over the years, a typical film is melodramatic; long (three to four hours); filled with song and dance

Compare And Contrast Essay Cinemas can be a great time , but staying home and watching a movie can be just as great. Americans last year on average spent 9.87 billion dollars on tickets alone. Americans who stayed home saved a lot of money, were more comfortable, and probably had just as good of a time. I feel that going out to have a good time is essential in life, but money saved is money earned. The financial aspects of going out to the movies is the most appalling factor when