Cannibal Tours 1988
The quote by Albert Camus says it all at the opening of the film: “There is nothing so strange in a strange land, as the stranger who comes to visit it.” The film suggests that the natives of New Guinea are not the ones we should be concerned with, but rather the Europeans who come to take pictures of them as though they were collecting snapshots of curiosities and eccentricities that will make their collection of oddities at home even more special. The reality is that the Europeans are far more intriguing because there is some disconnect between themselves and their sense of self. It is almost as if they are unaware of themselves in their hyper-awareness of the natives. The natives on the other hand simply accept the Europeans as weird but harmless, and so the natives act friendly to them.
In the one exchange, the Europeans are posing with the native children, and one climbs onto the log where the young woman is sitting. She poses like she is posing with an exotic wild animal. Would she pose this way for children at home? Why is she so happy and desirous of having this moment captured on film? This scene cuts to another European woman motioning to her subjects about how she wants them to pose for the camera. Then we see a native looking slightly humored by the whole thing looking right into the camera at the viewer, and the subtitles...
Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity
The film shows that human beings unlike the robots were way too dependent on habits and routines that make people unfocused causing people to not be able to make their own decisions (Barnes). Later on, when Wall-E ends up by accident bumps into one of the women, she understands that her attires have transformed into a different color and that she lastly opens her eyes and observes everything from
Film Analysis from a Design Perspective: Reading Raging Bull Elements of Design The focus of this paper is a pivotal scene from the film Raging Bull, starring Robert DeNiro as real life middleweight boxer, Jake La Motta. Jake's emotional status is reflected in multiple aspects of the film production, such as his physique and costuming, the cinematography, the editing, and the direction. Film communicates the narrative's physical reality and psychological reality with
Film Analysis: "Boesman and Lena" -- a drama of ideas, not people The central protagonists of Athol Fugard's drama "Boesman and Lena" have what turns out to be a nearly impossible life task. Not only, the drama suggests, must they struggle to survive having lost their home and community. To become emotionally whole again, the depressed Lena and controlling Boesman must find a way to reconstruct their previous relationship as man
Film Analysis of the Patriot Colonial America For the purposes of this paper, the film of focus will the Patriot. This film was written by Robert Rodat and directed by Roland Emmerich. The film has quite a cast, including stars the late Heath Ledger, and Mel Gibson, both of which have substantial film careers and reputations both on and off the screen. The film was released in 2000 by Columbia Pictures, a
Film Analysis on Farewell, My Concubine Farewell, My Concubine: Lies that become realities The film Farewell, My Concubine uses the lens of two men's lives to chronicle the political and social upheavals that gripped China first during the communist and then during the Cultural Revolutions. These men are extraordinary and unique: they are actors in the famous, traditional Peking Opera. However, the film argues that the artifice they are forced to use
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