Like other symbols of the civil rights movement such as the song "We shall overcome" and peaceful sit-ins, to Kill a Mockingbird quickly assumed a similar position.
As the focus of the movie was on right and wrong, the director of this film, Robert Mulligan, provided the American movie viewing public with a strong lesson in justice but he was also able, largely through the character of Atticus Finch, to demonstrate that humanity can still prevail even under difficult circumstances. Mulligan could have soften the message and still have captured the essence of the book upon which the movie was based but, instead, Mulligan made a deliberate statement in the way that he portrayed the characters in the story and how the movie told the story. He took on the ways of the American South where the beliefs of men, despite their moral depravity, ruled their actions instead of the laws that these same men professed to honor.
To Kill a Mockingbird is fictional story but it still portrayed the realities of racism in the South. The setting is in the 1930s during the height of the Depression and relates the realities of racism in the South during that time but it was as easily applicable to the conditions present three decades later in the same location. Little had changed and many watching the film were able to identify with what fictionally occurs in the 1930s with what was still occurring in the American South as the movie was released in 1962. The author of the book that the film was based on, Harper Lee, used her own experiences growing up in a small town in Alabama and several events that occurred later in her life in writing the book and such fact lends a measure of credibility to the story and the movie's director expertly maintained the integrity of the message intended by the author.
The narrator of the story, Scout, possesses a most unusual personality. The fact that she is essentially what one would describe as a tomboy in a South where young girls were expected to be prim and proper. Charactering her personality in this way draws the viewer immediately and causes one to be more interested in her commentary. In addition to her being a tomboy, however, and lending additional complexity to her character, Scout is also highly intelligent, unusually confident, unusually thoughtful, but also unusually well behaved. Each of these traits seems too good to be true until one observes the behavior of her father, Atticus. Atticus Finch is a strong, moral individual who raised his two children, in the absence of their deceased mother, in such a manner as to nurture their minds, develop a strong sense of conscience, and individuality that allows both children to be healthily independent. This individuality allows Scout to feel comfortable with herself in a time when little girls were expected to be wearing frilly little dresses and be content acting quiet and demure. Instead, Scout is happy wearing overalls and playing with her brother and their mutual friend, Dill, climbing trees, sitting in tree houses, and imagining adventures involving the town oddity, Boo Radley. These are admirable qualities and the viewer is endeared by them and to Scout but it is her lack of prejudice and naive honesty that movie viewers find most compelling.
Because Scout is the narrator of the film many viewers of the film may miss the fact that the film's main focus is on Scout's development as a person and not on the events that make up the story line in the movie. Most viewers will focus their attention on the racism present or the statements on the Southern life-style and miss the fact that the film is a commentary on the maturation of Scout's personality. The movie begins with Scout being an innocent carefree individual whose greatest concern is which tree she is going to climb and emerges as a young girl who has been exposed to some cruel and evil human traits but is able to maintain her faith in humanity and not become cynical. Like her father, Scout is able to experience the effects of both good and evil and determine that despite the strength of some evils good can still prevail. Because Scout is the narrator she is able to clearly demonstrate this fact by explaining her perspective as the movie...
Film Noir The 1945 film "Mildred Pierce" is the epitome of film noir, complete with the femme fatale, theme of betrayal and hopelessness and use of flashbacks. While the 1954 "On the Waterfront" also uses the theme of betrayal and hopelessness, it breaks from the film noir genre, and rather than using flashbacks, it is told in present time and the use of the femme fatale is replaced by an unscrupulous
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
The fact that she flirts with gender roles and norms is equally as dangerous. For Corky, the danger is manifest in the potential betrayal and also in the eventual show down between the women and their male captors. Jessica is portrayed as a more passive figure, as a more classic pre-feminist femme fatale; whereas Violet is a more active figure, a true "postfeminist good-bad girl hybrid." Things happen to Jessica,
film noir movement by examining two films from the genre made at two different times within the movement. This will first mean looking at definitions of what classifies a film as noir and then looking at conventions of the movement such as: story, character and setting. This will explore how production value expresses the story and acts as an important filmic tool. The first movie to be discussed is
Film Noir Among the various styles of producing films, it has been observed the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s were quite well-known for their feminine characters that were the protagonists, the femme fatale. This was most common with the French, later accepted in the United States. There might have
These blows come in the form of beatings and disappointments encountered by Antoine while he is a student at a prison-like school. Truffaut paints the starkness of his reality effectively in his use of black and white hues. The boys are dressed mainly in dark formal clothes and their surroundings are also dark. This is contrasted with the brightness of the outside world in which Antoine is constantly looking
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