Film As Art And Abdellatif Kechiche's Blue Is The Warmest Colour

In this paper, I will be explaining my thoughts on the Cavell arguments on classical and modernist films about movies black-and-white in comparison to the movies in color, with the reference to Sunset Boulevard (1950) and In the Heat of the Night (1967).

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.

Critically assess Judith Butler’s notion that gender is not a primary category, but an attribute, a set of secondary narrative effects. Your answer should make reference to Sally Potter’s film Orlando.

The more or less similar argument is being examined in Visual Pleasure and Narrative Cinema (Laura Mulvey,

The video essay argued against Laura Mulvey theory on male gaze and was mainly centred on the article of visual Pleasure and narrative cinema writer by Laura Mulvey. According to Mulvey(1975,p348) “The female is displayed for his enjoyment(connoting male phantasy) and that of the spectator fascinated with the image of is like set in an illusion of natural space, and through him gaining possession and control of the woman within the diegesis”. She went further stating that “in film the women as object of the combined gaze of spectator for all the male protagonist. She is isolated, glamorous, on display, sexualised” (p3488). Examples of such films given in the video essay is the skin I live in (Pedro Almodóvar), Spain 2011. The idea of female

Critical Analysis of the Television Show Faking It There is a general representation in the media of individuals of different genders, sexual orientation, and race that gives the audience a certain image of said group of individuals. Certain stereotypes have been engrained in our minds due to media which may reinforce certain issues such as racism, sexism, and homophobia. This essay gives an intersectional analysis on how the episode “Three to Tango” of the television show Faking It tries to represent diverse voices and identities but still falls under societal pressures of normalcy. First, I will introduce the articles that will be used as theoretical lenses which are Tricia Jenkins’ “’Potential Lesbians at Two O’clock’:

After watching “Meshes of the afternoon” and “Vertigo” a few times for my video essay project it was clear to me that Laura Mulvey’s theory is implemented in almost every film. When I first read Mulvey’s reading, at first I thought that Mulvey’ theory was only evident in ‘old’ movies. However, after I completed the reading, when I was watching movies for my own pleasure I started to notice the idea of the male gaze and scopophilia in almost every movie I watched. From the film by Deren, I learned that “Meshes of the afternoon” could be a feminist film but it still does include the famous male gaze in the ending of the film. Also, Deren’s “creative use of reality” can be confusing at times, but after watching the film several times it is clear

In Walter Benjamin’s book Illuminations, two particular chapters are relevant to the corpus of works that make up film study. “Art in the Age of Mechanical Reproductions” and “The Storyteller” outline a progressive history from oral traditions to the modern traditions such as film that resulted and the bumps that have been encountered along the way. Central to these two chapters is the idea of aura. Aura, though difficult to define, is a concept that is easy to perceive because of its engaging qualities. From oral to written to visual representations including film, the story is the nucleus that produces entertainment and ideally educates the audience. To be entertained does not require much of the audience,

In Laura Mulvey’s “Visual Pleasure and Narrative Cinema”, she presents a number of very interesting facts regarding the ways that the sexual imagery of men and women respectively are used in the world of film. One such fact is that of the man as the looker and the female as the looked upon, she argues that the woman is always the object of reifying gaze, not the bearer if it. And “[t]he determining

Introduction The Culture of Film is uniquely powerful and greatly influences society. Cinema provides access to locations, individual life situations and the understanding of national and international culture. The generalization of realism with politics, religious elements, and expressionism all come together for a melodramatic narrative. Characters provide the audience with an inside view of the narrative through location, tone and humor. Together these elements make cinema a societal changing entity full of promise for all generations.

The case study of The To Do List serves to identify the continual gender bias with particular regards to the representation of female sexual desire in film and how the so-called progressive 21st Century is still firmly rooted in Victorian ideals. While much of the research and examples pertaining to female sexuality are most commonly representative of white females, I will not delve into this gap in my approach. Unfortunately, the film in which I plan to analyze is also inherently biased in this sense and which may be a flaw I bring to the discussion in the project. The concept is to fill the gap surrounding why The To Do List was so heavily disregarded by fans and critics, particularly in comparison to the male equivalent, American Pie, which

This literature review will explore research on the portrayal of heterosexual love in film and the effects that it has on millennial women and through the cycle of repression, its effect on minorities. The analytical framework consists of feminist theory as described by John Storey and Stuart Hall’s representation theory. Then, feminism in romantic fiction will be again be explored academically by Storey, exploring the power that romantic fiction in pop culture has on society and it role it plays in sex.

Patrice Petro in Aftershocks of the New: Feminism and Film History, brings out the link between historical research and feminist film criticism. Patrice Petro investigates how the German cinema, mechanisms of modernism and feminist film theory have evolved. She explains the directions in which they are headed. Petro raises a few relevant concerns such as: roles of television and other media play in film studies; the place of feminist film theory in our conceptions of film history and the status of German film theory which is situated within international film theory. Patrice Petro through her study tries to lower the volume of debates over the place of cinema within the culture of modernity, instead of continuing to sensationalize sensation.

Film making, many would argue, has gone through quite the substantial change since it’s initial coining just before the turn of the 19th century. But one would argue, that the largest amount of this change has came quite recently or more so in the latter part of films history as a whole. One of the largest changes haven taken place, is the role of women in film. Once upon a time having a very set role in the industry, such as editing for example. To mention briefly the likes of Dede Allen, Verna Fields, Thelma Schoonmaker and so forth. However our female counterparts now occupy virtually every aspect of the film industry that males do; and in many instances excel past us. Quite clearly this change has taken place behind the lens, but has it

What some believe to be called „power of cinema” is, according to Peter Wollen, aesthetic