Film studies

Feminist film theory Introduction Women are supposed to cook and serve her husband at the home. There are the close-minded for the woman. Started in the 1920s, looking at women’s expression of her own subjectivity. Feminist film theory matured in the late 1960s, after the radicalized feminist movement (of sexual liberation and political debate of female representation). Feminism is a set of political practice seen through the analysis of the social/historical position of women as subordinated, oppressed or exploited in dominant modes of production (such as capitalism) and/or by social relations of patriarchy or male domination. There is a film can represent the feminist film theory which called 'Easy A', director by Will Gluck in 2010. Synopsis High school student Olive Penderghast (Emma Stone) finds herself the victim of her school's "rumor mill" when she lies to her best friend Rhiannon (Alyson Michalka) about a weekend tryst with a fic

Theory Discussion French New Wave, which is also known as French Nouvelle Vague, can be considered as one of the most influential film movements that took place in the history of cinema. The ripples created by this cinematic movement can even be felt today. A group of critics, who wrote for a French film journal called Cahiers du Cinema, created the film movement. It began as a movement against the traditional path that French Cinema followed, which was more like literature. The French New Wave had the potential to bring a radical change to French cinema. Before 1950s & 1960s, French films were mainly literary adaptations i.e. fictional tales published in books and adapted to cinema. These films were usually filmed within the studio system or on big budget spectacles and international co-productions. The late 1950s and early 1960s saw the rise of a new generation of filmmakers around the world. In country after country, there emerged director born before World War II but gro

Introduction The neorealist movement began in Italy at the end of World War II as an urgent response to the political turmoil and desperate economic conditions afflicting the country. Directors such as Roberto Rossellini, Vittorio De Sica, and Luchino Visconti took up cameras to focus on lower-class characters and their concerns, using nonprofessional actors, outdoor shooting, (necessarily) very small budgets, and a realist aesthetic. The best-known examples remain De Sica’s Bicycle Thieves, a critical and popular phenomenon that opened the world’s eyes to this movement, and such key earlier works as Rossellini’s Open City, the first major neorealist production. Other classics of neorealism include De Sica’s Umberto D. and Visconti’s La terra trema, but the tendrils of the movement reach back to De Sica’s The Children Are Watching Us and forward to Rossellini’s The Flowers of St. Francis, as well as to some filmmakers who did their apprenticeships in this school, Michelangelo Antonio

Introduction The Maltese Falcon (1941) is one of the most popular and best classic detective mysteries ever made, and many film historians consider it the first in the dark film noir genre in Hollywood. It leaves the audience with a distinctly down-beat conclusion and bitter taste. The low-budget film reflects the remarkable directorial debut of John Huston (previously a screenwriter) who efficiently and skillfully composed and filmed this American classic for Warner Bros. studios, with great dialogue, deceitful characters, and menacing scenes. The precocious director Huston was very faithful to Dashiell Hammett's 1929 novel The Maltese Falcon, that had originally appeared as a five-part serialized story in a pulp fiction, detective story magazine publication named Black Mask. However, for an early preview audience, the film took a different, short-lived title, The Gent From Frisco. There were two major differences between the book and film: (1) Gutman was killed by Wilmer, and (

Introduction The goal discussion of this blog is about the German Expression found in the film which called ‘Dark City’.  Besides that, the genres that we found in this film is science fiction. Dark City is a 1998 American-Australian neo-noir science fiction film directed by Alex Proyas. The screenplay was written by Proyas, Lem Dobbs and David S. Goyer. The film stars Rufus Sewell, Kiefer Sutherland, Jennifer Connelly, and William Hurt. Sewell plays John Murdoch, an amnesiac man who finds himself suspected of murder. Murdoch attempts to discover his true identity and clear his name while on the run from the police and a mysterious group known only as the "Strangers". Synopsis John Murdoch awakens alone in a strange hotel to find that he has lost his memory and is wanted for a series of brutal and bizarre murders. While trying to piece together his past, he stumbles upon a fiendish underworld controlled by a group of beings known as The Strangers who possess the abili

The blog of this week we need to write the mental state of ‘In the Mood for Love’. I hope that I will know the theory of French Impressionist Cinema completely after I finished this blog. In the Mood for Love is a 2000 romantic Hong Kong film written, produced, and directed by Wong Kar-wai. It tells the story of a man (played by Tony Leung) and a woman (Maggie Cheung) whose spouses have an affair together and who slowly develop feelings for each other. In the Mood for Love premiered on 20 May 2000, at the 2000 Cannes Film Festival, where it was nominated for the Palme d'Or and Tony Leung was awarded Best Actor. It is frequently listed as one of the greatest films of the 2000s and one of the major works of Asian cinema. The movie forms the second part of an informal trilogy: The first part was Days of Being Wild (released in 1990) and the last part was 2046 (released in 2004). The French Impressionist filmmakers took their name from their painterly compatriots and applied it to a