Film Assignment Spring Semester – U.S

Total Page:16

File Type:pdf, Size:1020Kb

Film Assignment Spring Semester – U.S Film Assignment Spring Semester – U.S. History Part of the purpose of this class in to acquaint you with those parts of American culture that everyone is expected to know. Some of this expected knowledge is in the form of movies and movie stars. Throughout this Semester on your own you will be expected to see at least four different films from at least four different categories. The Categories are: War classics ‐ From WWI to Gulf War Social Commentary ‐ Changes in society are mirrored by films we see Westerns ‐ Define America and the West The Decades ‐ Films that are representative from the 20’s through 80’s Classics ‐ Films that everyone is supposed to know about. Section One – War Classics All Quiet on the Western Front, The African Queen Sergeant York, Das Boot**, The Dirty Dozen Casablanca, From Here to Eternity, Tora Tora Tora Command Decision, Midway, The Longest Day, Patton Battle of the Bulge, Sands of Iwo Jima, Stalag 17 Great Escape, Objective Burma, Bridge on the River Kwai Bridges at Toko‐Ri, Steel Helmet, Pork Chop Hill Flags of Our Father**, The Thin Red Line**, Letters from Iwo Jima** After watching one of these war films write a one to two page paper, in paragraph form, summarizing the events of the film and how it fits with the history of the event that we have studied. Also include what you thought about this film and how it dealt with war and its time period. Section Two – Social Commentary The Grapes of Wrath Soylent Green Crash** Citizen Kane To Kill a Mocking Bird North Country** Schindler’s List** Mississippi Burning** The Kite Runner A Civil Action Doctor Strangelove A Patch of Blue Pay it Forward Silkwood Testament Guess Who’s Coming to Dinner Milk** Norma Rae The Day the Earth Stood Still One Flew Over the Cuckoo’s Nest Juno** Erin Brockovich** After watching one of these war films write a one to two page paper, in paragraph form, that defines and explains the social issue the film is about. Lastly within this paper include your reaction to the film and your view on the particular issue (how do you feel about this issue specifically and WHY?) Section Three – Western Shane High Noon The Good, the Bad, and the Ugly** The Searchers How the West Was Won The Treasure of Sierra Madre The magnificent Seven Butch Cassidy and the Sundance Kid Virginia City Unforgiven** A Fistful of Dollars 3:10 to Yuma** The Western is considered to be uniquely American form. Write a one to two page paper, in paragraph form, summarizing the events of one of these pictures and describe how the film defines key aspects of who we are in America. (Meaning what do westerns say about Americans and what can be learned from them) Section Four – The Decades 1920’s The Great Gatsby 1930’s The Grapes of Wrath, The Aviator**, The Green Mile**, Places in the Heart 1940’s Gene Autrey, Roy Rodgers Serials, It’s A Wonderful Life, Fantasia 1950’s The Wild One, Rebel Without a Cause, Blackboard Jungle, The Godfather** 1960’s American Graffiti, Woodstock**, Endless Summer, JFK**, The Deer Hunter** 1970’s Saturday Night Fever, Rocky 1980’s Wall Street**, Stand by Me**, Blade Runner**, War Games, Breakfast Club** 1990’s American Beauty**, Sling Blade**, Dead Man Walking**, Philadelphia**, Pulp Fiction** After watching one of these films that focus on a specific decade, write a one to two page paper, that defines and explains why this is representative of this particular decade. Lastly within this paper include you reaction to the film and your own views on the particular decade. Section Five – The Classics Gone with the Wind Casablanca Wizard of Oz It’s A Wonderful Life Citizen Kane 2001: A Space Odyssey Snow White Grease Lawrence of Arabia These films along are considered the classics from 1920 to 1970. Most people from earlier generation have seen them. As one of your film choices, you may choose to view one of these classics. After viewing the film write a one to two page paper that summarizes the film and discuss why or why not you consider this film to be an American classic. ** These films are rated R and if this is a problem please choose another film from the list. Before view one of the R rated films please get a parental permission slip to me. Extra Credit Options 1. Parental 5 point Bonus – watch the movie with Mom or Dad and interview them answering the questions from that movie section. Have them sign the one page interview and this will add 5 points to your assignment 2. Extra films may be view (up to 2) for extra credit but if all other assignments are turned in! Value to 5 points per added to your averages Substitute Move List – Next Page Ø With the turn of the century numerous greatest movie lists have been debated, a list which has been published by NY Times, USA Today, and the likes have called this list the list of 100 greatest movies all­time. Ø You may substitute one movie from the list for a film from Section #5 Classics. Ø You may do a maximum of one film from this list! This is the American Film Institute's list of the 100 Greatest Movies, selected by AFI's blue­ribbon panel of more than 1,500 leaders of the American movie community. (It has also been published by NY Times, USA Today, etc.) 1.CITIZEN KANE (1941) 51.PHILADELPHIA STORY, THE(1940) 2.CASABLANCA (1942) 52.FROM HERE TO ETERNITY (1953) 3.GODFATHER, THE (1972) 53.AMADEUS (1984) 4.GONE WITH THE WIND (1939) 54.ALL QUIET ON THE WESTERN FRONT 5.LAWRENCE OF ARABIA (1962) (1930) 6.WIZARD OF OZ, THE (1939) 55.SOUND OF MUSIC, THE (1965) 7.GRADUATE, THE (1967) 56.M*A*S*H(1970) 8.ON THE WATERFRONT (1954) 57.THIRD MAN, THE (1949) 9.SCHINDLER'S LIST (1993) 58.FANTASIA (1940) 10.SINGIN' IN THE RAIN (1952) 59.REBEL WITHOUT A CAUSE (1955) 11.IT'S A WONDERFUL LIFE (1946) 60.RAIDERS OF THE LOST ARK (1981) 12.SUNSET BOULEVARD (1950) 61.VERTIGO (1958) 13.BRIDGE ON THE RIVER KWAI, THE (1957) 62.TOOTSIE (1982) 14.SOME LIKE IT HOT (1959) 63.STAGECOACH (1939) 15.STAR WARS (1977) 64.CLOSE ENCOUNTERS OF THE THIRD 16.ALL ABOUT EVE (1950) KIND (1977) 17.AFRICAN QUEEN, THE (1951) 65.SILENCE OF THE LAMBS, THE (1991) 18.PSYCHO (1960) 66.NETWORK (1976) 19.CHINATOWN (1974) 67.MANCHURIAN CANDIDATE, THE (1962) 20.ONE FLEW OVER THE CUCKOO'S NEST 68.AMERICAN IN PARIS, AN (1951) (1975) 69.SHANE (1953) 21.GRAPES OF WRATH, THE (1940) 70.FRENCH CONNECTION, THE (1971) 22.2001: A SPACE ODYSSEY (1968) 71.FORREST GUMP (1994) 23.MALTESE FALCON, THE (1941) 72.BEN­HUR (1959) 24.RAGING BULL (1980) 73.WUTHERING HEIGHTS (1939) 25.E.T. THE EXTRA­TERRESTRIAL (1982) 74.GOLD RUSH, THE (1925) 26.DR. STRANGELOVE (1964) 75.DANCES WITH WOLVES (1990) 27.BONNIE & CLYDE (1967) 76.CITY LIGHTS (1931) 28.APOCALYPSE NOW (1979) 77.AMERICAN GRAFFITI (1973) 29.MR. SMITH GOES TO WASHINGTON (1939) 78.ROCKY (1976) 30.TREASURE OF THE SIERRA MADRE (1948) 79.DEER HUNTER, THE (1978) 31.ANNIE HALL (1977) 80.WILD BUNCH, THE (1969) 32.GODFATHER PART II, THE (1974) 81.MODERN TIMES (1936) 33.HIGH NOON (1952) 82.GIANT (1956) 34.TO KILL A MOCKINGBIRD (1962) 83.PLATOON (1986) 35.IT HAPPENED ONE NIGHT (1934) 84.FARGO (1996) 36.MIDNIGHT COWBOY (1969) 85.DUCK SOUP (1933) 37.BEST YEARS OF OUR LIVES, THE (1946) 86.MUTINY ON THE BOUNTY (1935) 38.DOUBLE INDEMNITY (1944) 87.FRANKENSTEIN (1931) 39.DOCTOR ZHIVAGO (1965) 88.EASY RIDER (1969) 40.NORTH BY NORTHWEST (1959) 89.PATTON (1970) 41.WEST SIDE STORY (1961) 90.JAZZ SINGER, THE (1927) 42.REAR WINDOW (1954) 91.MY FAIR LADY (1964) 43.KING KONG (1933) 92.PLACE IN THE SUN, A(1951) 44.BIRTH OF A NATION, THE (1915) 93.APARTMENT, THE (1960) 45.STREETCAR NAMED DESIRE, A (1951) 94.GOODFELLAS (1990) 46.CLOCKWORK ORANGE, A (1971) 95.PULP FICTION (1994) 47.TAXI DRIVER (1976) 96.SEARCHERS, THE (1956) 48.JAWS (1975) 97.BRINGING UP BABY (1938) 49.SNOW WHITE & THE SEVEN DWARFS 98.UNFORGIVEN (1992) (1937) 99.GUESS WHO'S COMING TO DINNER (1967) 50.BUTCH CASSIDY & THE SUNDANCE KID 100. YANKEE DOODLE DANDY (1942) (1969) .
Recommended publications
  • The Cartographic Steppe: Mapping Environment and Ethnicity in Japan's Imperial Borderlands
    The Cartographic Steppe: Mapping Environment and Ethnicity in Japan's Imperial Borderlands The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Christmas, Sakura. 2016. The Cartographic Steppe: Mapping Environment and Ethnicity in Japan's Imperial Borderlands. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33840708 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Cartographic Steppe: Mapping Environment and Ethnicity in Japan’s Imperial Borderlands A dissertation presented by Sakura Marcelle Christmas to The Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History Harvard University Cambridge, Massachusetts August 2016 © 2016 Sakura Marcelle Christmas All rights reserved. Dissertation Advisor: Ian Jared Miller Sakura Marcelle Christmas The Cartographic Steppe: Mapping Environment and Ethnicity in Japan’s Imperial Borderlands ABSTRACT This dissertation traces one of the origins of the autonomous region system in the People’s Republic of China to the Japanese imperial project by focusing on Inner Mongolia in the 1930s. Here, Japanese technocrats demarcated the borderlands through categories of ethnicity and livelihood. At the center of this endeavor was the perceived problem of nomadic decline: the loss of the region’s deep history of transhumance to Chinese agricultural expansion and capitalist extraction.
    [Show full text]
  • Pulp Fiction © Jami Bernard the a List: the National Society of Film Critics’ 100 Essential Films, 2002
    Pulp Fiction © Jami Bernard The A List: The National Society of Film Critics’ 100 Essential Films, 2002 When Quentin Tarantino traveled for the first time to Amsterdam and Paris, flush with the critical success of “Reservoir Dogs” and still piecing together the quilt of “Pulp Fiction,” he was tickled by the absence of any Quarter Pounders with Cheese on the European culinary scene, a casualty of the metric system. It was just the kind of thing that comes up among friends who are stoned or killing Harvey Keitel (left) and Quentin Tarantino attempt to resolve “The Bonnie Situation.” time. Later, when every nook and cranny Courtesy Library of Congress of “Pulp Fiction” had become quoted and quantified, this minor burger observation entered pop (something a new generation certainly related to through culture with a flourish as part of what fans call the video games, which are similarly structured). Travolta “Tarantinoverse.” gets to stare down Willis (whom he dismisses as “Punchy”), something that could only happen in a movie With its interlocking story structure, looping time frame, directed by an ardent fan of “Welcome Back Kotter.” In and electric jolts, “Pulp Fiction” uses the grammar of film each grouping, the alpha male is soon determined, and to explore the amusement park of the Tarantinoverse, a the scene involves appeasing him. (In the segment called stylized merging of the mundane with the unthinkable, “The Bonnie Situation,” for example, even the big crime all set in a 1970s time warp. Tarantino is the first of a boss is so inexplicably afraid of upsetting Bonnie, a night slacker generation to be idolized and deconstructed as nurse, that he sends in his top guy, played by Harvey Kei- much for his attitude, quirks, and knowledge of pop- tel, to keep from getting on her bad side.) culture arcana as for his output, which as of this writing has been Jack-Rabbit slim.
    [Show full text]
  • Oscar-Winning 'Slumdog Millionaire:' a Boost for India's Global Image?
    ISAS Brief No. 98 – Date: 27 February 2009 469A Bukit Timah Road #07-01, Tower Block, Singapore 259770 Tel: 6516 6179 / 6516 4239 Fax: 6776 7505 / 6314 5447 Email: [email protected] Website: www.isas.nus.edu.sg Oscar-winning ‘Slumdog Millionaire’: A Boost for India’s Global Image? Bibek Debroy∗ Culture is difficult to define. This is more so in a large and heterogeneous country like India, where there is no common language and religion. There are sub-cultures within the country. Joseph Nye’s ‘soft power’ expression draws on a country’s cross-border cultural influences and is one enunciated with the American context in mind. Almost tautologically, soft power implies the existence of a relatively large country and the term is, therefore, now also being used for China and India. In the Indian case, most instances of practice of soft power are linked to language and literature (including Indians writing in English), music, dance, cuisine, fashion, entertainment and even sport, and there is no denying that this kind of cross-border influence has been increasing over time, with some trigger provided by the diaspora. The film and television industry’s influence is no less important. In the last few years, India has produced the largest number of feature films in the world, with 1,164 films produced in 2007. The United States came second with 453, Japan third with 407 and China fourth with 402. Ticket sales are higher for Bollywood than for Hollywood, though revenue figures are much higher for the latter. Indian film production is usually equated with Hindi-language Bollywood, often described as the largest film-producing centre in the world.
    [Show full text]
  • Miranda, 5 | 2011, « South and Race / Staging Mobility in the United States » [En Ligne], Mis En Ligne Le 01 Décembre 2011, Consulté Le 16 Février 2021
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 5 | 2011 South and Race / Staging Mobility in the United States Sud et race / Mise en scène et mobilité aux États-Unis Édition électronique URL : http://journals.openedition.org/miranda/83 DOI : 10.4000/miranda.83 ISSN : 2108-6559 Éditeur Université Toulouse - Jean Jaurès Référence électronique Miranda, 5 | 2011, « South and Race / Staging Mobility in the United States » [En ligne], mis en ligne le 01 décembre 2011, consulté le 16 février 2021. URL : http://journals.openedition.org/miranda/83 ; DOI : https://doi.org/10.4000/miranda.83 Ce document a été généré automatiquement le 16 février 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 1 SOMMAIRE South and Race Introduction Anne Stefani Forgetting the South and the Southern Strategy Michelle Brattain Image, Discourse, Facts: Southern White Women in the Fight for Desegregation, 1954-1965 Anne Stefani Re-Writing Race in Early American New Orleans Nathalie Dessens Integrating the Narrative: Ellen Douglas's Can't Quit You Baby and the Sub-Genre of the Kitchen Drama Jacques Pothier Representing the Dark Other: Walker Percy's Shadowy Figure in Lancelot Gérald Preher Burning Mississippi: Race, Fatherhood and the South in A Time to Kill (1996) Hélène Charlery Laughing at the United States Eve Bantman-Masum Staging American Mobility Introduction Emeline Jouve Acte I. La Route de l'ouest : Politique(s) des représentations / Act I. The Way West: Representations and Politics The Road West, Revised Editions Audrey Goodman Le héros de la Frontière, un mythe de la fondation en mouvement Daniel Agacinski Acte II.
    [Show full text]
  • CITIZEN KANE by Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN
    CITIZEN KANE by Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN: EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) Window, very small in the distance, illuminated. All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous iron grille work. Camera travels up what is now shown to be a gateway of gigantic proportions and holds on the top of it - a huge initial "K" showing darker and darker against the dawn sky. Through this and beyond we see the fairy-tale mountaintop of Xanadu, the great castle a sillhouette as its summit, the little window a distant accent in the darkness. DISSOLVE: (A SERIES OF SET-UPS, EACH CLOSER TO THE GREAT WINDOW, ALL TELLING SOMETHING OF:) The literally incredible domain of CHARLES FOSTER KANE. Its right flank resting for nearly forty miles on the Gulf Coast, it truly extends in all directions farther than the eye can see. Designed by nature to be almost completely bare and flat - it was, as will develop, practically all marshland when Kane acquired and changed its face - it is now pleasantly uneven, with its fair share of rolling hills and one very good-sized mountain, all man-made. Almost all the land is improved, either through cultivation for farming purposes of through careful landscaping, in the shape of parks and lakes. The castle dominates itself, an enormous pile, compounded of several genuine castles, of European origin, of varying architecture - dominates the scene, from the very peak of the mountain.
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Dvds and DVD Extras That Help Teach the Language of Film
    DVDs and DVD Extras That Help Teach The Language of Film Copyright 2010, by Frank W. Baker – Media Literacy Clearinghouse This page is not intended to be an exhaustive, all-inclusive list, but rather a list of some DVDs that I am aware of and have watched that I think could be used in classes where “film literacy” and “film fluency” is being taught. There’s nothing like reading a book about film, but viewing, analyzing and deconstructing are best when you have access to films, and extras, that will help your students better understand the languages of film. NOTE: many of these “extras” can now be founded streamed on YouTube. General Film, Form and Culture (CD How to Read A Film: Looking At Movies Rom) Multimedia Edition The Art of Watching Films A Movie Lover’s Guide to Making Movies Make Sense (CD Rom) Film Language American Cinema: 100 Years Moving Images Making Movies, Moguls & Movie Stars: A of Filmmaking Understanding Media History of Hollywood Filmmakers on Film Acting/Casting Matching Identities: Casting Widescreen, The Bourne Supremacy Lemony Snicket’s A Series of Unfortunate Building A Bad Actor (Title 2, Chapter 1) Events A Collaboration of Spirits: Casting and The Color Purple, Two Disc Special Edition Acting Animation Peering Through The Veil Paranorman (Blu-ray DVD) Miniatures in Motion: Bringing Frankenweenie Frankenweenie (2 Disc Combo Pack, Blu- to Life ray-DVD) Tim Burton’s The Corpse Bride, Blu-Ray The Animators: The Breadth of Life Edition Peering Through the Veil: Stop Motion Behind Paranorman, Blu Ray Disc The Scenes Art Direction: Set Design Behind Hogwarts: Dumbledore’s Office- Harry Potter & the Chamber of Secrets Build a Scene (Widescreen Ed.
    [Show full text]
  • The Use of Music in the Cinematic Experience
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance.
    [Show full text]
  • LETTERS from IWO JIMA Wettbewerb LETTERS from IWO JIMA Außer Konkurrenz LETTRES D’IWO JIMA Regie: Clint Eastwood
    Berlinale 2007 LETTERS FROM IWO JIMA Wettbewerb LETTERS FROM IWO JIMA Außer Konkurrenz LETTRES D’IWO JIMA Regie: Clint Eastwood USA 2006 Darsteller General Kuribayashi Ken Watanabe Länge 141 Min. Saigo Kazunari Ninomiya Format 35 mm, Baron Nishi Tsuyoshi Ihara Cinemascope Shimizu Ryo Kase Farbe Leutnant Ito Shidou Nakamura Leutnant Fujita Hiroshi Watanabe Stabliste Kapitän Tanida Takumi Bando Buch Iris Yamashita, nach Nozaki Yuki Matsuzaki einer Idee von Iris Kashiwara Takashi Yamaguchi Yamashita und Paul Leutnant Okubo Eijiro Ozaki Haggis sowie den Hanako Nae „Picture Letters“ von Admiral Ohsugi Nobumasa Sakagami Tadamichi Sam Lucas Elliot Kuribayashi Sanitäter Endo Sonny Seiichi Saito Kamera Tom Stern Oberst Oiso Hiro Abe Kameraführung Stephen S. Campanelli Kameraassistenz Bill Coe Schnitt Joel Cox Gary D. Roach Ken Kasai, Masashi Nagadoi, Hiroshi Watanabe, Ken Watanabe Schnittassistenz Michael Cipriano Blu Murray Ton Flash Deros LETTERS FROM IWO JIMA Mischung Walt Martin Vor 62 Jahren trafen die amerikanischen und japanischen Truppen auf Musik Kyle Eastwood Iwo Jima aufeinander. Jahrzehnte später fand man Hunderte von Briefen in Michael Stevens der Erde der kargen Insel. Durch diese Briefe bekommen die Männer, die Production Design Henry Bumstead dort unter Führung ihres außergewöhnlichen Generals gekämpft haben, James J. Murakami Ausstattung Gary Fettis Gesicht und Stimme. Spezialeffekte Michael Owens Als die japanischen Soldaten nach Iwo Jima geschickt werden, wissen sie, Kostüm Deborah Hopper dass sie aller Wahrscheinlichkeit nach nicht zurückkehren werden. Zu ihnen Maske Tania McComas gehört der Bäcker Saigo, der überleben möchte, um seine neugeborene Regieassistenz Donald Murphy Tochter sehen zu können. Baron Nishi, der 1936 als Reiter bei den Olym pi - Katie Carroll Casting Phyllis Huffman schen Spielen in Berlin siegte, gehört ebenso dazu wie der idealistische Ex- Produzenten Clint Eastwood Polizist Shimizu und der von der Sache überzeugte Leut nant Ito.
    [Show full text]
  • Cbk: Movies and Meaning
    PETERS TOWNSHIP SCHOOL DISTRICT CORE BODY OF KNOWLEDGE MOVIES AND MEANING GRADES 9-12 COURSE DESCRIPTION Great films explore great themes, which help us get acquainted with our own lives. In this class, students will view, discuss, write about, and research some of the world’s finest and most renowned examples of cinema. Students will learn to “read” film in order to appreciate, interpret, and critique history’s most complex art form. STUDY SKILLS Develop strategies for enriching cinematic experiences. Derive interpretations from visual cues and details. Identify universal themes and relate them to personal experiences. Recognize symbolic enhancements to storyline and theme. Acquire a historical perspective on classic cinema. Recognize and synthesize the complex components of the art of film and make judgments on their effective applications. Interpret subtleties of characterization via actions, acting, dialogue, and context. Analyze mise-en-scene with respect to symbolism and emotional effect. Make abstract judgments regarding theme and motivation. Present and refine ideas orally and in writing. Research and summarize expert critical and scholarly opinions. Expand multi-cultural horizons via use of foreign films UNIT THEMES LIGHTS! CAMERA! ACTION! Recognize, appreciate, and apply the various types of writing about film. Appreciate and interpret the various uses of light and shadow to augment narrative and characterization. Gain an overview of the history of the cinema. Gain exposure to famous film clips from famous films. Gain practical insights to the overall process and tribulations of filmmaking. Sustain an aesthetic discussion on the merits of particular film shots. RISE TO THE OCCASION! Recognize, interpret, and summarize various expressions of courage via iconic film characters.
    [Show full text]
  • On-The-Waterfront-Study-Guide
    On the Waterfront Study Guide Acknowledgements Writer: Susan Bye Education Programmer Australian Centre for the Moving Image Susan’s primary role at the Australian Centre for the Moving Image is to support the teaching of film as text to secondary school students. Initially trained as an English teacher, she studied and taught film and media at La Trobe University before joining ACMI in 2009. Study Guide > On the Waterfront 2 On the Waterfront: difficult choices in an uncertain world The purpose of this guide is to provide an introduction to On the Waterfront (PG, Elia Kazan, 103 mins, USA, 1954), an overview of the commentary and debate that the film has generated and some ideas that will help you form your own interpretation of this challenging film. Studying and Interpreting On the Waterfront On the Waterfront is a film that is as problematic as it is extraordinary. It carries with it an interesting history which has, over the years, affected the way people have responded to the film. On the Waterfront encourages different and conflicting interpretations, with its controversial ending being a particular source of debate. This study guide is intended as an informative resource, providing background information and a number of different ways of thinking about the film. One of the most exciting and satisfying aspects of the film is its capacity to invite and sustain different and multifaceted interpretations. On the Waterfront focuses on life’s uncertainty and confusion, depicting both Father Barry’s dogmatic certainty and Johnny Friendly’s egotistical self-confidence as dangerously blinkered. For some viewers, Father Barry’s vision of collective action and Terry Malloy’s confused struggle to be a better man belong in two different films; however, the contrast between these two ways of looking at, and responding to, life’s challenges highlights the limitations of each of these perspectives.
    [Show full text]
  • FILMS and THEIR STARS 1. CK: OW Citizen Kane: Orson Welles 2
    FILMS AND THEIR STARS 1. CK: OW Citizen Kane: Orson Welles 2. TGTBATU: CE The Good, the Bad and the Ugly: Clint Eastwood 3. RFTS: KM Reach for the Sky: Kenneth More 4. FG; TH Forest Gump: Tom Hanks 5. TGE: SM/CB The Great Escape: Steve McQueen and Charles Bronson ( OK. I got it wrong!) 6. TS: PN/RR The Sting: Paul Newman and Robert Redford 7. GWTW: VL Gone with the Wind: Vivien Leigh 8. MOTOE: PU Murder on the Orient Express; Peter Ustinov (but it wasn’t it was Albert Finney! DOTN would be correct) 9. D: TH/HS/KB Dunkirk: Tom Hardy, Harry Styles, Kenneth Branagh 10. HN: GC High Noon: Gary Cooper 11. TS: JN The Shining: Jack Nicholson 12. G: BK Gandhi: Ben Kingsley 13. A: NK/HJ Australia: Nicole Kidman, Hugh Jackman 14. OGP: HF On Golden Pond: Henry Fonda 15. TDD: LM/CB/TS The Dirty Dozen: Lee Marvin, Charles Bronson, Telly Savalas 16. A: MC Alfie: Michael Caine 17. TDH: RDN The Deer Hunter: Robert De Niro 18. GWCTD: ST/SP Guess who’s coming to Dinner: Spencer Tracy, Sidney Poitier 19. TKS: CF The King’s Speech: Colin Firth 20. LOA: POT/OS Lawrence of Arabia: Peter O’Toole, Omar Shariff 21. C: ET/RB Cleopatra: Elizabeth Taylor, Richard Burton 22. MC: JV/DH Midnight Cowboy: Jon Voight, Dustin Hoffman 23. P: AP/JL Psycho: Anthony Perkins, Janet Leigh 24. TG: JW True Grit: John Wayne 25. TEHL: DS The Eagle has landed: Donald Sutherland. 26. SLIH: MM Some like it Hot: Marilyn Monroe 27.
    [Show full text]