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Please see the attached
Week 2 readings Week 2 readings Readings in World Cinema: Ch 5, “Indian Cinema and Bollywood” Readings in A Short Guide to Writing about Film: Ch 3, “Film Terms and Topics for Film Analysis and Writing” Week 2 screenings: Indian cinema and Bollywood Week 2 screenings: Indian cinema and Bollywood Screen at least one of the following films this week: I encouage you to see as much as you can this summer! Kabhi Khushi Kabhie Gham… (2001) – Full-on Bollywood… The highest grossing Indian film worldwide at the time of its release… 3 Idiots  (2009) – Neo-Bollywood with a poignant university life hook… Liar’s Dice (2014) – Neorealism on the subcontinent: The country and the city. Discussion board (20 points) Discussion board (20 points) Indian cinema, as we’ll read and screen, encompasses more than Bollywood… We’ve got film options that range from full-on Bollywood (K3G) to a more recent tweak to the formula (3 Idiots) to grittier realism (Liar’s Dice)… We’re reading about the formal and stylistic elements of cinema, considering how these elements come together to make meaning in film… This week’s essay asks you to use the tools you learn from Corrigan, and apply them to the cinematic traditions you learn from Deshpande & Mazaj… Throw in the discussion board + flipgrid, and you’ve got another action-packed week! Much to discuss…  Two posts this week for 20 points, with one post per day for points… Make sure you post on two different days this week for full credit! This board closes Monday night (6/6) at 11:59p Essay 2 (150 points) In Chapter 3 of our Short Guide textbook, Corrigan lays out a range of formal and stylistic concerns that we can use to think about how films “make meaning.” For your second Global Cinema essay, use at least three of these elements to provide evidence for your argument regarding the meanings / themes of a given screening from this week. Talk to use about things like cinematography and character, mise-en-scène and realism! Use particular examples from particular scenes to argue your points–vagueness will not be rewarded!  Your second essay (1000 words minimum) should be completed by the end of Week 2 (6/6) and submitted in MS Word or as a PDF.
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Option 1: The Celebration (1998) Name Institutional Affiliation Option 1: The Celebration (1998) How was The Celebration, and Dogma 95 received? Von Trier’s films are known for their political satire and sly wit. Under his little stature and youthful appearance, von Trier is regarded as one of the most intriguing Scandinavian directors since Ingmar Bergman. He suffers from terrible panic episodes and acute bouts of self-doubt, much like Bergman. However, despite his anguish, he can maintain a productive work ethic. Instead, he uses them as a source of inspiration and the occasional sardonic quip. Even though the picture adheres to rigorous standards set by the Danish directors’ collective known as Dogma 95, Thomas Vinterberg’s “Celebration” (Durbin, 2022) nonetheless is an impressive work. Vinterberg, four years out of acting school and colossally confident, eschews the usual norms of filmmaking in favor of creating fresh, unrestrained methods to tell a tale. It is possible that this group’s aesthetic, which includes Lars von Trier, may appear as new as the Macarena if it is widely copied. Films like this are rare these days since they tend to rely on the familiar, but this one manages to be entertaining and clean. “Genre tales and shallow action” are absent from “Dogma 95.” There is no need for additional lighting or sound. There will be no props, no optical illusions, and camera techniques that are not hand-held in this film—nothing in black and white or in the past. There is no longer a directorial credit or personal stamp for the filmmaker. The group’s Vows of Chastity state, “My highest purpose is to push the facts out of my characters and situations.” I promise to do so without sacrificing any sense of aesthetics or good taste (Maslin, 2022). Although it sounds like a prank, “The Celebration” does not portray it that way. Vinterberg delivers a black-tie psyche-bashing party with Shakespearean undertones in a beautiful chateau, a family-owned hotel, as the scene for a birthday reunion. Helge (Henning Moritzen), a wealthy grandfather who is turning 60 and ruling over lifelong friends and wayward offspring, is the monarch of this occasion. There is an abundance of politeness at the beginning of the ceremony (“Thanks for a great funeral,” “Thank You!”) before an army of skeletons from this family’s closet emerges. While the film’s direction may seem like the visual equivalent of a brown rice diet, Vinterberg shows off a thrilling vibrancy (Maslin, 2022). As a filmmaker, he uses the freedom of film editing to propel the story along in a way that seems natural but requires a great deal of talent. The film was recorded on a tiny video camera, then converted to 35mm format, and he jumps between scenes with agile elegance and a remarkable degree of agility. Unusual angles and great attention to the faces of the characters produce the story’s pulsating energy. The stunned silence that descends on the table after a stunning announcement has a much greater impact than any simple musical cue could have. All of the alleged drawbacks of this strategy are opened up as new possibilities. In an understated comment, one attendee says, “It is an honor to be toastmaster tonight” (Maslin, 2022). Under his son Christian being at the party, Helge’s son has been tasked to have his father re-examine and confess to his previous transgressions. Michael, Christian’s brother, and Helene (Paprika Steen), their loose-cannon sister, are at home as Christian prepares to make a horrible announcement. He intends to inform the gathered crowd about Helge’s incestuous abuse and the suicide of Christian’s twin sister, Linda, which he believes was caused by Helge. On the other hand, Christian has a few surprises up his sleeve. This group of people may be well-dressed, yet they are surprisingly shockproof. While the Godfather and Cries and Whispers references are easily accommodated, there is a large, credible cast throughout The Celebration, from noble families guests to mischievous maids to Helene’s American lover (a black man whose appearance brings out the worst in this family’s considerable worse) to a kitchen staff tilted on settling old scores. When it comes to making this a party to remember, they and Vinterberg (who co-wrote the script with Mogens Rukov) achieve it brilliantly (Durbin, 2022). Striking Aspects of the Film In order to make a Dogme 95 film, there are ten rules. It is mandatory to film on location with roaming hand-held cameras, utilizing on-site lighting and props; non-diegetic soundtrack or sound effects are not allowed. No genre elements, effects, or stunts are allowed in the storyline; it must occur in the present day and not the past. Also, no credit should be given to the director. Dogme 95 not only provides a manifesto but also its certifications of validity, making it easier to pin down. It is impossible to reply to Thomas Vinterberg’s “The Celebration” without being challenged. As soon as we recognize that a scenario is not meant to be amusing, we begin to choke up a little uncontrollable chuckle. The film’s grunge style is accentuated by fast-moving close-ups taken using distorted wide-angle lenses on consumer-grade miniDV film cameras. In some ways, it is like viewing home videos, which further adds to the unsettling nature of the story’s portrayal of child abuse. When the camera changes, spoken lines are clipped, indicating that the music from one angle has not been layered over the audio from the next. This is consistent with Vinterberg’s stringent application of the Dogme rules. Intentionally shoddy decisions make for a jarring viewing experience. Dogme’s restrictions allowed Vinterberg and his crew to create some stunning images; the camera swings about, purposely defocus, and the autofocus in on key occasions. Vinterberg the year 2022, “A Short History of Dogme 95.” These low-budget films are also known for their controversial plotlines and transgressive characters. To fully appreciate Vinterberg’s work, we need to always look for hints about the desired mood. The celebration falls into denial as the night drags on, and a raucous conga line takes over the hotel. The family’s past is indeed bleak and dismal. However, the chef is out of French farce since he conceals the keys and monitors cab calls. Because they are all there in the same room, it is an amusing joke. There may be more to it than just the fact that practically everyone is inebriated; however, this is a new chapter in a long-running story. When Christian comes to the party to reveal the truth about his father’s abuse of him and his twin, the vow of chastity is manifested. After a long night of revelations and accusations, the evening comes to a close. First, the father attempts to disregard his son’s performance. Christian reminds the mother that she watched the father raping him when she demanded an apology. References A Brief History of Dogme 95. Youtube.com. (2022). Retrieved 26 May 2022, from https://www.youtube.com/watch?v=wHMvR3CYDdk. Durbin, K. (2022). Making The Waves (Published 2000). Nytimes.com. Retrieved 26 May 2022, from https://www.nytimes.com/2000/04/30/magazine/making-the-waves.html. Maslin, J. (2022). ‘The Celebration’: A Family Making Orphanhood Look Good. Archive.nytimes.com. Retrieved 26 May 2022, from https://archive.nytimes.com/www.nytimes.com/library/film/100798celebration-film-review.html.
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Global Cinema The themes of the movie Kabhi Khushi Kabhie Gham are conveyed through various formal and stylistic concerns throughout the film. For instance, the film’s color palette is frequently employed to describe the mental and emotional state of the characters. Pooja is depicted in one scene donning a white dress, which serves as a visual representation of her innocence and purity. On the other hand, later in the movie, when she is shown wearing a red dress, it serves as a metaphor for her tenacity and self-reliance. The filmmakers of this movie communicate the emotional journey that the characters are going through a variety of different means, one of which is the use of color. Mise-en-scène is an additional formal concern that the movie uses to communicate its themes to the audience. The emotional state of the characters is frequently reflected in the film through the use of the setting and the various props. For instance, when Rahul is depicted in his lavish home, it symbolizes his accomplishments and elevated status. On the other hand, when he is shown in his crowded apartment, it serves as a metaphor for his social withdrawal and loneliness. The directors of the movie communicate the characters’ emotional journey through various means, one of which is the use of mise-en-scène in the film. Characters and their connections to one another are investigated in Kabhi Khushi Kabhie Gham through the medium of a family melodrama. The movie’s primary focus is the difficulties that arise when children become adults and move out of the family home, which centers on the relationships between parents and children. The themes are investigated through various cinematic techniques throughout the film. The audience can better understand the characters’ feelings when the filmmakers employ techniques such as close-up shots. This is especially powerful in the scene where Rahul explains to his father that he will be moving away from the family home. The characters’ expressions of sadness and confusion are brought out in this scene by zooming in on their faces and showing them up close. In addition, flashbacks are utilized throughout the movie to delve deeper into the dynamics of the characters’ relationships with one another. The audience is allowed to see how the relationships have developed throughout the story through flashbacks. This works very well in the scene where Rahul visits the house where he spent his childhood. The set contains flashbacks that demonstrate how Rahul’s relationship with his father has evolved throughout his lifetime. In addition to that, the importance of music in the film cannot be overstated. The audience can better understand the range of feelings that the characters are experiencing thanks to the incorporation of songs. This is especially powerful in the scene where Pooja is about to marry. In this context, the use of the music “Kabhi Khushi Kabhi”(Puwar & Powar, 2004) In the film Kabhi Khushi Kabhie Gham…, the mise-en-scene contrasts the two families and the different lifestyles they lead. While the Sharma family is of the middle class, the Raichand family is depicted as wealthy and belonging to the upper class. The Raichand family resides in a sprawling estate, whereas the Sharma family calls a modest home in the neighborhood home. Here, the Raichand family’s penchant for pomp and circumstance contrasts with the Sharma family’s laid-back demeanor. A further contrast between the two families is achieved through cinematography. The Raichand family is depicted using vivid, highly saturated colors, whereas the Sharma family uses more subdued colors. Scenes involving the Raichand family are shown to be brightly lit, whereas scenes involving the Sharma family are darker. The contrast between the two families is also illustrated by using the characters that belong to each family. The Raichand family is portrayed as uncaring and uninvolved, compared to the Sharma family, who are shown to be kind and affectionate. It is revealed that Rahul, the son of the Raichand family, is a successful and self-assured individual. In contrast, Rohan, the son of the Sharma family, is revealed to be a more sensitive and reflective individual. Full-on Bollywood, Kabhi Khushi Kabhie Gham (2001) is a family drama that explores the themes of love, loss, and betrayal. The film was released in the United States. The story is told from the perspective of Rahul, the eldest son of the family, who is torn between his love for his family and his love for his wife, Anjali. This conflict drives the plot of the movie. To investigate these topics, the film uses a variety of formal and stylistic devices. The film’s use of cinematography is recognized as one of its most essential components. India, England, and the United States are just some of the countries used during the production of this movie. Because of this, the movie can explore the concept of love on a much larger scale. In addition to this, the film uses a variety of unique camera angles and shots to generate a feeling of closeness between the characters. The scene in which Rahul and Anjali are chatting in their bedroom is the one in which this is made most evident (Puwar & Powar, 2004). As Rahul is speaking, the audience will see his face thanks to the camera’s position, which is behind him. This enables the audience to comprehend the feelings that the characters are experiencing and to have the impression that they are in the same room with the characters. Reference Puwar, N., & Powar, K. (2004). Kabhi Ritz, Kabhi Palladium: Asian Cinema culture in Coventry: 1940–1980. Wasafiri, 19(43), 41-44. https://doi.org/10.1080/02690050408589936
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 Global Cinema In the introductory guide textbook that he has written, Corrigan lays out a variety of formal and stylistic concerns that we can use to think about how films “make meaning” in their respective contexts. We can use these concerns to think about how movies “make meaning” in their respective contexts. We can use these considerations to think about how films “make meaning” in the contexts in which they are viewed. In the second paper, I am writing about global cinema. I will use three of these elements to provide evidence for my argument regarding the meanings or themes of the screening we watched earlier this week. This screening was shown earlier this week. The screening we went to earlier this week will focus on the paper. I will focus specifically on how the film’s characters, cinematography, and mise-en-scene all work together to produce the film’s overall meaning as a whole. Cinematography is the term used to describe the artistic approach taken when filming a movie. This aspect comprises several components, including lighting, camera angles, and movement. The film “The Last Picture Show,” for which Robert Surtees served as cinematographer, is known for its heavy reliance on low-key lighting. This contributes to the feeling that there is no light or hope in the future. The camera is frequently positioned at a low angle, which creates the impression that the characters are much larger than life. This works exceptionally well in the scene where Sonny converses with Jacy about their future together. Jacy and their future together is a critical topic in this scene. The low angle at which the camera is positioned gives the impression that Sonny is quite taller than he is. The camera’s movement is typically prolonged and deliberate. Methodical in nature. The result is that the film exudes a feeling of equal parts melancholy and Yesteryear (Frazis & Stewart, 2010). The production of moving pictures is referred to as cinematography, a term used to describe the process. Lighting, framing, and camera movement iareessential components of this process, as are the control and manipulation of the image itself. The cinematography in the movie Babette’s Feast makes a significant contribution to the overall atmosphere of the movie, which can be characterized as lonely and desolate. The majority of the film’s events occur in a sleepy little town in Denmark. The cinematography does an excellent job of conveying the atmosphere of the setting throughout the movie. The shots are frequently expansive, and the number of people present is relatively low compared to the amount of space present. This results in a sensation of solitude and emptiness, which is significant because it contrasts with the later shots in the movie, which are significantly more crowded and busier than the earlier ones. This is significant because it determines the last shots in the movie, which are substantial. After all, they serve as a contrast to the earlier ones. Significantly, this contrasts the previous shots in the movie because it creates a sense of loneliness and emptiness in the audience. The cinematography’s path plays a significant role in developing meaning for the characters and the plot during the movie. The audience gets a sense of the enormity of the setting in which the story is taking place, thanks to the frequent use of broad and sweeping shots in their scope. It is essential to convey this to effectively communicate the film’s central theme, which centers on feelings of alienation and loneliness. This is because it is necessary effectively communicate the film’s main theme very. Context is an additional, significant factor that needs to be considered whenever one is attempting to determine the meaning of something. The characters in the story experience feelings of alienation and separation from one another, and the bleak and desolate landscapes serve as a visual representation of these emotions. Not only are the themes of the movie conveyed clearly and effectively through the characters, but the characters also deliver a wide range of other information. The fact that they are frequently depicted in very isolated settings contributes to developing the themes investigated in the film. The use of color in “The Scent of Green Papaya” is one of the film’s most successful elements, particularly when conveying the story’s central ideas. The majority of the events in the movie take place inside the greenhouses situated on the family’s estate. The color green is prominently featured in various scenes throughout the entirety of the film. This color choice effectively conveys the feelings of melancholy and grief that the story’s main character, Mui, goes through during the narrative. These feelings are evoked by the events that take place in the story. This is one of the reasons why the film is regarded as one of the best in its genre. Additionally, the use of color effectively communicates the themes of memory and nostalgia that are pr the film. This is an aspect that the movie does an excellent job of. The utilization of color in this way was very effective. These recollections have a powerful impact on the present-day (Alessandrini, 2001). In this sense, the use of color in the flashbacks to Mui’s childhood is incredibly potent because it reminds the audience that the protagonist has lost some of the innocence she once possessed. In other words, the use of color in the flashbacks to Mui’s childhood is incredibly potent. An additional argument in favor of the film is that the lighting in “The Scent of Green Papaya” is adequate in conveying the themes present throughout the film. This is an additional point in favor of the film. The lighting in the movie comes from a combination of natural and artificial sources, and the contrast between the two is used to have significant dramatic effects throughout the plot. The movie’s cinematography is one of the aspects that stands out the most compared to the other components of the package. The film employs a diverse range of color palettes to convey various emotions and settings. Because of this, the use of color in the movie is a particularly noteworthy aspect of the overall production, which makes the use of color in the movie a particularly noteworthy aspect of the overall production. For instance, the scene in which Sook-Hee first meets Lady Hideko exudes an air of opulence and luxury due to the use of a color palette that is vivid and saturated. This is because the scene was shot in black and white. This is because the colors were chosen to have an extreme visual contrast with one another as they were used in the design. In contrast, the scene in which the investigator is questioning Sook-Hee features a more subdued color palette, generating a sense of foreboding and tension in the viewers. Because we carefully considered how we used color throughout the production process, we were able to create a movie that is visually arresting and thematically rich. This was one of the keys to our success. The life of Pu Yi, who reigned as the last Emperor of China, is depicted in the biographical drama “The Last Emperor,” which was adapted from the novel of the same name. The film depicts Pu Yi’s life events from beginning to end. The film is visually stunning, with beautiful cinematography that captures the grandeur of the imperial palace and the majesty of the Chinese landscape. The film is about a man trying to find his place in the world. The movie’s story centers on a man’s quest to identify his place in the wider world. The journey of a man to find his place in the larger world serves as the driving force behind the narrative of the film. It is also essential to discuss the film’s mise-en-scene because it features lavish sets and costumes, which contribute to the develodevelopingf when and where the story is taking place. The individuals who play the lead roles in the movie also significantly impact its meaning to its audience. The film does an excellent job of exploring the internal conflict within Pu Yi due to the clash between the traditional Chinese values he was raised with and the Western values he is exposed to while he is serving time in prison. This conflict is caused by the clash between Pu Yi’s exposure to Western values and the traditional Chinese values he was raised with. The movie does an excellent job of examining Pu Yi, a complex character who has many facets to his personality, and the film does a good job exploring Pu Yi. The character of Empress Wanrong, who adds another layer of mystery to the story, changes throughout the movie in a manner that is reflective of Pu Yi’s journey through the story. The sequence in which a movie’s various visual elements are shown to the audience is known as the “mise-en-scène,” and it is referred to by the French term “mise en scène.” This encompasses elements such as the costume, the props, and the environment in which the performance is staged. Reference Alessandrini, A. (2001). “My Heart’s Indian for All That”: Bollywood Film between Home and Diaspora. Diaspora: A Journal Of Transnational Studies, 10(3), 315-340. https://doi.org/10.1353/dsp.2011.0009 Frazis, H., & Stewart, J. (2010). How to Think About Time-Use Data: What Inferences Can We Make About Long- and Short-Run Time Use from Time Diaries?. SSRN Electronic Journal. https://doi.org/10.2139/ssrn.1708752  




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