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Rick and Laszlo as representations of traditional masculinity
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A little dissection of City of God, considering the micro elements of the film
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Student made powerpoint based on the issue of Representation of Gender in the film City of God
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A PowerPoint presentation I've presented at various Eduqas (WJEC) CPD sessions in January/February 2017 that looks at possible approaches to Component 2 of the new Film Studies GCSE. This presentation focuses on the use of Let the Right One in, Attack the Block and District 9 as well as how to incorporate elements of Film Language and context. There are several resources included here, many of which can be found on the WJEC/Eduqas Facebook group. Please get in touch if I can help in any way.
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A little dissection of City of God, considering the micro elements of the film
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A PowerPoint presentation I've presented at various Eduqas (WJEC) CPD sessions in January/February 2017 that looks at possible approaches to Component 2 of the new Film Studies GCSE. This presentation focuses on the use of Let the Right One in, Attack the Block and District 9 as well as how to incorporate elements of Film Language and context. There are several resources included here, many of which can be found on the WJEC/Eduqas Facebook group. Please get in touch if I can help in any way.
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2/21/2014 Bright Lights Film Journal :: Casablanca http://brightlightsfilm.com/55/casablanca.php#.Uwenf_RdVod 1/10 60 TANFER EMIN TUNC Casablanca The Romance of Propaganda "Casablanca provides twenty-first-century Americans with an oasis of hope in a desert of arbitrary cruelty and senseless violence." As we approach the sixty-fifth anniversary of Casablanca (1942), it is clear that the elements that made the film an enduring international classic — an A-list cast in a riveting love story;; an exotic, glamorous setting;; melodramatic and heroic sacrifices;; sharp, noir dialogue;; and the triumph of idealism over cynicism in a "world gone mad" — are still capturing our imagination. It is one of those rare films from Hollywood's Golden Age which has managed to transcend its era to entertain generations of moviegoers for nearly three-quarters of a century. However, if we look beyond the nostalgia and the sentimental theme of lost love and redemption, we see that Casablanca actually presents a complex and intricate political and social commentary on the early days of World War II. The product of a decade when studios were routinely producing "a movie a week," Casablanca surpasses its humble origins as "just another Warner Brothers' picture" by exploiting wartime patriotism and the traditional "American values" of freedom, liberty, and equality to shape audiences' perception of the war. In the most basic sense, Casablanca was an anti-fascist propaganda vehicle which was designed to support U.S. participation in the Allied Forces' struggle for global justice and democracy at a time when most Americans believed that U.S. foreign policy should have promoted isolationism and neutrality. Hollywood and the Home Front Although World War II began on September 1, 1939, as late as the beginning of December 1941, the time at which Casablanca is set, most Americans believed that the United States "should stay out of that phony war in Europe." In fact, a Gallup Poll taken during the first year of the war indicated that an overwhelming ninety-six percent of all Americans wanted the country to remain neutral. 1 However, by the time Casablanca premiered in November 1942, the bombing of Pearl Harbor had already occurred, and the United States had been at war for almost a year. Nevertheless, many Americans continued to support an isolationist foreign policy, and were uneasy about U.S. participation in a war that was thousands of miles away. To counteract this negative public sentiment towards American military participation in WWII, the Department of War established a "War Films" division, and hired filmmakers John Fo ...
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Casablanca
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Casablanca Masculinity film
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