Film Techniques Used In 1984 And Metropolis By Fritz Lang

Film Techniques Used In 1984 And Metropolis By Fritz Lang
Language, history and belief are easily changed. It is through the manipulation and representation of
language, history and belief that gives elite, governing bodies power over the masses. In Nineteen
Eighty Four a novel by George Orwell, Orwell takes this readers to Airstrip One, which is what
remains of London in the year 2060 after many years of war. Airstrip one is under constant
surveillance through telescreens under the watchful eye of the Party and Big Brother. Similarly in
Metropolis a silent film by Fritz Lang, Lang takes his viewers to Metropolis a futuristic mega city,
which is operated by machines below the surface by many workers slaving away in the subterranean
workers city. In both Nineteen Eighty Four and Metropolis language, ... Show more content on
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In the film Metropolis, Fritz Lang uses film techniques and specific genre devices to communicate
to the audience the ideas and concepts featured in Metropolis. Lang uses elements from both
Science Fiction and Dystopian film genres, as well as elements of German Expressionism to warn
future generations about the dangers of technology and science, human ambition and
industrialisation. The science fiction genre typically uses a futuristic setting, feature characters that
try to challenge or test the morals and boundaries of human ambition and science, has technology
that is incongruous with the time period of release and has a new political and societal structure. The
futuristic setting used in Metropolis is based upon New York City, which Lang visited before
making the film, the large skyscrapers represent man's ambition and are symbolic of the Tower of
Babel, from the Old Testament, which is a story about ambition and rebellion. It is through these
motif and techniques that Lang expresses his concerns for the future. Elements such as the use of
chiaroscuro, use of reflective surfaces, anthropomorphism and art deco elements (seen in the long
shots of the city) are all example of German Expressionism. The use of chiaroscuro in the
establishing shot of the city as well as the low key lighting created long, deep shadows being cast
across the city scape, which highlighted the grandness of the buildings and also brings to attention
the underlying message about ambition. The Robot Maria is an example of anthropomorphism, by
giving Maria's human like characteristics to the robot, Rotwang's characterisation is also another
science fiction element because of the use of futuristic technology and he also tries to overstep
ethical boundaries in creating the Robot Maria. Lang used all of these elements in order to convey
his very clear message about the dangers that technological
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Character Analysis Of Mael Lang
With its uncomplicated moral for parents to look after their children, M (Lang, 1931), the film that
Fritz Lang himself considered his best artwork, reveals the story of Hans Beckert, the man whose
perverted desires turned him into a pedophile and a serial killer. As the story goes, Fritz Lang
exposes and juxtaposes two personalities hidden in Beckert – the maniac, the personality that the
director integrates into the movie first, without showing the murderer's face, and the paranoiac who
is scared of his urgencies but is too weak to resist them. Such scenes as Beckert's examination of his
face in the mirror while the police secretary describes the traits of the maniac, the maniac's
"transformation" as he sees the new potential victim and his attempt to hold his wrath, and the trial
expose different traits of the Beckert's personality, giving his character more complexity than just a
label "serial killer". The blocking, setting of the scenes, and sound design help to reveal Beckert's
nature through the film and to built the tense and mystique atmosphere around him, drawing the
spectator's attention away from the issue of the murdered children to the development of the villain's
character.
To drive the spectators' empathy to the specific characters, Fritz Lang uses blocking to reveal
Beckert's personality as full as possible, juxtaposing his two conflicted personalities. For example,
when Hans Beckert talks to Elsie, he sounds rather depressed than attractive or seductive,

Analyzing the Twinkletoes, My Best Girl, and Metropolis...
The St Andrean film poster for Twinkletoes (Charles Brabin, USA, 1926), My Best Girl (Sam
Taylor, USA, 1927), and Metropolis (Fritz Lang, Germany, 1927) signifies the rise of the star system
and film production companies. Furthermore, it touches on the broadening of the local theatrical
audience, the decline of the internationality of film, the popularity of female sexualization, the
continued interest in spectacle, and the growing interest in the modern and futuristic. Additionally,
the poster mentions the beginnings of a shift from focus on spectacle to narrative.
Firstly, one of the most notable of the features of the poster is the names of starring actresses. Unlike
previous posters, the prominence of "Co[l]leen Moore" and "[M]ary Pickford" indicate the
emergence of the star system, which gains momentum in the 1930s, soon after the release of these
films. The poster also specifies that this is Pickford's "only appearance this year" in an attempt to
entice her fans, otherwise unable to see her theatrically. Moreover, the name of the production
company for Twinkletoes is also foregrounded. Although the Universum Film AG logo and the local
distributor for Metropolis are less stressed, they are still present. Together, these two instances reveal
the growing importance of production and distribution companies in the industry.
Secondly, by combining three distinct genres, the romantic comedy, the romantic drama, and sci–fi,
the poster broadens its local audience,

Fritz Lang M Film Techniques
The film M by Fritz Lang (1931) is a timeless masterpiece that not only reflects the fear and distrust
present in German society after WWI, but also uses sound in ways it had never been used befor. M
was made during a time of paranoia in Germany, set against the backdrop of a rapidly deteriorating
Weimar Republic. The country was in the midst of heightened poverty due to unemployment and
increasing criminal activity after the stock market crash of 1929. It was also a time where
psychopathic serial killers were at large in German cities. In the film, the panic felt by the
townspeople to try and catch the murderer, and the paranoia that it could be anyone among them, is
reflective of the fearful emotions felt by the German people during the early 1930s. The use of high
camera angles show the vulnerability and innocence of the children, the murderer's victims. The use
of shadows and reflections show that the murderer has two sides, and it is because of these two
varying characters that he can walk amongst society unknown for what he is. For example, when the
townspeople see a man telling a little girl what time it is, they immediately assume he must be the
murderer. Because of their paranoia, they jump to conclusions, ... Show more content on
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These fears arose from the global recession due to the stock market crash in 1929, where
unemployment, poverty, and crime greatly increased, and from the rapid decline of their
government. M was also Fritz Lang's first sound picture, and he therefore had the opportunity to use
sound in ways that had not been done before. He used sound, and silence, to help shape the mood
and tone of the film, making the emotions and the message he was portraying that much more
effective. By doing so, Lang created a film that will remain as one of the greatest films of all

Theme Of Anthropology In The Movie Avatar
Biocultural anthropology looks at the relationships between human biology and culture. In the
movie Avatar, the Na'vi are humanoids species native to Pandora, standing 6 feet tall with blue skin
and a long tail; But one of the characters, Parker Selfridge from the human world, a selfish and
greedy man, refers the Na'vi as "blue monkeys" and "savages". The Na'vi natives are very spiritual
believers and they believe all living beings in Pandora lives in unity. Every living creature that is
born on Pandora has "neural connection fibers." Not only Humanoids and animals have these
"neural connection fibers" but also trees which allows all breathing creatures to "plug in" to each
other's neural system network. This lets them feel each other's thoughts and emotions. In the movie,
Jake Sully, a human man, is connected to the Na'vi world by a computer–generated machine that
links his mind with his avatar body which could interact with the natives of Pandora. He finds
himself feeling more connected with himself in his avatar body than his actual body in the real
world; For the reason that in the real world, he is paralyzed and can't walk so he feels handicapped.
In his avatar body, he could be normal again and do the things he couldn't do in real life like run on
his two feet. Also, humans didn't know how to connect with each other's feelings and he was able to
connect and feel the spirits and emotions with the Na'vi of the Pandora world.
Jake Sully is one of the main characters in

Mass Communication In Avatar
Dyadic and Mass Communication: Relational Messages in Avatar
Name
University
Dyadic and Mass Communication: Relational Messages in Avatar
Communication beliefs and practices evolve as relationships develop. In the film, Avatar, produced
and directed by Cameron (2009), humans have already consumed the earth's resources, creating an
energy crisis in 2154. As a result, the Resources Development Administration (RDA for short) seeks
to mine a valuable mineral, unobtanium, in Pandora, a densely forested planet whose atmosphere is
poisonous to humans, and is inhabited by the blue–skinned, sapient humanoids, Na'vi, who worship
the mother goddess, Eywa, and live in harmony with nature. Jake Sully, a paraplegic Marin, accepts
the offer of replacing his identical brother, as one of the operators of Dr. Grace Augustine, head of
the Avatar Program. Colonel Miles Quaritch, head of the RDA's security force, promises Jake that if
he can walk again if he can collect intelligence information about the Na'vi and the giant tree,
Hometree, which stands on the richest deposit of unobtanium. However, as Jake interacts with the
Na'vi, he acculturates and falls in love with
Neytiri. Avatar The film shows three interpersonal concepts, dyadic communication, mass
communication, and relational messages.
Dyadic communication is present between Jake and ... Show more content on Helpwriting.net ...
Jake and Neytiri did not immediately become lovers. They were strangers first, even enemies. By
spending time together, they learn about each other's personalities and communication styles. Jake
soon discovers what it means to be "seen" which is to see the soul of the other. After Jake becomes
accepted in the clan, the easier it was to proceed from friendship to a romantic relationship. Their
dyadic communication deepened alongside their interpersonal

The Director Of M By Fritz Lang
The director of M, Fritz Lang, uses the insanity of Hans Becher to cause temporary insanity in the
people. Making them challenge authority and turn against the even most well known friends. This
insanity travels like wildfire throughout the city, as we see people react vigorously to even the
smallest of gestures such as giving someone the time. While also challenging authority by taking
things into their own hands when they do not see results.
This insanity is caused by our main character, Hans Becher, being both not structurally sound on the
inside, but looking perfectly normal on the outside. With him going around the city as a normal
person, buying fruit and looking at items. It is not until young girls walking around the streets start
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The director having Becher give the occasional worrying face when his body realizes what his mind
is thinking about doing. The objects in this scene also portray the mental advancements of insanity
as the scene plays out, the more and more shops that Becher goes to, the more and more objects with
the sense of mental insanity come into play. Like the spinning wheel with the lines in the store
window. The object are something that audiences do not notice at first glance, but give the shot a
personal sense of insanity. With most of the audience associating these moving and nonmoving
object with insanity. After this scene most of the girls run home, Becher walks into a eatery and asks
for a cup of brandy. The director framing Becher's head within a thorny bush. symbolizing the mind
being a prison to the body, the thorny bush being a barbed wire fence that the body is trapped
within. Having the body do whatever the mind tells it to do. As this scene progresses the audience
sees Becher pull out a cigarette and ask for more and more brandy. Showing the body fighting back
trying to subdue the mind from having any more of these thoughts. Becher is seen lit with one light
from the top showing the struggle between body and mind as it happen. When he lowers his head
most of his face goes dark, showing the mind being out of control and thinking about regret. Then
he raises his head showing his face in full light and showing

The Characteristics Of Christianity And Media Analysis :...
Media Analysis: AVATAR It all began in the year of 2154 when a crippled ex–marine named Jake
Sully "saved the world". He takes part in a program invented by scientists which put him on an alien
moon called Pandora. Jake is introduced to an Avatar body which is the combination of ½ human
body and ½ alien body basically controlled by the scientists who created it. After watching Avatar,
for the first time, I realized that this film had different worldviews mixed together. Somewhat
confusing to me. I believe there is some Christianity along with Pantheism. Though it was more
difficult for me to see the Christianity throughout this movie, Pantheism stood out. What raises
questions to me is the Na'vi's creator, their relationship to each other and a spiritual relationship
much higher than them. I view Christianity in this movie as Jake Sully's mission to connect with the
Na'vi as "one of them." Jake connects his consciousness into the body of an Avatar. In the beginning
of contact with the Na'vi tribe they do not take lightly to him because he spoke English. This was a
red flag for them but to stay, Jake had to learn how to win the Na'vi tribes trust. To do this, Jake
needed to learn their ways of living. Learn to fight the beast, learn how to hunt with bow and arrows
and to do that Jake spent months learning Na'vi traditions and learning to "fit in." This is where I
make the correlation between Jakes encounter to Christianity. God sent Jesus to Earth and earn the
trust of

Essay on Metropis by Fritz Lang and Modern Times by...
Discuss Fritz Lang's Metropolis and Charlie Chaplin's Modern Times
Very few movies portray the relationship between the government and civilian masses during trying
moments such as Fritz Lang's "Metropolis", and Charlie Chaplin's "Modern Times". These are two
critically acclaimed films made in the late 1920's and mid 1930's. The time period captured is the
great depression, and examine the role of the governing authorities in relation to those governed.
"Metropolis" simply passes as one of the original science fiction movies in the world, and it has
vivid imagery in it. Its' main themes revolve around cultural exploitation and political issues facing
the citizenry. It is set in Germany and tells the story of a metropolis where there are ... Show more
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It concentrates on the effects of know–how on the society and how human beings are living side by
side with them. They effects of mechanization are evident from the opening scene of this film where
workers are being monitored by machines in a factory lending credence to his view of human
enslavement by technology. At the time of making the film, America was going through high
unemployment rates, and corporate downfall as a result of the great depression. Hence, the idea of
saving money and time so as to amass huge profits came up hence the introduction of machines to
work on behalf of humans.
Many film critics have argued that these two films resemble each other even though they were
produced almost a decade apart. Both are about the suffering of the ordinary person in the hands of a
ruthless upper–class. The ordinary man is seeking to live in a normal environment where there are
no controls, and work is not mechanized. They all talk about a future where machines take over
from human beings and do all the work. The machines even subdue the humans. In both films
machines are at the centre of businesses as they make work easier, and increase profits for the elite.
Governments in a capitalistic society do not control businesses. Furthermore, in both films the
government is unable to take care of the masses as the elitist control all the resources available.
In "Metropolis", it represents a capitalistic society where only those with the means

The Sociological and Political Subtleties of Woodstock Essay
The Sociological and Political Subtleties of Woodstock
The Woodstock festival descended on Bethel, New York promising three days of peace and music.
Event organizers anticipated 15,000 people would attend but were overwhelmed by the 300,000
people that flooded this rural area of New York state from August 15 –17, 1969. While these facts
are well known and indisputable, the festival itself has proven to be a controversial endeavor. What
began as a small business venture was soon brimming with the controversy of an entire decade. It
becomes clear when examining the strikingly different accounts of the festival that reactions varied
depending on the fundamental values and personal circumstances specific to each observer and to
the ... Show more content on Helpwriting.net ...
This approach gives the book a distinct atmosphere as it reads like one giant conversation, allowing
the reader to appreciate Woodstock as the undertaking of many.[3] An examination of Joel
Makower's other work reveals his qualifications to describe Woodstock's status as a business
venture. He has authored or co–authored at least twenty books, many of which involve business and
investing. His other works include studies of the media and an American history sourcebook.[4]
While Makower's description of the production of Woodstock outlines an outwardly gradual process
of preparation and decisions, newspapers of the era provide the initial shock and public reaction of
the festival. Outrage felt by local citizens of Bethel is displayed in an article written by Alfonso A.
Narvaez and printed in The New York Times on August 20, 1969. The article conveys the frustration
felt by local residents as an influx of thousands caused massive traffic jams, widespread property
damage, and a shortage of basic necessities and sanitary facilities. Many local businesses were ill
prepared to provide needed goods and services to such an enormous group of people. The Bethel
post office was closed while dairy farmers were forced to dump fresh milk because neither mail
trucks nor milk trucks

Tim Burton And Edward Scissorhands
As time has progressed in the same regard so has film, the cinema styles we see today contain
modern film techniques and state of the art cinema equipment, however elementally they all draw
influences from film eras of their past. Many established current day film directors have done an in–
depth analysis of past film movements and often incorporate those elements in their films. Tim
Burton, one of the most esteemed directors of our time has done extensive studies particularly on
films from the German Expressionism era and often incorporates those influences as seen in his
1990 blockbuster, Edward Scissorhands. Metropolis, in particular, regarded as one of the greatest
films from the German Expressionism era, showcases aspects of this era that Tim Burton's film
directly derives from, everything from the generally dark visuals to the development of setting and
storyline. In viewing both films and examining them side by side, it is quite clear Edward
Scissorhands contains many modern–day film styles, however at the same time draws numerous
influences from Metropolis and from the German Expressionism era in general. The most
astounding aspect of the German Expressionism era is the influences it has made in films that were
made far past its prime. At any point in history films and directors incorporate clear influences from
past cinematic eras, films such as Edward Scissorhands included modern day film styles while
drawing key characteristic influences from films like Metropolis

Analysis Of Avatar
Intro The movie Avatar is a box office hit that was released in 2009, directed by James Cameron.
The film is based around an ex–marine who became after a paraplegic after an unexplained wound.
He takes up his brother role in a Avatar program on the distant pnet pandora after her brother's
death. He is expects to take on the role of becoming a Na'vi and becoming involved with the people
learning their culture, becoming close and apart of their tight clan. Specifically the Omaticaya tribe
(Blue Flute Clan). Throughout the film the it becomes increasingly obvious that the Omaticaya
people have a strong sense of spiritually within their clan. ZanZig Zwanzig model is a way of
discovering and accepting your spirituality, created by Tom Zanzig.Tom Zanzig is a Spiritual
speaker and a strong belief in the catholic faith. He created the model to show the four different
stages of becoming spiritually aware. First is yearning, or longing, this is when someone realises
that they are incomplete and need something to complete themselves. The second stage is searching,
this is when the person begins to search and look for something to complete them and help complete
their lives. The third is awareness, this is when the person becomes aware of what they need and
how to achieve it. The fourth and final stage of Zwanzig model is Response, this is the person's
response and acknowledgement towards what they have discovered to complete them. Yearning
Within the beginning of the film Jake

Social Control In Metropolis
A great deal of fictional films and literature deal with the concept of society. Writers have played
around with the idea of societies that are different from the world we know. While some portray this
in optimistic ways and others darker, what these works have in common is the idea of social control
– wherein people are forced to conform to means that are believed to benefit their society. Fritz
Lang's 1927 silent film, "Metropolis" is an early example of this. The beginning shows machine
gears and workers marching towards a factory. This place is known as the Workers' City, described
to be far below Metropolis, the city for the upper class founded by Joh Fredersen (Alfred Abel). The
lives of the workers and the rich are very different, ... Show more content on Helpwriting.net ...
First of all, the set design was intricate and very detailed, especially in the factories where there
were gears and machines operating everywhere. Every inch brought the setting to life. There was a
clear distinction when switching from Metropolis to the Workers' City that was seen in the scene's
setting. Moreover, the settings were given more depth by the frames and angles in which they were
shot. Many scenes would show the main subject or image centered in the frame, and this was given
emphasis with the use of dark shadows in contrary to a bright subject. Shadows indeed played a big
part in creating visuals. The technique of chiaroscuro, the contrast between light and dark comes to
mind, like in scenes that were more somber and serious (e.g. carrying the dead bodies from the
factory, Maria making prophecies about peace). In connection with the concept of angles, Fritz Lang
also had a commendable use of symmetry, which was visually appealing especially with intricately
designed sets. Lang also used lines in his shots, adding style and flair to dramatic

Fritz Lang Final Scene Analysis
The Serial Killer and the Criminals In the final scene of the 1931 crime drama, M (dir. Fritz Lang),
the child serial killer Hans Beckert (Peter Lorre) is finally captured and put on trial by the criminal
network of the city. Finally surrounded and forced to deal with his crimes, this scene slowly shows
Bekert's unraveling as he loses all sense of control, submitting to the crowd of criminals surrounding
him. By using elements of mise en scène such as setting, blocking, and acting style, the scene shows
both Berket's continual rise and fall of hope compared to the determination and absolute control of
the criminals. The scene is based in the underground of an abandoned factory, Bekert pushed down
the stairs into a decaying and dark ... Show more content on Helpwriting.net ...
Bekert begins to lose himself again, panic filling his face, but is brought back by judges and is
forced to turn around again, this time revealing a picture of each of his victim. The reverse shots of
Bekert and the picture show ranging expressions of panic, first jumping back, second taking a fist to
his mouth in shock, and third running for the door. The movement of Bekert causes a reaction from
the crowd and guards, who force him back down the stairs in a chaotic struggle. By allowing the rise
and fall of Bekert's emotions from calm, to shock, to complete panic, a pattern is established for the
remainder of the scene and supports the control the criminals have over Bekert's fate. Degradingly,
Bekert is thrown to the ground onto a pile of wood, shown in a high angle shot as the crowd yells at
him. The crowd is silenced by the judges, the lead judge voice overlaying a tracking medium shot of
all the other panel members as he explains their relation to the wall. This shot reveals the history and
stoic personalities of the people Bekert is now up against, revealing how he will not be able to
persuade them of his innocence and how they will not accept any fate for him besides death. Bekert
attempts to yell back at them, but is silenced again by an offscreen hand

Fritz Lang M: Analysis Essay
Fritz Lang's M (1931), contains both dialogue sequences and silent sequences with music or sound
effects. Lang edited the sound as if he were editing the visuals.
We are introduced to the murder in shadow when he speaks to a young girl, Elsie. We hear the
conversation he makes with her, but we see only his shadow, which is ironically shown on a reward
poster for his capture.
Lang then set up a parallel action sequence by intercutting shots of the murderer with the young
girl's mother. The culmination of the scene relies wholly on sound for its continuity. The mother
calls out for her child. Each time she calls for Elsie, we see a different visual: out of the window of
home, down the stairs, out into the yard where the laundry ... Show more content on Helpwriting.net
...
Other cool tricks used by the Fritz Lang include heavy use of shadows (largely in the style of the yet
to come Film–Noir genre), and the use of setting to create darker moods (evidence that Lang was at
the head of the German Expressionist movement).
Lang used it sparingly and its silent sections are among the most dramatic. The purposeful
sparseness of sound in the film lulls the viewer into a tranquility that is at various points abruptly
disturbed by whistles, bells, and screams.
After seeing a mother nervously awaiting the return of her child, the film cuts to a little girl walking
down the street, bouncing her ball. She bounces it against a wanted poster for the child murderer.
The murderer's first appearance is his shadow suddenly looming onto the poster, the shadow
appearing to speak as he asks the child her name, stressing his anonymity. Lang intercuts between
Elsie's mother getting more and more agitated and the murderer buying Elsie a balloon and
whistling, the tune getting faster and faster as he gets himself more worked up. Lang keeps cutting
from where Elsie is to where she isn't, making very effective use of using inanimate objects and
empty spaces to make Elsie's fate more horrifying. When Elsie's mother calls for her, Lang shows a
number of still life shots in succession: the empty sinister staircase in a twisted spiral with shadows
like prison bars, to the empty gloomy courtyard, to her place at the table set

Social Attitudes Of Freedom And Control By George Orwell...
Despite their unique perspectives and social attitudes of freedom and control, both George Orwell
and Fritz Lang explore issues of class struggle and the impact of technology on humanity through
their medium of choice, expressing these serious concerns by forming a dystopic outlook of the
future world. Lang's science–fiction film Metropolis encapsulates the tensions of his wartime
experience, and the political situation of the 1920s Weimer period in Germany, in which Lang
tapped into the country's power struggles, issues of poverty and conflict, as well as the clear
fascination with technological developments, through a heavily stylised futuristic environment.
Nineteen–Eighty Four by George Orwell, on the other hand, is a satirical ... Show more content on
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The workers are depicted in uniform black, trudging in synchronised robotic movements in an
overcrowded environment, which reinforces their lack of identity and alluding to machinery, their
dehumanisation and conformity to the atrocities of the industrialist environment. This is contrasted
with the light shades and wide open spaces "above the depths," reflecting the lifestyle of freedom
enjoyed by the members of the upper city in the eternal garden, including the protagonist Freder.
The repeated reference to the Mediator, "between the head and the hands" postulates the increasing
class struggle in Lang's time. The iris effect on Maria emphasizes her angelic nature, and adoption
of Christian values. As a devout catholic, Lang intended Maria to adopt notions of equality which
are obsolete in the society of Metropolis, the head of the city, Joh Frederson, possessing a capitalist
outlook. He is the embodiment of power over the workers as suggested by his body posture and
stern facial expressions. Moreover, Maria acts as a catalyst to the Mediator, who is Freder, as
suggested by the chiaroscuro lighting on his face in the catacombs. Freder's actions in the Moloch
scene in which he reaches out his hands to help the workers represents his Christian nature and
foreshadows his ability to undo the inequality of class in which Metropolis has been founded.
Similarly, British author George Orwell's Nineteen–Eighty Four (1984) written in 1949 explores a
totalitarian society

Rocky : A Rocky Training Montage
In cinema, there are many memorable scenes, but few are as iconic as a Rocky training montage.
The horns from the montage's music blast a feeling of triumph as you watch the fictional character,
Rocky Balboa, train. The emotions from this scene can make the laziest person feel like they can run
ten miles without the feeling of fatigue. Rocky is a series of six movies about a fictional boxer
named Rocky Balboa, played by Sylvester Stallone, and the triumphs of his boxing career. Rocky
has an exhilarating boxing match as an underdog in each one of his movies. Also, in all the movies,
there is often a singular theme of perseverance despite any of the hardships Rocky must face. The
same theme can be found in the spin–off of the Rocky series, Creed. Creed takes place after Rocky's
retirement from boxing. The new protagonist, Adonis Creed, is the illegitimate child of the late
former heavyweight champion, Apollo Creed. Adonis receives help from Rocky to pursue his career
boxing professionally. Along his journey, Adonis comes into contact with many characters that
portray the same characteristic of being able to persevere through their challenges and afflictions.
Although there seems to be a singular message, Creed's recurring theme of perseverance can be
expressed in many ways because of the various adversities each character had to overcome. Bianca
is a prime example of showing perseverance because she continues to follow a passion that she
knows she cannot sustain. Despite

Metropolis Essay
Metropolis Set around the year 2000, Metropolis is a depiction of the future, yet it is viewed more
intensely in the twenties style. In this view we can truly appreciate the work, without the cynicism
of todays standards, for the marvel that it is.
The "costliest and most ambitious picture ever screened in Europe"(Jensen) the film was premiered
on January 10, 1927 at the UFA Palace, in Berlin, before an enormous audience which included
many members of the political and artistic hierarchy. Initially Metropolis did not meet critical
expectations. Like many science fiction films of the present it was praised visually, yet, its sappy
predictable view of society was heavily bombarded by negative reviews. Still it attracted huge ...
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The scene is of great visual impact, with dark figures glimpsed merely as silhouettes in the dusty air
and hazy light of the machine room. Through a screen of smoke an accident is viewed by Freder,
who is fittingly dressed in white garb. He is absolutely shocked as he witnesses the dark figures
bearing the casualties file past, shot against the light.
As Freder makes his transition into the underworld, we come to the scene in the catacombs where a
crowd of dark figures with pale faces is contrasted with the white crosses in the background, and the
touching figure of the good Maria. The construction of the great tower is shown to us as we witness
thousands slaving to complete it. The workers, without choice, lug the great stones through the
streets.
The view of the towering luminous city is amazingly visualized. Obviously a New York inspired
vision, the buildings reach high into the heavens in a complete fantastic manner. The presence of the
mammoth structures is "is the encounter of Expressionism and Surrealism"(Eisner). The dreams that
Freder experiences "are similarly expressionistic–surreal"(idem). As everything is spinning around
him Freder is seemingly falling into a deep nothingness. "Here real pandemonium should have
begun... Lang had originally planned much more powerful versions of the evil forces loosed by the
creation of the robot... but in the surviving versions of the film only Freder, in his fevered dreams,
can see the woman who sits

Avatar Movie Analysis
Avatar is a blockbuster film from 2009 and one of my most favorite Sci–fi films of all time. The
film was directed by James Cameron, who is known for directing films like Titanic (1997), Aliens
(1986), and the Terminator (1984), all of which helped shape the film industry into what it is today.
Although at the time, there was a recession and people were trying to save money, this movie
became the highest grossing film in at the time. The movie provided stunning 3D technology unlike
any other movie and this was one of the reasons that made people want to go watch the film. From
visual effects to the camera angles, James Cameron directed this movie to make the audience feel
like they are in the movie. Although the film looked amazing, there were messages and themes
inside the film that made it such a success. The film provoked discussions about various messages
and themes embedded inside the film, such as terrorism, Imperialism, religious connections, and
connections to current world. Such messages can be clearly seen throughout the plot of the movie.
The plot of the movie is very simple, it takes place the future, where humans are looking to other
planets for resources and this is a very likely future of the current human race because Earth is
limited on resources and as we run out of resources we will have to look towards other planets for
resources. Jake Sully, the main protagonist of the film, is a former U.S. Marine who is paralyzed
from waist down and is selected to

Who Is A Hero?
What and who is a Hero? Is a hero a fireman, who saved your cat from a burning fire? Or is it a
group of people with supernatural abilities that saved the world from crumbling to the hands of
Thanos, like the Avengers. Or maybe a hero is a person who changes the lives of many people, like
Malcom X. All those examples are heroes in their own way, all might have a different way of
conveying a hero but they do have one thing in common. They all show their ability to perform
courageous acts and are noticed for their nobility, even under the most gruesome conditions they
demonstrate the ability overcome adversity for the greater good.
Linda Sager established The Hero's Myth, which is ten steps or moments of a hero's life. Sager
states that the ... Show more content on Helpwriting.net ...
With the passing of his brother he got a job offer to replace his twin brother in the Avatar program.
This was an opportunity for the Hero to change his boring, normal, disable life. It was his
opportunity do something important and make a difference. The moment in this life places perfectly
with the second step in the Hero's Myth, where the hero enters a new type life. Linda Sager calls this
the "catalyst that set the story in motion." (2)
Jake is motivated to start his new opportunity to finish the desires of his brother, he wants this new
opportunity to change his life. His is curious and worried but that what came with his decision to
take the job. This segment, does not fully role with part three of the Hero's Myth, but in this step it is
about whether the hero believes he is up for the challenge. In this case Jake seemed he was up for it
from the start but had a few worries, dealing with his arrival in the new world. Once he made his
arrival he was given an Avatar body, which was the true beginning of the hero's body. When he
received the body he started to learned the how to control it to his best ability. The avatar body is his
"help" to becoming a hero. This plays a role with step four of the Hero Myth, where the hero
receives "help."(2)
Then the hero and his group of other Avatars went out deep into the Pandora world and set

Analysis Of Clip Analysis Un Chen Andalou
Clip Analysis
This clip is from the 1929 movie, Un Chien Andalou. This film uses two specific formal choices that
illustrate it's surrealism, including discontinuity editing and close–ups. Discontinuity editing in this
film went against Hollywood's continuity rules of seamlessly blending scenes together that not only
made narrative sense, but visual sense as well. However in Un Chien Andalou, these rules are
broken by obscure, random images that don't seem to fit together and lack any narrative sense. In the
clip, we see a scene of a man staring at his hand where ants are crawling out of a hole, then we see
an image of a person's underarm hair that soon transitions into a picture of a sea urchin. These series
of images don't make much sense when put together, yet they illustrate the surreality of the mind
and how our thought patterns often lack any significance. The swarming of the ants in the hand is an
example of lack of pattern because it symbolizes the fragmented or "swarming" images of our mind.
These scenes are not only non–linear, but they are also discontinuous and show that our reality is
constantly evolving; we walk away with a different interpretation of the movie each time. Another
formal choice that Un Chien Andalou uses is the close up, we see this used in the first few minutes
of the clip when the women's eye is cut. The use of the close up in this scene brings this grotesque
act to the forefront, where we cannot help but look away every time we see it.
2.

Analysis Of Fritz Lang 's ' Metropolis ' And ' The Garden...
There is a lot to be said about Fritz Lang's Metropolis, as it has many overlapping themes. There is
the theme of humans becoming as replaceable as machines. It has a theme of class division which
leads to a Marxist type revolution. The theme I want to focus on in this paper however, is the
religious themes and symbolism that are prevalent throughout the film, as I feel they are the most
prominent. Metropolis makes a lot of calls to Judeo–Christian religions and biblical stories, using its
storytelling method, characterization, and visuals.
The story begins with the main character, Freder, in a lush garden surrounded by a harem of
beautiful and scantily clad women. This scene was likened to the Garden of Eden by Jerold J.
Abrams in The ... Show more content on Helpwriting.net ...
He stands with his arms spread out as he looks up to the sky and pleas to his father to take him out
of his misery ("Father! Will ten hours never end?") (163–4). Freder and Maria––the two "angelic"
figures in the movie––also appear to be the only ones who recognize the workers as people and not
parts, and they go about treating them as such. Rutsky also suggests that Freder being a
metaphorical Christ in the world of the film, may have a lot to do with the film's controversial
ending––but I will talk about that in a moment.
Meanwhile, Freder's father is the owner of the city and the one who oversees everything that goes
on. He makes attempts to "play God" by changing conditions and controlling everything that
happens in the city. Both Abrams and Kang point out that Joh––the father's name––bears
resemblance to "Jehovah." (Though Joh does not represent Christ in the world of the film.) Even the
tower that he sits in is called the New Tower of Babel. During the catacomb scene where Maria is
teaching about the old Tower of Babel, which was destroyed by God and thus dividing people by
language barriers. The New Tower of Babel represents a new form of division (working class vs.
high class), and foreshadows its eventual downfall (Abrams 167).
Maria is eventually kidnapped and her face is used for a robot being commissioned by Joh as a way
to dominate the workers who are planning an uprising. Maria's doppelganger takes on the biblical
role of the "whore of

Plutarch Heavens In The Hunger Games: Catching Fire
The Na'vi tribe values all of nature, freedom, and life. When Jake gets attacked by thanators, Neytiri
comes and helps Jake. After she kills them Jake thanks her. Neytiri responds, "Don't thank. You
don't thank for this! This is sad. Very sad only," (Cameron, Avatar). This shows that the Na'vi values
life, and they want nature to live freely on their own. On the other hand, the humans do not value
nature, the humans value the money from the unobtanium. While talking to Parker Selfridge, Grace
shares her opinion, "You need to wake up, Parker. The wealth of this world isn't in the ground – it's
all around us. The Na'vi know that, and they're fighting to defend it," (Cameron, Avatar). In The
Hunger Games: Catching Fire the capitol values order and cooperation of the districts, and believe
the districts must always be below them. While talking to Plutarch Heavensbee, President Snow
pointed out, "She's become a beacon of hope for the rebellion, and she has to be eliminated,"
(Lawrence, The Hunger Games: Catching Fire). This shows that Snow is scared he will lose the
order of his country from one girl. He wants ... Show more content on Helpwriting.net ...
While in the arena Johanna exclaims, "Hey, how does that sound, Snow? What if we... what if we
set YOUR backyard on fire? You know you can't put everybody in here," (Lawrence, The Hunger
Games: Catching Fire). Johanna brings a valid point that Snow just puts the kids or in this case the
victors in the arena to show his power over all the people of Panem. The only thing Snow wants to
do is keep his power over the Districts thus having the 75th Games. Another reason the people fear
the Capitol because they can do whatever they want. After the Victory Tour Katniss tells Gale, "We
have to go Gale, before they kill us. They will kill us," (Lawrence, The Hunger Games: Catching
Fire). This point proves that Snow will stop at nothing to get rid of Katniss and that he is above

Essay On The Movie Metropolis
Metropolis is a silent film about a modern city. The people are divided into the lower class and the
upper class. The people who belong in the lower class lives in the city of workers and the people
who belong in the upper class lives in the city of Metropolis. This science fiction film was directed
by Fritz Lang. He also wrote the screenplay together with Thea von Harbou, who was also the writer
of the novel where the movie originally came from. This film was produced by Erich Pommer and
was released in 1927.
The film started with presenting both sides in that futuristic city. The city of the workers, where the
lower class work and operate the machines that supplies power, and the city of Metropolis, where
the upper class are living their prosperous life. When Freder, the son of the master of Metropolis
was in the pleasure garden, he caught sight of the children with their teacher, Maria. Freder was
mesmerized by Maria. After the children and Maria went away, he decided to come to the city of the
workers to find her. There, he witnessed how the ... Show more content on Helpwriting.net ...
All systems from the city of the workers and Metropolis fail. The real Maria went to the
underground city which already started to get flooded. She gathered the children with her and with
the help of Freder and Josaphat, all of them escaped the city of the workers. When the workers
realized that they left their children in the now–ruined city, they went to avenge upon the fake
Maria. The mob burned the fake Maria at a stake when he caught her. Freder was frightened until he
saw the real thing underneath the skin.
Rotwang chased Maria because he was still in delusion that she was Hel, who was his past love. At
the roof of the cathedral, Freder and the scientist fought. Rotwang loose his balance then he fell then
died. In the end, Freder accomplished his role as the person who will unite the lower and the upper

Comparison between Metropolis and Blade Runner
Comparison between Metropolis and Blade Runner
From the silent epic of Fritz Lang Metropolis 1927 to Ridley's Scott's spectacular Blade Runner
1982 the connection between architecture and film has always been intimate. The most apparent
concepts that connect these two films are the overall visuals of both films and their vision of city of
the future. The futuristic city of both Scott and Lang are distinct in their landscapes, geography, and
social structure. These two films sought to envision a future where technology was the basis by
which society functioned. Technology was the culture and the cities would crumble without it.
Metropolis and Blade Runner uses the themes relationships amongst female sexuality and male
vision, and technology. However, Gender roles and technology seems to be the most important part
in both films.
Blade Runner became a cult classic. "The film may have survived long enough to benefit from a
renewed taste for darker, more violent sci–fi. It's appeal has less to do with a fascination for outer
space (which does not feature beyond reference in a few lines of dialogue) than with a vision of
earth and humankind in the near future" (Roberts and Wallis Pg 157–8). Both films have a timeless
quality to it, as they are representative of the future of our planet earth. I find it so interesting that
even though these films were made in different times their ideas about the futuristic city and society
are almost identical.
The futuristic aspect of these

Avatar Evolution
Avatar is a film set in 2154, where humans have run out of resources and have been spruing into a
severe crisis of materials. However, a planet called Pandora is accessible to the humans, and offers
rich materials, such as unobtanium. Pandora is a lush but deadly moon, located by the gas giant
Polyphemus in outer space. Pandora's atmosphere is poisonous to humans, but is inhabited by Na'vi,
10–foot tall, blue–skinned humanoids. They worship a Goddess called Eywa, and the clan's main
gathering place is a giant tree called Hometree. To reach Pandora, the humans must possess avatars,
a Na'vi–human hybrid. The main character, Jake, is originally not chosen to possess an avatar and
explore Pandora among the Na'vi. However, his twin brother was ... Show more content on
Helpwriting.net ...
Mo'at, Neytiri's mother, frees Jake and Grace, and says to them, "if you are one of us, help us." By
then it is too late, as Jake and Grace have been detached from their avatars and are back in the hands
of the RDA. Pilot Trudy Chacon is appalled by the actions of Selfridge and Quaritch, and helps Jake
and Grace back to the outpost where they can connect to their avatars. Unfortunately, the plan does
not commence smoothly, as they are caught escaping by Quaritch, and he fires at them, hitting
Grace in the process. She later dies. Jake is now without his partner, and has lost the trust of the
Na'vi. He tries to regain their trust by connecting his mind to a Toruk, a predator who is feared and
honoured by the Na'vi. By connecting his mind to the Toruk, he is able to control it's actions, and
there is a mutual trust between him and the animal. Using the Toruk, Jake arrives at the Tree of
Souls, finding

Modern Metropolis, By Fritz Lang
Tanveer Khan Kaliopi Pappas, J. D. Civilization 003 4 May 2016 Modern Metropolis Modernity is a
new era in which humans began to think about themselves, and started changing from old traditions
like religious influences to their own culture of radical new ideas. This era is full of rational
humanistic ideas and increased the opportunities for people to go after their interests in life.
Modernity is kind of like the days Americans live today with freedom to be who you think is right.
People began trying to voice their opinions to higher authority, and eventually society picked up on
giving what mankind deserved. For example, many people in the modern era tried to fight for their
natural rights, and also some women requested for some recognition with rights like men. In the
film, Metropolis, by Fritz Lang, there are various elements of modernity. Mr. Fredersen, who was
the owner of Metropolis city, was very selfish and greedy for production that led to increase in
revenues. He was married to Hel, who died giving birth to Freder. Rotwang was attracted to Hel,
also a scientist, inventor, and kind of insane. He now hates Mr. Fredersen and his son for all the
reasons he wasn't able to receive love from Hel. Maria is the religious figure where she stays
underground in the catacombs to spread hope to all the workers that just left it all out at their jobs.
The creators of the film made the setting full of modern buildings and machines to make things
easier for

Theme Of Power In Dracula
First of all, before analysing the theme, it is necessary to clarify the notion of "dynamic of power".
In fact, this denotes the dialectic interaction between the subject possessing the power and the object
which is influenced by this power. In literature, this liaison is expressed by the relations between a
master and a slave. For instance, the Russian writers Dostoevsky and Tolstoy explored the theme of
the relations between a master and a slave, an oppressor and an oppressed in their works. Since this
theme has stirred the imagination of many writers, it is not surprising that the possibility to expose
this type of relations has attracted the filmmakers for the decades.
It is important to point out that such creative movement as German Expressionism ... Show more
content on Helpwriting.net ...
Dracula in this film refers more to the Sympathetic Cycle (1987 – present) by the classification of
Tim Kane. The films of this cycle show the vampire with more sympathetic qualities, with thoughts,
feelings, fears, and dreams. The sympathetic vampires of the recent films have developed into
misunderstood, tortured romantic figures or even ultimate romantic alpha–hero. Coppola's Dracula
seems to be on the border of the Erotic and Sympathetic cycles. Seduction and allure are still
inherent to him, as well as his victims are ready to sacrifice, expecting gratification from the master.
The scenes of bite do not have sexual hints, they speak directly of sex. For example, this is the scene
when Jonathan is attacked by the Dracula's brides, who lick and kiss him before biting, and the
victim endures pain, fear and sensual pleasure. When Dracula, transformed into a wolf, attacks
Lucy, he physically copulates with her. And again, we see that these relations develop with the
consent of the victim as the attack arouses Lucy, and she anticipates the vampire's visits. So, overall,
each participant of the vampire–victim's relationship is not equal. One is superior (stronger, with a
hypnotic stare and other super–abilities, moreover, he is immortal) and another is subordinate (just a
human–being, fragile and helpless). Nevertheless, this inequality, the power, that a vampire, a
master possesses and victim's eagerness to obey make these relations tempting for

Fritz Lang Imprints
The films of Fritz Lang evoke the concept of imprints. In this regard, the combination of imprints,
themes and stylistic motifs depicts the mood and tone of the films. The films which are; M in 1931,
Dr. Mabuse: The Gambler in 1922 and Destiny fulfill their ideologies through imprints and
universal themes. Indeed, the film depicted visual and impressive representation through various
methods like handprints.
The imprints of Lang is located in different places based on the specific film. Looking at Destiny,
the location of Lang's imprint at an incline location reveals the anger associated with the speaker
after losing her loved ones (Legare 12). The imprints acted a response to pain and sorrowful life one
passes through after sad occurrences. In addition, the hand ... Show more content on Helpwriting.net
...
According to the author, it is true that the lamenting attitude of the speaker, which is related to the
handprint, reverse her death. Indeed, her interaction with a passer–by was helpful; as she realized
the power of love as compared to death. I concur with the advice; that life is powerful than death
and hence love. The handprint provides visual and expressional imagery that is helpful in
determining the theme and the mood of the film. Indeed, the imprints depict mythological and
surreal qualities that are found in Lang's work. On the other hand, the imprints on the film of 'The
Testament of Dr. Mabuse' are shown at the center of the screen. In this case, the signs show the
criminal offenses they speaker intend to embark on. Looking at the prints, it is evident that Mabuse

The Film ' M ' By Fritz Lang
We Are the Criminal
There are instances in life in which we must accept things that are beyond our control and
understanding. In the film M by Fritz Lang we are thrust into a situation of that exact caliber. The
story tells of a man named Hans Beckert, who appears to be an average man by day. We first meet
the character as a shadow and all that we hear is a whistle as he approaches a child which was left
alone. Once the news is out about the missing child the town erupts in chaos, everybody seems to
have their own theory about who this criminal is. Even the gangsters of the city have to participate
in the manhunt in order to restore their "normal" criminal activity, they even stage a court room in
which they plan on prosecuting Mr. ... Show more content on Helpwriting.net ...
The interesting thing in this film is that it doesn't seem to bother the other citizens that these
gangsters are out doing whatever they please. The number of different crimes committed in the
manhunt was much larger than Mr. Beckert had committed himself. They first forced themselves
into the premise of the storage facility Mr. Beckert was hiding in. They then beat and bound the
guards and destroyed a huge amount of property in the process.
Foucault gives a fairly good explanation stating that these terrible crimes are "crimes against nature"
(pg. 5). These crimes are so heinous that something within ourselves knows that the crime is wrong.
These crimes carry with them an aura of disgust, instead of a feeling of sorrow. He goes on to say
that the "individual in whom insanity and criminality met in such a way as to cause specialists to
raise the question of their relationship, was not the man of the little everyday disorder, the pale
silhouette moving about on the edges of law and morality, but rather the great monster" (pg. 5).
What he means by this is that the criminals he describes as "dangerous individuals" are not the same
as the everyday criminals, these are somehow much worse.
There are certain characteristics that Foucault attributes to his idea of the dangerous individual. He
starts by stating Garofalo's principal in which he

Film Analysis Of Metropolis
The film Metropolis premiered on January 10, 1927 and is lauded as one of the Weimar era's great
films. The film was attractive immediately due to the scale of the sets and the cinematic innovations
that were achieved by director Fritz Lang. Metropolis was created during a time when
Expressionism and the Neue Sachlichkeit pervaded the film culture. The Neue Sachlichkeit was a
response to Expressionism to appeal to a broader audience. Willy Haas discusses the sets in his
review of Metropolis and describes their visual appeal. The sets for Metropolis draws on both styles
and in this they become more than a technical wonder, it lends itself to the storytelling rather than
impeding it. The set achieves this because it is a coalescing of the two forms. Therefore, I contend
that Metropolis's set lends itself to the plot by combining Expressionist social issues and design with
the Neue Sachlichkeit's want to return to realistic values.
Willy Haas, a film critic and screenwriter, published a review in the Film–Kurier for Metropolis one
day after the premiere. Haas has a deep understanding of the film's set and how each part works
together to create the overall aesthetic. He begins by commending Fritz Lang's ability to
meticulously bring out the finer details while creating a set of gigantic proportions. Then, Haas
summarizes everything used to create the film from the cast to the amount of film used. Haas
presents the film as a mixture of different philosophies all woven together. Haas's main critique of
the film is that it lacks a central theme, or as Haas writes, "the profound lack of inner form." This is
due to the films massive size, which seems to mask the film's scarcity of meaning. Haas concludes
this article by stating that even with it being a technical marvel, the feature that allows for a viewer
to relate to the film is lost. One response to the lack of deeper meaning is by addressing how the set
aids the story.
Haas's review focuses on the statistical size of the set but neglects the sophistication of the visual
aspect. It is here where the set makes use of combining the two styles. The film is set in a futuristic
city filled with several skyscrapers, cars, and planes. At the center, is a tower that

Metropolis, by Fritz Lang and Frankenstein, by Mary...
The idea of progress being inspired by the past is revisited in Fritz Lang's 1927 film Metropolis.
Though the film's titular city is a gleaming landscape of technological advancement it is through the
hands of the arcane inventor Rotwang that the film's most stunning creation comes into being. Like
Frankenstein revisiting "outdated" natural philosphers for his inspiration, Joh Frederson, the
figurehead of Metropolis and the man to whom technology means the most, turns to the aged
inventor in hopes of pushing technology even further. The visit to Rotwang is like a visit to the past:
his house is the only edifice we see that is in no way modern (in fact it has such a clapboard
appearance when held against the rest of Metropolis that ir ... Show more content on Helpwriting.net
...
When held up to the monster in Shelley's novel, Rotwang's creation serves as an indication of how
far the technology in Metropolis has come. Though the basic premise of the two scenarios is the
same, namely the cobbling together of a being and its homuncular bringing to life, Rotwang's
creation is a much colder affair. Whereas Frankenstein built his monster from human remains,
dabbling "among the unhallowed damps of the grave" and collecting "bones from charnel–houses"
(Shelley, p. 62), Rotwang's creation is made entirely of cold metal, it is a being of bronze and bolts.
There is no room in Lang's vision of technology gone awry for even the barest hint of human
involvement. Everything is cold, mechanical, and calculated. Even the workers, the lowest citizens
on the societal totem and the only human contact the machinery necessitates is at risk of being
forced from their jobs by Rotwang's metallic creation. If technology and progress are expressed by a
metaphysical quandary in Shelley's novel then in Lang's film it is entirely mechanical. Humanity
comes second to the technology that allows

Avatar, An Former Paraplegic Marine
In the 2009 James Cameron film Avatar, an ex–paraplegic Marine, Jake Sully became indirectly
involved with an expedition to natural resource rich Pandora, an extraterrestrial planet needed by
Earthens to continue existing thanks to inevitable raw material exhaustion. For Jake, his call to
adventure began when his life course was altered due to the "random" death of his scientist brother.
Little did Jake know, with his cynical attitude, that his life was about to change for eternity. Initially,
Jake agreed to the mission because he felt there was nothing better for him in this world and he was
promised the funding to regain the use of his legs. Jake's ordinary world view was dimmed with war
ravaged Jar head thoughts, and a reluctance to change due to his injury, combined with the death of
his brother. Jake's awareness from a global perspective was most definitely limited by his pessimist,
although realist mindset; considering his perspective and attitude in the beginning, one can certainly
assume that he was spiritually blind as well, although not completely closed to consciousness
altering as evident when he determinedly wheeled himself off the plane and saw a planet not his
own for the first time. A new realm awaited; promising a supreme reality check in the most surreal
setting possible. Upon Jake's arrival on Pandora, into the special world, the test began. All of the
political forces began to surface; only Jake's heart would be able to resolve the Allies from

Essay Effective Use of Sound Techniques in Fritz Lang’s...
Effective Use of Sound Techniques in Fritz Lang's Film, M
M was directed by Fritz Lang and was released in Germany in 1931. M follows the story of a strand
of child murders in a German city. In a hunt for the murderer the police as well as the organized
criminal underground of this German city search rapidly for the killer of these innocent children.
The specific elements that Fritz Lang uses to express his view of what the sound should be are, how
particular sound techniques shape the film, and how the sound affects the story. In a shot by shot
analysis of a series scenes that uses diegetic sound the audience can understand what Lang's
intentions for sound was for this film.
Initially the audience is witness to how particular sound ... Show more content on Helpwriting.net ...
Another aspect of sound in this film was how it affected the story. By using sound dramatically in
certain parts and not using it at all in other parts, sound gave this story an entity of its own. For
example, during long stretches of film with mostly dialogue, there was no music played in the
background, only a phone ringing in the distance, or the men's voices during their deliberation.
These long silences also took place during editing shots of the town and images that surrounded this
German city. This dramatic difference in sound was a revelation of how mood can be made by
images and sound put together to make an incredible component.
By offering a shot by shot analysis of a scene that uses diegetic sound the audience can understand
why the director used these sound aspects to tell his story. This analysis does not just follow one
scene but rather a series of scenes in order of what is relevant. First we are witness to the mother in
her apartment washing clothes on the washing board and the camera then cuts to the clock, which is
striking time and making an animated noise that brings the audience into this important element of
the film. The story then cuts to Elsie being honked at on the street with horns that are overly
dramatic in sound, yet another way for the director to use the sound technique. Another way the
director uses sound in a dramatic way is when he presents Elsie bouncing her ball down the
sidewalk and on the

Essay on Metropolis Film Analysis
Metropolis: "Breaking down the utopia"
In January of1927 Metropolis was released to the German public. The film, which was directed by
Fritz Lang, was one of the first science fiction movies in the history of film. The film focuses on the
differences between the working class who power the city and the wealthy whom indulge in it. The
film was host to many German stars at the time such as Alfred Abel and Brigette Helm. As this
conflict is going there is a separate yet relative story unfolding, a mad scientist has created an
android out of love and desperation. Soon that same desperation drives him to use this robotic
woman agansist his fellow man, causing open revolt and bloodshed. As Joh Frederson, founder ...
Show more content on Helpwriting.net ...
They displayed the scale of things, whether the machine hall or Frederson's office. I think the most
interesting shot however, was a shot looking outside Joh Frederson's window, showing the majesty
of the city. It was a collaboration of scale models and paintings, which made up an entire futuristic
city. It was breathtaking, especially considering the time period. The story itself was beautifully
written by Lang and his wife. It was the first science fiction film ever made, no one had made a
futuristic story about robots before, but that's just what Metropolis was on the surface. Inside it was
a story of love, a story of indifference, a story of struggle, it was a human story, and that's what
made it so successful. It was written simply, it was easy to understand yet it told a complex
multilayered story. The lighting only brought more emotion and mood to the film. For all the close
ups the faces were light very brightly, the natural shadows in the face in contrast with the bright
light stressed the state of the characters. The lighting in Rotwang's lab however was very dark, and
there were a lot of shadows, which exemplified the nature of his character. The main element that
made this film was the acting. It was necessary that all acting be overdramatic, it was the only way
for the audience to truly grasp the emotions of the characters on screen. The best example is the
scene where Freder wanders into the hall of machines and witness' the

Rocky Balboa Character Analysis
Personality Analysis of Rocky Balboa
In that part, brief information about the Rocky Balboa will be mentioned to help you to access life
history of Rocky Balboa who is the main character of the Rocky film series. Rocky Balboa who was
born in 1945 at Philadelphia, he grew up in the Italian family and he do not have any brother or
sister. Moreover, he lost his family too early and he did not finish his school due to he lived in a
poor family. Therefore, he wanted to find a women who really loves the rocky and he dreamed that
his son will be better person than his because he did not have a chance to go to good school. Hence,
he chose the box to provide his son a good future. Additionally, his wife's brother is the best friend
of Rocky who is Paulie ... Show more content on Helpwriting.net ...
Thus, he maintained his life as a trainer but he did not succeed that because his boxer to leave Rocky
in the lurch and his wife pass away in 2002. Then, he continued life with both his son and Pollie and
then he opened up a restaurant with his wife name.
In this part will be included the Rocky Balboa analysis of personality by using respectively Costa
and McCrae's big five theory and Carl Roger's person centered personality trait. Big five theory
includes 5 trait personality which are extraversion, agreeableness, consciousness, neuroticism and
openness. By looking all traits' properties, first of all, agreeableness trait which is covered a person
who have a propensity to sustain a long fine relationship with others (McCrae & John, 1990). For
Rocky, he trusts everyone so that he lost his many times due to believing people, he always show
tolerance due to all people and he knows how to forgive people without judging. For example, after
both he had joined first box match with Apollo and he boxed with Russian boxer, many people
called Rocky chicken and many news companies emitted a caricatures that made rocky sad.
Nevertheless, he never said anything or did not

Examples Of Imperialism In Avatar
In the year 2009, James Cameron wrote and directed one of the most remarkable films I have ever
seen 'Avatar'. This science–fiction saga has a story line that is engaging and captivating for its
audience. Avatar took place on a moon called Pandora. Humans discovered very valuable natural
resources on Pandora and did whatever it took to obtain what they needed from Pandora. The people
of Pandora are Na'vi's, a 10 foot tall, blue–skinned humanoid alien group that lived in the rainforest
or Pandora. The Humans found a way to interact with the Na'vi's by artificial yet organic avatars that
were controlled with a human mind and conscience. Jake Sully, a paraplegic marine who was given
the task to manipulate the Na'vi's into leaving their home. Sully entered ... Show more content on
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We try to give them medicine and education road! But no, they like mud. I wouldn't care except
their damn village is sitting right over the riches unobtanium deposit for a hundred klicks of any
direction. Which sucks, for them, because they need to relocate". This cruel words shows
imperialism. Avatar's imperialism in the movie and the world's history of imperialism have many
similarities. People with more military or power tend to destroy people who have less power for
self–gain. Imperialism is the advocacy of extending the power and dominion of a nation by gaining
indirect control over the economic life. There are many times in history were natives of a country
have been imperialized by a foreign country for their land resources, this happened in the Avatar
movie. Africa was imperialized by the Great Britain to conquer new lands for Brits to settle like
Australia, New Zealand, Canada and the American colonies. They imperialized them to get the
wealth of their lands. Diamonds and gold in South Africa and ivory from Kenya. To open up trade
routes, to get goods etc. This was why they were imperialized. The humans in the Avatar wanted to
obtain unobtainium which lied beneath the home tree to save from energy

German Expressionism And German Expressionism
The movements of German Expressionism and Japanese pre–war cinema produced trends greatly
influenced by its historical context. These contexts contributed to shaping their own stylistic styles
captured throughout the theme, mise–en–scene, and cultural ideologies. Although these two
movements occurred in fairly similar time periods, they both occurred in different parts of the world
which had a fundamental role in generating key contrasts between these movements. Both occurring
in pre–war periods, a striking similarity existed between the two; they both displayed the economic
instabilities. Both subtly exhibited the internal anxieties that the individuals faced in the differing
societies. German Expressionism had the stylistic forms that in turn captured distorted images or
grotesque style to convey an abstract sense of reality throughout 1920's. On the other hand, the
Japanese pre–war cinema expressed the humanistic family by displaying their everyday struggles of
the lower middle class known as the "common people" during the 1930's. Although these
movements were individually unique throughout their distinct stylistic devices and ideologies, they
essentially came together during this time period to help transform the art of national cinema. By
analyzing the historical contexts of these specific movements, we take a deeper look at society's
social, religious, economic, and political conditions that existed during a certain time and place.
These relevant factors profuse mass influence into a filmmakers decisions while in the production
process of a film. Additionally, these components have the role of establishing distinct trends in the
film industry. Each movement has its own purpose for creating each film in regards to a stylistic
standpoint. As we look deeper into the historical contexts that came about in Germany during the
1920's, Germany was confined due to the isolation the country was experiencing during World War
I. During this solitude, the German government banned foreign films. German Expressionism was
formed in result of the conclusion of World War I which compelled Germany to establish its own
style of cinema. German Expressionist films produced in the Weimar Republic

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