Custom Film Studies Essays

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Film Studies Custom Essays: Real War Movies

War movies have stand the test of time and gain critical and commercial success because it is important that it should be about the real war. War movies, particularly movies depicting World War II have a trend in being one sided (Feroze, 2008). The topics explored in war movies are combat, survivor, getaway stories, tales of fearless sacrifice and struggle, submarine warfare, studies of the inefficiency and brutality of the battle, the effects of war on society, and intelligent and reflective explorations of the moral and human issues.

The distinctive elements in an action-oriented war plots consist of submarine warfare, surveillance, camp experiences and escapes, personal heroism, brutalities, air fights, hard infantry experiences, and male bonding adventures during the battle.

Various war movies carry out balance in soul-searching, tragic consequences and inner turmoil of fighters with action-packed, dramatic scenes, passionately demonstrating the enthusiasm and chaos of warfare. Some war films focus on the home front rather than on the conflict at the military war-front. However most of them present criticism of senseless combat.

Film Studies Custom Essays: Fellini Film Narrative

Federico Fellini's 8 1/2 is one of the early landmarks of postmodernism. (Bondanella, 93-116) If the myth is to be believed, Fellini had signed with producer Angelo Rizzoli to direct something like a sequel to his enormously successful La Dolce Vita. Actors were hired. The crew was ready. And a large set had been built: a rocket launching pad.

But where was the story? In early drafts of the scenario, Guido Anselmi (Marcello Mastroianni) had been a writer. Only when Fellini turned the character into a film director did the elements fall into place. This would be a film about director's block: about not being able to make a film.

About what the scholars call 'the creative process.' Weaving together fantasy, flashback, fear, and celebration all orchestrated, as usual, by Nino Rota he achieved an overwhelming international success. (Bondanella, 93-116) 8 1/2 remains the key Fellini movie because it is freer from the tyranny of narrative than anything that came before or since. In the Fifties Fellini had been a storyteller in the neorealist tradition. But that wasn't his real calling. The meandering plot of La Dolce Vita had given him a more accommodating framework for his collection of gorgeous images, extreme characters, and musical setpieces.

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