Alfred Hitchcock‚ also known as “Master of suspense” mostly worked in the thriller and drama category. He directed three well-known films like‚ Rear Window(1954)‚ Dial M for Murder(1954)‚ and Psycho(1960). I watched the film Dial M for Murder(1954). I thought it was a very good thriller that that kept you at the edge of your seat because you never knew what was going to happen next. Woody Allen who liked to do magic tricks and play the clarinet in his younger days tended to direct comedy films
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and that the character of Maggie should be more sympathetic. To what extent do you agree or disagree with the director? When the play was staged on Broadway in New York in 1955 Elia Kazan‚ a friend of Williams who has directed many of his other plays on Broadway including ‘A Streetcar Named Desire’‚ directed it. Kazan had reservations about the original Act Three and asked Williams to rewrite it. He felt that Big Daddy should not disappear after Act Two‚ that the impact of the conversation between
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NOTES on Death of a Salesman (1949) by Arthur Miller (1915-2005) ***** GENRE: Example of modern tragedy and “selective realism” Refer to your study guide for the quote from Arthur Miller’s “Tragedy and the Common Man” Selective Realism: refer to your text‚ and consider the notes following the brief remarks on the play below…. ***** Notes on the play‚ with comparisons to others this semester. (feel free to disagree or elaborate): PLOT: Willy Loman loses his job‚ regains a relationship with
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Kazan’s A Streetcar Named Desire: A Key to Confusion? Tennessee Williams’s A Streetcar Named Desire and Elia Kazan’s film version of the play share the same characters and the same story. Except for the opening scene‚ Kazan doesn’t change the plot at all. To emphasize the meanings of death and desire‚ the movie shows Blanche taking different streetcars in the area surrounding where Stanley and Stella live—and the viewer can imagine how difficult it is for Blanche to adjust. In the play‚ Blanche simply
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comparison to the well known tragic heroes. Arthur Miller considered Willy a tragic hero and as author‚ his opinions should be taken into account. Willy evokes pity and fear from the audience‚ and suffers due to his own fatal flaw‚ or hamartia‚ which Elia Kazan‚ the first director of ’Death of a Salesman’‚ believed to be "neuroses and anxiety." Literary critic‚ Professor Harold Bloom claims that Willy Loman is not a tragic hero by Aristotelian standards because he "does not fall from a great height‚ nor
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Miller spoke to Kazan about his testimony‚ and then traveled to Salem‚ Massachusetts to research the Salem witch trials of 1692. He found a comparison between the witch trials and the trials of those accused of communist activity. When he returned home‚ he began to write
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most respected and influencing playwrights in modern theater. Only four years after its Broadway debut‚ Williams’ play was adapted into a film; Williams worked hands on with director Elia Kazan to create the 1951 film adaptation A Streetcar Named Desire. Though the two adaptations have similar literary elements‚ and Kazan worked collaboratively with Williams the audiences still see stark differences between the two. Kazan’s A Streetcar Named Desire stays as close to the original production as possible
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hero tends to be more of an individual with own marks of traits‚ and own marks of actions. Ray discusses that in traditional films‚ how a single character can hold completely different traits ‚ giving examples such as Terry‚ in the film On the Waterfront‚ who is a boxer but also a delicate person who also spends a chunk of time in taking care of pigeons as a hobby. But Ray’s most vital argument is about the thematic paradigm‚ the avoidance of choice‚ or the “denial of the necessity for choice” (Ray
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Over time Elia Kazan’s On The Waterfront has become recognized as one of the greatest movies of all time. Many site the use of method acting or Kazan’s personal affinity with the tale of a whistleblower as reasons to engage in this film. I find the most interesting analysis to be on how Kazan implemented various visual elements to add depth to the characters. This is achieved through elements of mis en scene giving a visual representation for the theme of control‚ that others fight to hold over Terry
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She was viewed as a stereotypical wealthy southern woman who inherited her family’s fortune. However‚ it eventually became known that Blanche had lived an extremely hard and brutal life‚ which would drive even the most stable person to insanity. Kazan stated‚ "It’s not so much what Blanche has doneit’s how she does itwith such style‚ grace‚ manners‚ old-world trappings and effects‚ props‚ tricks‚ swirls‚ etc... that they seem anything but vulgar" (21). It was obvious‚ even as Blanche desperately
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