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Film #12: But I'm A Cheerleader (1999)

Introduction The purpose of this essay is to identify the queer films with four approaches to conduct queer reading of the film, “But I’m a Cheerleader” by Jamie Babbit.   Theory Discussion Queer Cinema has been in existence for decades but it was unnamed. It is identified with avant-garde cinema. In 1991, queer cinema was introduced at Toronto Film Festival as a concept that re-examined and reviewed the image of homosexuality. Queer cinema became more visible only in the 1990s with the global traumatizing effects of AIDS. The effects of AIDS has challenged many cultural assumptions about justice, identity, knowledge and desire such as homosexuality as a kind of fatality and the consistent judgement of HIV/AIDS as a gay disease. Queer cinema is reborn in the 1990s, which it is called “New Queer Cinema”. It is a term to describe the renaissance of gay and lesbian filmmaking by the Americans. New Queer Cinema is not a single aesthetic but a collection, taking pride in dif
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Film #11: Quarantine (2008)

Introduction The purpose of this essay is to determine and analyze which mode the film “Quarantine”   directed and co-written by John Erick Dowdle uses to be considered as a part of documentary. Theory Discussion Documentaries are filmed events that are not staged. It provides an authentic look. Documentaries are non-fictional motion films, thus they depict not imaginary but real events. Documentary filmmakers are assumed to observe the events and make objective records of the events. There are six modes of documentary modes suggested by Bill Nichols. Documentaries should be looked at via certain techniques selected by the filmmakers when they record the events. Modes are a way of determining the common concepts and themes of the various documentary styles. It is the way how they represent the documentary. The first mode is poetic. According to Katherine Selway (2017), Nichols stated in his book that the poetic mode “moves away from the ‘objective’ reality of a given
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Film #10: Easy A (2010)

Introduction Easy A (2010, Will Gluck) The purpose of this essay is to spot the characteristics of feminist film theory in the film, “Easy A”, directed by Will Gluck. Theory Discussion Feminist film theory is a theoretical film criticism obtained from feminist politics and feminist theory. It first started in the 1920s to look at women’s expression of her own subjectivity. Feminist film theory fully developed in the late 1960s after the radicalized feminist movement which is sexual liberation and political debate of the female representation. Feminism is a set of political practices seen through the analyses of the social or historical position of women as subordinated, oppressed or exploited in dominant modes of production such as capitalism or by social relations of patriarchy or male domination. According to Anneke Smelik (n.d), feminism is a social movement which has had an enormous impact on film theory and criticism.   Films are viewed as a reflection of the socie
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Film #8: Maltese Falcon (1941)

Introduction The Maltese Falcon (1941, John Huston) The purpose of this essay is to identify the characteristics of film noir found in the film “Maltese Falcon” by John Huston. Theory Discussion According to Tim Dirks, The French film critics labelled film noir as the “black film” genre or that peaked in the year of 1944 to 1955. Nino Frank noticed the trend of “dark”, downbeat and black looks and themes were of many American crime and detective films released in France in theaters following the war, such as Maltese Falcon (1941), Murder, My Sweet (1944), Laura (1944) and etc. Film noir movies features a world of criminals of darkness and violence with characters’ central motives are usually greed, lust and ambition, drench in fear. Film noir shows that the society is evil, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. It resembles more of a moral reality. There were rarely happy endings in the film. Film noir has a lot of dark
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Film #9: Breathless (1959)

Introduction In this essay, I will be talking about how the film named “Breathless” or “A Bout De Souffle” by Jean-Luc Godard is related to the French New Wave film movement. Theory Discussion French New Wave is a film movement started in 1959. French New Wave is also known as French Nouvelle Vague. According to Indie Film Hustle (2016), it is often referred as one of the most influential film movements in the history of cinema. It was first used by a group of French film critics associated with Cahiers Du Cinema, which is a magazine about cinema in the late 50s and 60s. Before the 50s and 60s, French film were mostly literary adaptations. For example, with the recent adaptations, Harry Potter, Lord of the Rings and The Fault in Our Stars, just to name a few. These films were usually filmed within the studio or on big budget spectacles and international co-productions. This film movements rejects montage aesthetics, favouring mise-en-scene. Tv Tropes (n.d) mentioned that Frenc
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Film #7: Corpse Bride (2005)

Introduction Corpse Bride (2005, Mike Johnson and Tim Burton) The purpose of this essay is to identify the characteristics of German Expressionism in the film, “Corpse Bride” by Tim Burton. Theory Discussion German Expressionism was an early 20 th century German art movement that highlights the artist’s inner feelings or ideas over replicating reality. It is a film style that emerged into Germany from 1919-1926. It consists of numerous creative movements before World War I that reached a peak in Berlin during the 1920s. It is heavily influenced by Vincent van Gogh, Edvard Munch, and El Greco. According to Alissa Darsa (2013), expressionists were less concerned with producing pleasing compositions as they were creating powerful reactions to their work using bright, clashing colors, flat shapes, and gestural marks or brushstrokes. Expressionism was not limited to painting but was manifest in literature, architecture of Scandinavian, dance, painting, sculpture and cinema.   I
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Film #6: Bicycle Thieves (1948)

Introduction Bicycle Thieves (1948, Vittorio De Sica) The purpose of this essay is to identify the traits of Italian Neorealism in the film, “Bicycle Thieves” by Vittorio De Sica. Theory Discussion According to Daniela (n.d.), Italian Neorealism is a style of film with the characteristics of stories set among the poor and working class, filmed on the spot of the location, and frequently using unprofessional actors. Italian neorealist films deal with the difficult economic and moral conditions of post-World War II in Italy. It also reflects the changes in the conditions of everyday life which are poverty, pessimism, and desperation. According to Bordwell and Thompson (2013), Italian Neorealism is one of the most influential movements in the film industry. In 1922, Benito Mussolini seized power and Italian cinema was used as a form of a propaganda, educating Italians with documentaries and newsreels. The motion picture industry had created massive historical epics and senti
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