City of God

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Component 1 : SECTION C

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'British' film What makes a film British? To  be eligible for the category,  Bafta  rules say that, unless there are exceptional circumstances, a film must "have significant British creative involvement" and be certified as British by the British Film Institute (BFI ). The BFI gives a film official British status for the purposes of receiving tax relief if it passes a "cultural test" or is a co-production between the UK and another approved country . The cultural test contains 15 criteria, from having the dialogue in the English language and being set in the UK to using British locations, director, cast, writer, composer and producer . 12 Years A Slave Nik Powell, chair of Bafta's film committee, explains: "12 Years a Slave was not considered by the committee because it didn't list itself as a British film .“ When a film is submitted to Bafta for consideration, its producers can tick a box to say it is British, M...
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Casablanca Apocalypse Now Essay - 13/12/19

Historically, the time in which a film underwent production tends to have a heavy influence on its elements and message. The era that the film was shot in naturally reflects the full production phase, whether it was the film’s image, sound or narrative. Casablanca is a strong example of a classical Hollywood production shaped by the year it was produced in. Published in 1942, Michael Curtiz’s masterpiece (as acknowledged by a range of critics) featured film protagonist Rick featured the redemption of Rick – performed by Humphrey Bogart – and his journey from emotionless barman to fulfilled rebel. A contrasting example can (but is not limited to) be Ford Coppola’s Apocalypse Now, a gem within the New Hollywood Genre; this is another solid portrayal of how the time in which production takes place is reflected in the film. In the 1940s, the film industry was making its first steps towards the controlled monopoly it finds itself in today. This was due to the rise and evolut...
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The oedipal trajectory

The oedipal trajectory - Males - Summary A male child, who at first is bonded with his mother, imagines himself a united whole with her. However, when held up to a mirror, he perceives his difference from her. He becomes aware of the illusion of unity and still desires it. The desire now because sexual. He comes to hate his father, as his father has ‘lawful’ access to the mother. The child perceives this difference as one of castration: he sees the mother as castrated. To identify with her would this mean he would be without his penis - in identifying with her he becomes like her; in uniting with her, he runs the risk of castration from his father (he assumes the father has this power) He attempts to identify with the father; he sets about trying to find a female. The male child can now move towards social stability and continue the cycle. Application in Film Narrative In cinematic narrative, the male protagonist moves, through the resolution of a crisis, ...
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