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Analyse The Formal Properties and Stylistic Features of Yasujiro Ozu’s The End of Summer (1961), with Particular Reference to Their Difference From Classical Hollywood Cinema
Yasujiro Ozu’s The End of Summer (1961) in terms of formal and stylistic properties, differs greatly from the classical paradigm of Hollywood cinema.
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“Emotional values are the ones I rate most highly … the means must be emotional to be effective.” (Andrzej Wajda, 1969)
Film and the film industry is less than 150 years old and the dominant ideology throughout the world throughout this time has been nationalism, sovereignty and military industrialism. Film, therefore, I believe, has been naturally immersed in the ideas of the political, cultural and national ideologies of nation states and this has affected the majority of films and their production.
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Living with an X Files nut who owns every single series on DVD, I’ve seen more than my fair share of encounters of the strange kind as Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) investigate weird happenings on behalf of, and sometimes in spite of, the FBI.