Hilfe & Kontakt

In-depth Movie Analysis - by Seung Bum Kim (for Foxnews and other media)

Von: Deadspeak2 (kims072@hawaii.rr.com) [Profil]
Datum: 31.05.2010 12:23
Message-ID: <13040bf2-f055-4060-8377-d2f412bff7c9@x27g2000prf.googlegroups.com>
Newsgroup: alt.society alt.movies alt.fiction.interactive
Irony in Endings - by Seung Bum Kim (for Foxnews and other media)
Character obstacles if tackled properly lead to character
transformations where they find ascension. Although Braveheart was not
able to enjoy his ascension which would be ironically enough be the
new beginning. It would often be a new kind of transformation, but it
usually rests in classic mythology. Things bloom in life but the
changes in fictional roles do not tell a tragic conclusion as if
happiness is perpetuated eternally..but one has to make an original
scenario as to whether he finds eternal prize or not. Where in Will
Hunting his future with Minnie Driver's character is not disclosed and
left for the imagination. But in actual realism accidents occur in

Irony in Endings - by Seung Bum Kim

Jurisprudence Films - by Seung Bum Kim (for Foxnews and other media)
As far as the protagonist and antagonists goes, they are equipt with
at least one strength. Otherwise the hero would be a creator of
victims..and jurisprudence in film in Western films are not eaters of
the dead except for Prophaganda films. So it points to how the
governance of the people should make humans well-provisioned. Having
their own weapons it produces a level ground that if it were not so
would make blood drops grow pregnant screaming, "murder!" according to
Hurt Locker this is the first epiphany. Where however humans are bound
by the human condition thus it faces a soliphistic wall that is ironic
because humans suffer essentially the same human condition. Where on
the other hand a grand inquisitioner states that he is beyond the
bourgeouis anatomy. According to biological fiction, the human
characters are connected. But a conflict arises with the Grand
Inquisitioner since his means of happiness is in monopoly. And it
inspires the audience to admonish the character who brings down a
grand monopoly of power unless it falls into the right hands.

Jurisprudence Films - by Seung Bum Kim

Ridley's Eternal Image - by Seung Bum Kim (for Foxnews and other
Ridley Scott's Alien was frightening as it caused xenophobia. And it
pertained to the alien and the rocket as a symbolism of courage in the
face of uncertainty. It is an eternal symbolism. To avoid these
insecurities humans constructed houses much to their close
relationship to it in conception of the thing. Damon in most of his
roles of combat is familiar with the world of the CIA. He is well
suited to be in a situation that he knows. Xenophobia was a message in
even cheap blockbusters like Dark Territory. You notice that the
characters to fight must fight dirty. Since to passively and gentley
apply the sword would be a contradiction of battle's true meaning. As
it is in the MiddleEast. A passive approach to violence has nothing to
do with Gandhi's passive resistance. The whole act of fighting has
values in the degree to which one fights..and the greater the degree
the less contradiction in the term "fighting". So is the makeup of
Gibson's Edge of Darkness..one wouldn't use a light pinch to kill.
Often the fight is for sport. But xenophobia doesn't exist in fighting
sequences since it is their role or professional career. There is an
exaggeration of courage in most roles where being their required
profession find it truly familiar. Where horror films produce
different or variant creatures and manifestation of evil so through
the alienation arises fear. Which is why Krueger is less frightening
than ever because his identity has been unveiled countless times and
he even resorts to comedy..whereas if it were completely dark in
morbid silence it can be further prolonged. But transcendental forces
in movies such as Clash of the Titans by audience reaction rouse
them..though in duality Zeus is a threat. Me being no hero whatsoever
could not relate to Perseus. His existance embitters me like a tease
to be as such. Without adding touches of strong colors that
superimpose an otherwise structural reality, biological fiction would
reveal the conditions of the movie to be organic.

-by Seung Bum Kim

About Film on Flight from Plato's Cave - by Seung Bum Kim (for Foxnews
and other media)
Since in life the bugs don't see eye to eye and exist within private
circles, the centre of things or the Executive leader is the only one
we have unified consciousness of. From the perspective of Damon's
films characters are placed in such significance that it creates a
world that circles around specific personality types. As NIN could be
said to be just one man. So by using technocolor to make brief
observances of activities that take place in the atmosphere of rooms a
binding element can be made through the leader who may or may not
impact their lives. Neo-classical film was said to have most realism.
But the absence of sharpness in the image makes it a kind of grainy
version of olden times in which the lack of sharpness which
technocolor has makes for the appearance of age by its inverse, from
the post-modern period in definity to that which was before in vintage
appearance. Omen struck me with terror. The image existed within an
image. It was a fictitiously captured film in the manner of Godfather
2. Now that social films are of heavier priority, we could be more
relavant by capturing the people who do not meet eye to eye and as
such the powers of society are not collective but almost like a large
societal organism. As hidden primordial threats do not exist. In
previous times a film about life today would be under social horror,
just as science fiction had its beginnings from Spanish invasion of
England and thus victory over it, as early science fiction due to its
hypothetical qualities..2001 was supposed to be a vision but it
suffers hypothetical vulnerability. So present the case of life today,
to be relavant and it would be suggested to present a definitive
quality to the film rather than as a portrait. Since technocolor
reveals that in modern times that man wakes up in his bed like a bug
with an arched belly. Where the portraits on the wall are meaningless.
As techocolor is the first step in film to exit Plato's cave.

About Film on Flight from Plato's cave - by Seung Bum Kim

Character Transformation and Chaos Humor - by Seung Bum Kim (for
Foxnews and other media)
Characters that have pre-disposed wealth do not face the condition of
finding the nerve. In Gibson's movies the glorious stage is when he
finds the nerve as it takes young people years to find the nerve. But
starting off from a pre-existing nerve makes for no choice sealed and
stamped in blood. American Beauty was a film where there was precisely
nothing found in this respect as nature guides the characters in an
aesthetic sense. Where even dying is an art..a form of narcissism as
Ophelia stood by the ravine enchanted by the waters and rocks below as
Grace made her jump off the precipice. So the resolve is German
aesthetics and knowing the German motivation from German Beer it does
not have that feminine quality though some would argue that Goethe's
book on Lovers inspired (idiots?) to jump into lakes with the book in
their right pockets. But films that are void of aesthetics like Akira
Kurosawa's Seven Samurai focus on life in its bare bones. But it lacks
mood so it doesn't add to emotion but subtracts from it. But the
scenes of that movie are descriptive and more descriptive due to its
lack of heavy volume and a rudimentary capture of the environment in
stills 1)to show the basic conditions of rural life 2)to show actions
without a path neither through light or Providence. And close boxed
social interaction. Vonnegut attacked this traditional style film with
his claim that a re-arriving Jesus was shot down by Airforce fighters.
It adds a dimension of chaos that by its rude nature produces a lunacy
about tradition..and yet it is a lunacy that works. Being imbalanced
as it is, it destroys art. But without a traditional Aristotolian
plot, it dishes out the most vital part of the main character's
presence in the film which is transformation by finding the nerve.

Character Transformation and Chaos Humor- by Seung Bum Kim

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