Negative Effects Of The Industrial Revolution - 710 Words

During the late nineteenth-century, the western world as a whole was turning towards a direction that focused on the mass production of goods. This time was called the Industrial Revolution, where farms were being replaced for factories and technological advancements that would change the way of living for everyone. As with all significant events in history, there were positive and negative impacts that the Industrial Revolution had on the world. Despite all the technological advancements that were made during this time that brought economic prosperity to all, the Industrial Revolution has negative impacts that shaped our society to be less humane and more greedy. For the sake of being financially successful, people had to disregard people†¦show more content†¦The topic of climate change is heavily debated in modern day politics as it is now becoming more apparent than ever that the earth is experiencing drastic changes because of it. The Industrial Revolution introduced the idea of burning fossil fuels to the general public, and now there are consequences that generations of people moving forward will have to deal with. The invention of cars is arguably the best invention to happen to mankind, however the price the ecosystem has to pay for it is too grave. Despite the numerous jobs that were created during the Industrial Revolution, workers had to endure terrible conditions in order to make little money. Children had to work in factories in order to make ends meet, thus sacrificing their education. Problems that workers typically faced were lack of ventilation, no sunlight, and crowded spaces. These are all hazards that could compromise the health of workers. Working conditions were so bad that laborers had to create unions and strike so that way they could ensure that changes were made to factory life. This is another example of how the Industrial Revolution had no regard for the lives that it would cost to make a product. Poor working conditions an d little pay allowed company owners to receive the maximum amount of income possible. In conclusion, the Industrial Revolution had many impacts that are still relevant today. The negatives ofShow MoreRelatedNegative Effects Of The Industrial Revolution1665 Words   |  7 Pages Many repercussions happened as a result of the Industrial Age. Technological advances are most often seen as â€Å"good† for society’s progress in being â€Å"successful†, but often there are advances that can hinder the lives of the peoples in these societies. During the Industrial Age (1750-1900), there were a plethora of new inventions and technologies that were produced. The revolution was seen around the world and helped many nations with economic growth. The British had a large growth in steam poweredRead MoreNegative Effects Of The Industrial Revolution840 Words   |  4 Pages The Industrial Revolution had a negative impact on nations. Some reasons to support my claim is that factories had a big effect on children, it also impacted women and their wages and the environment. The Industrial Revolution had a negative effect on the children and women, and the reason it had a negative effect was that there were bad conditions that the children and women lived and worked in. The conditions that the children had to work under were horrible, which led to illnesses and diseasesRead MoreNegative Effects Of The Industrial Revolution923 Words   |  4 Pagesthe Agricultural Revolution gave leeway to the Industrial Revolution of the seventeenth and eighteenth hundreds. Previous landowners and investors of the Agricultural Revolution were able to start or participate Corporations and Businesses to seek great profit. New machinery and technological innovations were frequent due to the demand for faster, more efficient technology. Working class families, who were arguably the sole reason for the grand success of the Industrial Revolution, moved from theirRead MoreNegative Effects Of The Industrial Revolution1173 Words   |  5 Pagesimportant time periods in the worl d was the Industrial Revolution. It’s been largely thought that it was one of the most influential times that advanced mankind into the future. Although the revolution did help mankind advance tenfold, it came with slow acting but tremendous consequences. Many artists, writers, and politicians caught on to these problems and expressed them through paintings, writings, and movements. The Revolution was more of a negative impact because of the pollution, unfair workingRead MoreThe Negative Effects Of The Industrial Revolution948 Words   |  4 PagesAnokhi Ladhani Industrial Revolution Essay The Industrial Revolution which began in Britain in 1750 because the earliest inventors and engineers were from Britain. With the Industrial Revolution, urban societies grew. This caused people to work in factories instead of on their farms. They began to work for the same amount of time every day and used machinery instead of making things by hand. This allowed goods to be mass produced cheaply and efficiently. In short the Industrial Revolution was a dramaticRead MorePositive and Negative Effects of the Industrial Revolution1144 Words   |  5 PagesPositive and Negative Impacts of the Industrial Revolution   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     The Industrial Revolution was a change in the mid-18th  century from small scale, domestic production of goods to machine-based, mass production of goods. It is usually thought of as having mostly or only positive impacts on Europe. Although the revolution did have many positive impacts, it had its fair share of negative impacts as well. Some of the positive outcomes included the overall increase in production and value ofRead MoreThe Positive and Negative effects of the Industrial Revolution752 Words   |  4 PagesPositive and Negative effects of the Industrial Revolution The Industrial Revolution had many positive and negative impacts on society. The positive include cheaper clothes, more job opportunities, and improvement in transportation. And the negative would include exploitation of women and children, workers work long hours and environmental damages. These are just a few that I believe had an impact on the Industrial Revolution. England was an ideal place for the Industrial Revolution to begin.Read MorePositive and Negative Effects of Industrial Revolution Essay1043 Words   |  5 PagesPositive and Negative Effects of Industrial Revolution The Industrial Revolution began in England in the late 1700’s. The Industrial Revolution was a time of new inventions, products, and methods of work. The results of the Industrial Revolution led to many short and long-term positive and negative effects. These results have been assessed from many viewpoints such as the factory workers, the factory owners, the government, and other people who observed the conditions in industrial cities. Read MoreEffects Of The Industrial Revolution On America And England982 Words   |  4 PagesAs Stephen Gardiner once said, â€Å"The industrial revolution was another one of those extraordinary jumps forward in the story of civilization.† The Industrial Revolution was in fact an extraordinary jump in the development of the U.S. It created a foundation for what the U.S is today socially, economically, and politically. The Industrial Revolution played a major role in the industrialization and modernization and still has effects to this day. These effects lead to more trade, better transportationRead MoreThe Positives And Cons Of The Industrial Revolution835 Words   |  4 PagesIs the Industrial Revolution as Good as We Think It Is? Bill Gates once said, â€Å"If you go back to 1800, everybody was poor. I mean everybody. The Industrial Revolution kicked in, and a lot of countries benefited, but by no means everyone.† The Industrial Revolution was a period in the 18th century led by Great Britain that had a major influence in agriculture, scientific studies, manufacturing, and transportation. As said by Bill Gates, even though the Industrial Revolution benefited many parties

Literature, Love in La, a Good Man Is Hard to Find Essay

Love in L.A. by Dagoberto Gilb The setting of this short story is on the freeway of Los Angeles. Jake is a self-absorbed, lazy, irresponsible, protagonist, who is driving along the freeway. He begins daydreaming about a car better than his 58’ Buick, with crushed velvet interior and an FM radio. His daydreaming causes him to hit the car in front of him. The driver of the other car is a naà ¯ve, innocent women, named Mariana. Mariana is on her way to work, driving a car given to her by her father. Jake approaches Mariana with confidence and tries to smooth things over by flattering her and asking her for her phone number. Jake is a very dishonest person looking to keep his freedom and willing to do whatever it takes to do so. He†¦show more content†¦He also lies to her about being a musician and an actor, trying to excite her and believe his stories. This story has not influenced my life, but has simply made me better understand literature. I have never before analyzed literature like I did during this assignment and this story, and I look forward to analyzing more. For me, it has opened up a new meaning to literature. A Good Man Is Hard To Find by Flannery O’Conner The setting of this story takes place on the back roads of Georgia. The grandmother is a very enthusiastic Christian who enjoys telling stories. In the beginning of the story her motive is to visit friends in TN. Even though she does not get her way, she rides along on the road trip with her family to FL. When they come across The Misfit that she read about in the newspaper she tries to save her and her family’s lives by making The Misfit realize his faith and she tries to make him believe he is a good person. Her son Bailey simply wants to take a smooth road trip to FL with his family, without any problems. When they come across The Misfit his motive is to be the hero and save his family by standing up to The Misfit. I feel the childrens mother did not play an important role in this story. She is just along for the ride and has no real motive. The children John Wesley and June Star want to have fun on their familyShow MoreRelatedThe Power of Sexuality in Bel Ami1692 Words   |  7 Pagesdominated Paris in La Belle Epoque. Sex was a commerce, an escape, and a way of life. Its prominence in Parisian culture made sexuality synonymous with power and a tool for obtaining it. The combination of beauty and assertiveness could get you places that hard, honest work simply could not. Both men and women took advantage of this lustful commodityÂâ€"prostitutes and mistresses were seen as status symbols, while flirtatious femme fatales had their way with the rich and successful. But love, illustratedRead MoreOConnor and Dagoberto1591 Words   |  6 Pagesunparalleled. Each of them offers a great taste of writing to their readers and their stories sound very pleasant to savor. However, this paper will oppose â€Å"A Good Man Is Hard to Find† to â€Å"Love in L.A.† The focus will be on these themes: symbolism, characters, theme, tone, irony and moral code used in them. The demographic location of A Good Man is Hard to Find† is somewhere in Georgia; however, the author does not give all the descriptive information of the location. The story begins in an unnamed city whereRead MoreA Love in La and Good Man Hard to Find Essay examples1244 Words   |  5 Pagesthink of it. I did not notice any of the characters of both stories in the sense of similarity. But the jack and grandmother were kind of same sense of selfness. The both character think only for them self and want all the intension towards them. Love in L.A, a story of the person whose name is jack and seems like he is very lazy and disappointed from his lifestyle, wants to get some change in his lifestyle. One day jack was driving on a free way in los Angeles, suddenly he hit a car from back sideRead MoreOf Mice And Men By John Steinbeck1747 Words   |  7 PagesMice and Men is a tragedy And The Pearl is a parable. Author s Name John Steinbeck -Title of Work #1: Of Mice and Men -Genre: Tragedy -Evidence of Genre (explain what makes the work an example of the genre): Tragedy is a branch of literature that uses a serious and dignified style the sad or unfortunate events encountered or caused by a heroic individual. In Of Mice and Men George and Lennie face a lot of tragic events. -Complete Summary of Work: Of Mice and Men is the storyRead More Comparing Themes in Charlotte and Ruth Hall Essay4461 Words   |  18 Pagesher death. Womanhood, especially in Susanna Rowson’s historical era, was something virtuous. However, Charlotte’s choices, despite her agonizing guilt, are anything but virtuous. She chooses Montraville over parents who are loyal and caring. The very man she entrusts her safety to abandons her, thus leaving the heroine penniless in an unknown land of strangers, unable to care for herself. For Charlotte, this transition from child to woman was her downfall, and this shift occurs when she runs away withRead More Classic Vampirism and Recent Changes1428 Words   |  6 Pagesrealm of the supernatural in literature does not lie outside this trend. Wizards no longer call themselves Merlin and spend their days under the patronage of a heroic king; the average wizard now goes by common names like Harry or Ron and attends school, saving the world on the side. Cyclo ps presently means a man with laser eyes who wears leather and fights crime, not a one-eyed island beast. Vampirism does not escape such change. No longer can one consistently find a vampire to be the bloodthirstyRead MoreEmotion in Emily Dickinsons â€Å"My Life had stood – a Loaded Gun†1109 Words   |  5 PagesUpon the Valley glow--† (9-10). From line 11-12 she is referring to a sarcastic face that quickly softens yet her pleasure has shown through not a false smile but genuine pleasure. From the fourth stanza again protective of her â€Å"Master’s† head and finds more comfort there with a deep downy feather pillow. From the fifth stanza again protective, seemingly jealous, she states that she will fight anyone who tries to confront her â€Å"Master†, â€Å"Yellow† eye means jealously or â€Å"evil eye† and emphatic ThumbRead MoreThe Monsters Of The Epic Of Gilgamesh1623 Words   |  7 Pageswith unnatural qualities. These characteristics can be physical, mental, and can pertain to the way someone acts among other human beings. Any action or look that is beyond what humankind perceives as normal adopts the title of monster. Often in literature the monsters that are created are meant to portray the thoughts that society has as to what qualifies someone to be a monster. 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According to SelfGrowth.com (par.1): Love at first sight is an emotional situation whereby a character feels romantic and connected affectionately for a stranger on the first encounter with the stranger. However, this phrase may be used to refer to mere lust but in most cases it implies true love attraction with a desire for an intimate relationship being the main motive (SelfGrowth.com, par.1). Although

Contemporary Culture Seen Thru Post-War British Films Free Essays

The British cinema of the Second World War has typically been exemplified in terms of its depiction of ‘the people’s war’. The films which have attracted most crucial consideration are those which offered a picture of the British people at war, united regardless of class differences, and where the chronicles of individuals, heroic though they may be, were inspired into the greater story of the whole nation pulling together at a time of national crisis. Curran and Porter (1983) have identified, for the first time in British feature films, a genuine, true-to-life image of ordinary men and women. We will write a custom essay sample on Contemporary Culture Seen Thru Post-War British Films or any similar topic only for you Order Now Roger Manvell (1947)considered that films such as Millions Like Us, San Demetrio, London, Nine Men, The Way Ahead, Waterloo Road and The Way to the Stars ‘showed pe ople in whom we could trust and whose experience was as genuine as our own’. The reason for this pristine realism, according to Aldgate and Richards (2002) is usually clarified through the impact of the documentary movement, the progressive left-wing sector of the British film industry, on the mainstream feature film producers. The British film industry endeavoured to open out overseas. J. Arthur Rank, of the Rank Organization, extended his world-wide distribution. The Associated British Picture Corporation or ABPC joined Warner Brothers to institute distribution in the United States. Perry (1988) noted that Alexander Korda acquired London Films and British Lion, the former from MGM. Korda’s London Films had in 1933 created The Private Lives of Henry VIII. He established circulation of his films in the United States through Twentieth Century Fox. Green (1983) illustrates that unlike the aspirations of the highly financed studios, Ealing Studios focused its labours on a series of modest comic films. Teams of writer/directors made a series of remarkable films. The Boulting brothers, John and Roy, interchanged as director and producer of a series of films, including Brighton Rock (1947), The Magic Box (1951), Lucky Jim (1957), and I’m All Right, Jack (1959). The team of Michael Powell and Emeric Pressburger, operating under the label of the Archers and supported by J. Arthur Rank, made two specials, The Red Shoes (1948) and Tales of Hoffman (1951). The first popularised ballet while the second popularised opera. Powell and Pressburger’s Stairway to Heaven (also called A Matter of Life and Death, 1945) was the make-believe tale of a pilot who is mistakenly called to heaven so soon. One of the folklores that cropped up from war-weary Britain was a faith in the unity and equality of the community. The myth persisted for a brief time after the war, stimulated by expectations for the Labour government’s experiment, when recuperating English society felt the likelihood of progressing the unity experienced in the â€Å"people’s war† to decipher the nation’s massive social problems. The myth, in which all elements of society, even those not normally associating with one another, pull together, played out in a number of films, such as the Ealing films of Hue and Cry, Whiskey Galore, Passport to Pimlico, and The Blue Lamp. Michael Balcon of Ealing Studios produced these films as â€Å"fantastic escape. † The fantasy created was of a sense of community prompted by the world war. The distraction was in fancy and departure from actuality. Hue and Cry was the first of what have become known as the Ealing comedies and it started the fantasy foundation of community. The setting in south London, an area devastated by the German blitz, was scheduled for enormous restoration in the years 1945-1953. In Hue and Cry, writer T. E. B. Clarke fixed on a London community of youths living and playing around a bombsite, who come together to overpower a gang of criminals. The young hero, Joe Kirby, spends time reading escapist pulp detective comics. Through a series of imaginary and strange encounters, Joe ascertains a criminal syndicate of black market operators using comic books as a code. Joe, with the help of the community of boys, suppresses the criminals, led by the evil Nightingale. Manvell (1947) said that at the end of the war, British film was trapped in a struggle between its realist, documentary tradition and a pull toward the fantastic and expressionism. The anthology film Dead of Night (1945), co-directed by Alberto Cavalcanti, Robert Hamer, Charles Crichton and Basil Dearden, caught some of this resistance. The film modifies from the factual to the Gothic. It makes use of expressionist techniques, such as a powerful mirror scene. Landy (1991) described that realism was a primary trait of British cinema during the war. Realism was acknowledged with black and white, straight-forward narrative and characters. It was profoundly influenced by Britain’s documentary tradition. However, many post-war films were answers to realism. Of course, realism comes in many forms. Some films used realism seemingly to expand the story line, as in Michael Anderson’s The Dam-Busters (1954), the Boulting brothers’ Seven Days to Noon (1950) or Michael Powell’s The Small Back Room (1949). The Boulting film involved a reconstruction of the evacuation of London when the city is endangered by a scientist with an atomic device. Powell’s film integrated a long episode of the dismantling of a bomb. Ealing comedies, such as Hue and Cry and Passport to Pimlico, used realism as a framework for stories that were essentially non-realistic. In other films, such as Carol Reed’s The Third Man or Odd Man Out, realism is used to heighten the drama and suspense. Other films used a documentary-style reconstruction, such as Charles Frend’s Scott of the Antarctic (1948). The documentary-style opening of The Blue Lamp was an intentional device, although the story propagated the fantasy of community. The documentary opening and closing of Whiskey Galore were essentially significant to the film’s satire. Realism, as a predominant style, resurfaced in the late Fifties, leading to â€Å"new cinema† or social realism. Dickinson and Street (1985) said that expressionism, rather than realism, dominated many of the British productions. Most of the literary were highly yet successfully stylized, including Lean’s adaptations from Dickens, Olivier’s Shakespearean films, and Dickinson’s The Queen of Spades. Michael Powell and Emeric Pressburger’s The Red Shoes and Tales of Hoffman are examples of the stylization. The films represent the nexus of several strands of film and literary tradition, including German expressionism of the 1920’s, romanticism, Gothic, the combination of the arts, and the reaction of realism. The Red Shoes was a story by Hans Christian Anderson, derived from a story by E. T. A. Hoffman (1776-1822), a German romanticist, and influenced by life of Russian ballet director Diaghilev and dancer Nijinsky. It is the story of a ballerina torn between the control of two men — her director, Lermontov, and her husband, Julian, a conductor. Her husband wrote the score for a ballet just for her — â€Å"The Red Shoes. † Lermontov directed her in it. Although Vicki is tough at the start, able to return â€Å"the gaze† of Lermontov, she soon loses her capability to endure either man. The men, primarily Lermontov, are puppet masters, using manipulation to restrain the female to the male’s domination. Geraghty (1985) stresses that the battle of the masters is carried out on several levels. At the core of the struggle are the highly stylized ballet scenes, using images of Julian conducting, Lermontov directing and Vicki soaring on stage and in the air. The shoe maker in the ballet is, likewise, a puppeteer. The expressionistic ballet, a combination of music, art, dance and film, is surrounded by the narrative, in which the dancer shifts loyalties between herself, Lermontov and Julian. Lermontov manipulates both dancer and conductor. Vicki finally escapes by injuring herself and ending forever her ability to dance. Lermontov continues the final performance of the ballet without a dancer in the lead role. Green (1983) said that The Tales of Hoffman was based on an opera of the German expressionist Jacques Offenbach. It comprises film with little dialog. It recollects the universal visual language of the silent film. The various characters of the opera, which challenge and defy Hoffman, a nobleman/poet, include an array of manipulators — an eye glass maker, a master of souls, and a demonic doctor. The filmed opera originally had four episodes, though one episode, hence another manipulator, was cut from the film. The film represents creator as monster and tormentor as well as tormented victim. This theme, said to cast Hoffman as a metaphor for Powell, recalls Lermontov and his tries to gets in touch with Vicki. Both films utilise expressionist techniques such as the metaphors of the gaze and the mirror to symbolize and accentuate the struggle, which Werner Fassbinder has called sadism in the creative act and creation in destruction. Williams (1991) describes Both Powell and Pressburger films aim to create what Richard Wagner hoped to do with opera — the total art by combining the visual with the aural. The Red Shoes mediates ballet cinematically. It interprets ballet into film rather than record ballet on film. The Tales of Hoffman interprets opera into film rather than record opera on film. Adding to their stature, the creative collaboration of Powell and Pressburger combined the art tradition of European film and the technical advances of American film. Their films experimented with the new Technicolor technology. Low (1985) reports that the anti-realism traits of German expressionism, Gothic and fantasy even appeared in the Ealing comedies. At least twice in Hue and Cry — when the hero and his friend climbed the stairs to the writer’s apartment, and in the final fight with the criminal master-mind in the bombed building — the camera angles and shadows evoked images of German expressionist films such as The Cabinet of Dr. Caligari. The expressionistic device of the mirror appears in a number of films, such as Dead of Night, and The Blue Lamp. Likewise, the technique of â€Å"the gaze† appears in several films, including The Blue Lamp. Williams (1991) described the behaviour of the writer and the Victorian clutter of his apartment, and the passage of the children through the London sewers, both in Hue and Cry, evoked images of Gothic horror. Likewise, the Hammer horror films were a reaction to realism. Fantasy appeared in a variety of films, especially the Ealing comedies, including the fanciful idea of a sovereign Pimlico or Hue and Cry’s children against crime. These communities were rooted in fantasy not reality. They were no more than a daydream. British cinema after the Second World War can be distinguished by a number of features. The films were generally comedies, melodramas, literary or horror films. Among the features coming out through these films were 1) attempts to preserve the nostalgic values, such as community of wartime Britain, and 2) the denunciation of the realism and documentary style of the World War II films, particularly through expressionism and stylization. Britain today is a richly mixed society and culture. Its residents typify a wide variety of national, cultural, racial and religious backgrounds and mixtures. That diversity is an outcome of a history, which has incorporated invasion, expansion, empire and Commonwealth, and Britain’s role as a retreat for people of all races. Murphy (2000) describes the British governments have taken measures to undertake problems of discrimination and disadvantage through pioneering such things as race relations legislation which makes racial discrimination an objectionable, and illegal practice, and through strategy to remedy disadvantage. Britain’s ethnic diversity, with its range of and unique mix of cultural identities and heritages, describes and puts in worth to contemporary Britain. For instance, the Muslim society in Britain make a crucial and lively input to every facet of life from sports and the arts to business and even politics. This paper shall look into at least three film features created after the Second World War. First is Notting Hill which stars Julia Roberts and Hugh Grant. The film was a certified box-office hit not only in the United Kingdom but the world over. Next is Four Weddings and a Funeral written by the same writer of Notting Hill. The last movie is Chariots of Fire. Britain’s contemporary cultural diversity is being studied through these film features. Notting Hill Notting Hill has a reputation as an affluent and fashionable area popular for its attractive terraces of large Victorian townhouses and high-class shopping and restaurants. Residents are symbolised as young and affluent and many people who conform to such stereotypes are often referred to as â€Å"The Notting Hill Set†, â€Å"The Notting Hillbillies†, and â€Å"Trustafarians†. The area came to international attention with the release of the successful Hollywood movie of the same name. Notting Hill (1999) stars Julia Roberts and Hugh Grant use the characteristic features of the area as a backdrop to the action, including the Portobello Road antiques market and enclosed square gardens. Notting Hill is a 1999 romantic comedy film set in the Notting Hill district of London,. The screenplay was written by Richard Curtis who also wrote the movie Four Weddings and a Funeral. In Western culture, we are fixated by the notion of celebrity. This may be easily viewed with the enormous number of paparazzis everywhere that descend on public figures when they make appearances, or the popularity of gossip magazines and TV shows. Celebrities are treated like royalty – fascinating and untouchable, they become objects of unreasonable adoration. Perhaps one of the most common fantasies entertained by an average man or woman is what would happen if someone famous fell in love with them. And therein lies the premise of Notting Hill. Hugh Grant plays William Thacker, the owner of a small bookstore in London’s Notting Hill. Grant’s character is just an average Joe – when he’s not working, he spends time with his friends and his wacky Welsh flat-mate, Spike played by Rhys Ifans, but has no romantic life to speak of. One day, however, the foundation of his way of life changes when Anna Scott, played by Julia Roberts, a famous actress, walks through the door to his little shop. In London to publicize her new film, she’s taking a break from the press and Notting Hill seems like a good place to lose them. Later, William literally runs into her in the street, spilling orange juice all over her. Annoyed and humiliated, he requests her to his place to clean up. Much to his surprise, she accepts his offer, and, after changing outfits, she gives him a lingering kiss on the lips. William is immediately smitten and so, apparently, is Anna. Thus begins a turbulent relationship that asks whether a star can live happily ever after with somebody who has never had his face in the papers. Although Notting Hill is a pleasant enough motion picture, it isn’t much more than that. It’s a domesticated movie that takes few chances. Even the casting of Hugh Grant and Julia Roberts is an example of playing it safe, since both are proven box office draws. The comedy, while sporadically funny, occasionally feels forced and unnatural, as if screenwriter Richard Curtis was forced to ratchet up the level of humour at the cost of characters’ integrity. Spike is a case in point. As portrayed by Rhys Ifans he’s the constant butt of jokes but he achieves little purpose beyond that. He’s a pure misrepresentation of a lewd lazy bone, and, whenever he comes on screen, he actually becomes a disturbance. Another problem with the film is that the romance is half-hearted. While there’s a feeling of sociability and even affection between William and Anna, there was no passion felt between the two. They appear more like brother and sister than lovers broken up by an army of publicists and photographers. The plot pursues the ordinary beat of a traditional romantic comedy: boy meets girl, boy likes girl, boy and girl get to know each other, then complications interfere. In this case, those complications come in the form of Anna’s off-again/on-again boyfriend and the media. Notting Hill is not without its enjoyable moments. The relationship between two of William’s friends, Max and Bella, is touching. There’s an exciting conversation between William and Anna about why men are attracted to breasts. And there’s an appealing shot of William walking down a street in Notting Hill as the seasons change around him. The movie shows us how Britain has achieved tremendous changes after the war era. It is an attempt to penetrate the western movie market and this proved to be quite a difficult task at first. Four Weddings and a Funeral The simplest and most honest articulation of praise that can be presented to this Mike Newell’s movie is that it epitomises two hours of solid movie magic. Four Weddings and a Funeral enjoys the extraordinary power to make an audience laugh and cry without ever apparent scheming or going desperately over-the-top. Another Hugh grant movie who plays Charles is a serial monogamist or someone who moves from girlfriend to girlfriend without ever falling in love. His friends have started down the matrimonial road, but not Charles. Feelings of spending the rest of his life with someone never went through his mind, until one day at a wedding when he encounters Carrie played by Andie MacDowell, an American fashion editor. And, although the two enjoy a brief rendezvous at an inn, Charles’ typical British uncommunicativeness comes in, and Carrie is on her way back to America before he recognizes he should have said something. Here’s another movie that showcases cultural diversity in Britain were two individuals from different cultural backgrounds may have the possibility of ending up together despite their cultural diversity. Four Weddings and a Funeral is about four weddings and a funeral. While the central story of this delightful motion picture is somewhat common romantic comedy fare, it is structured by a plot packed with little twists and turns, lots of laughs, and a frothy, fascinating atmosphere. Mike Newell, whose recent directing credits include Enchanted April and Into the West, maintains to display a clever hand when it comes to good, escapist fun. Newell’s direction is unassuming — he allows his actors and the script to carry the film, which results in an enjoyable mix of cheerful comedy with a dash of misery. Screenwriter Richard Curtis is fast to let the humour starts flowing, and once it starts, it never stops. The scenes most likely to cause irrepressible laughter happen during the second wedding and centre on Rowan Atkinson as a somewhat confused priest. It’s not a shock that Atkinson feels at home with a Curtis script, since the two have teamed up on the British TV show Blackadder. Four Weddings and a Funeral is a modern comedy with a very time-honoured theme. It mixes upright breeding and bad language; laughter and tears; and marriage and friendship into a thoroughly enjoyable whole. This movie showcases how Britain has become one of the world’s best movie producers. It was so popular across the globe which highlighted the greatness of Britain. Chariots of Fire Sporting events today have become vicious, angry affairs where the slogan, more frequently than not, is â€Å"win at all costs. † Demonstrations of good sportsmanship are about as rare as altruism. Everyone is out for themselves, and the displays of athletes like Albert Belle, John McEnroe, and Dennis Rodman can sit in the stomach like a large piece of heavy matter. So it’s invigorating to look back at an era when triumph didn’t command seclusion, resentment, and disgust of one’s rivals. Chariots of Fire, the Oscar-winning 1981 film, delights us to the 1924 Olympics, and, in the process, highlights such laudable qualities as loyalty, determination, and fraternity. That’s not to say that winning isn’t important to the competitors in Hugh Hudson’s film. On the other hand, for British track stars Harold Abrahams (Ben Cross) and Eric Lidell (Ian Charleson), it’s a principal anxiety, but neither is so fixated by their ambition that they lose sight of the larger picture. Eric is a devout Christian who runs because he considers it venerates God. Harold is a Jew who struggles as a way of establishing his worth. Both are driven by an internal fire, and have nothing but reverence for their competitors. Chariots of Fire tells the story of the British triumphs at the 1924 Olympics, where the UK representatives took a number of medals over the heavily-favoured Americans. With Abrahams and Lidell leading the way, the British track team had one of their best-ever showings. This film outlines the two principal athletes’ paths to the Paris games, where their on-field victories form a astoundingly low-key climax. Chariots of Fire doesn’t depend on worn-out sports film cliches; it’s more fascinated in enthusiasm and character improvement. Yes, it’s essential to know that Abrahams and Lidell win, but the real essence of the story is enclosed in what leads up to the races. Like in Sylvester Stallone’s first Rocky, it’s probable to claim victory before the competition begins — Lidell because he has holds fast to his beliefs and Abrahams because gives all he has to give. At the time when Chariots of Fire was first released, many of the major cast members, including Ben Cross, Ian Charleson, Nigel Havers, and Alice Krige, were relative unheard of. All give strong presentations, and each was remunerated with future parts in other productions. Some identifiable faces fill supporting roles, including Sir John Gielgud as the Master of Trinity College and Ian Holm as Abraham’s mentor, Sam Mussabini. There’s barely a trace of exaggerated scenes in Chariots of Fire, which makes the film-watching experience all the more effective — director Hugh Hudson shows respect for the veracity of his material and the cleverness of his audience. The deficiency of maudlin moments supplies the storyline with an authentic quality that supports its factual background. Not only do we care about the characters, but we admit that they really existed. In fact, the entire production declares that same sense of atmosphere. Most sports movies counts on melancholy and adrenaline — Chariots of Fire stands up on strong writing, direction, and acting. Approval of this picture doesn’t require a love of sports, simply an understanding of human nature. Conclusion Immigrant, ethnic minority, asylum-seeker – slivers of intimation divide the meanings of each term in contemporary Britain. Ethnic minority, black and Asian, cultural diversity – clouds of confusion have distinguished contemporary arts in Britain over the past 30 years. Cook (1981) declares that notably, every liberal political measure undertaken so far to correct injustices – the Stephen Lawrence Inquiry into institutional racism being only the most recent – has proven ineffectual. Racism is not an intellectual failure that can be corrected by a greater dose of education. It is a moral value, however much one may abhor such a morality. It is an imaginative construct and so the engineers of the imagination – artists – find themselves in the frontline, their weapons being the pen or the hand or the body or the voice. Gilette (2003) discloses Post-war British film was both a response to the world war and a reaction to the film styles of the war and post-war periods. As a response to the war, post-war films adopted a style of pseudo-realism to construct a post-war fantasy world. This fantasy, sometimes captured as a daydream, attempted to preserve the spirit of the war years, including the values of community and egalitarianism. This daydream or fantasy world also served as an escape from the memory of the war and the disappointment over the failure of a new society in post-war Britain. As a reaction to the war, post-war films revolted against the realism of the war-period films. They utilized and integrated strands of romanticism, expressionism, and the Gothic. References: Aldgate, A. and Richards, J. 2nd Edition. 1994. Britain Can Take it: British Cinema in the Second World War. Edinburgh: Edinburgh University Press Barr, Charles; Ed. 1986. All Our Yesterdays: 90 Years of British Cinema. London: British Film Institute Aldgate, A. and Richards, J. 2002. Best of British: Cinema and Society from 1930 to the Present. London: I. B. Tauris Barr, C. Ealing Studios (London: Cameron Taylor, 1977). Cook, D. A History of Narrative Film (New York: W. W. Norton Company, 1981). Curran, J. and Porter, V. ; Eds. 1983. British Cinema History. London: Weidenfeld and Nicholson Dickinson, M. and Street, S. 1985. Cinema and the State: The Film industry and the British Government, 1927-84. London: BFI Friedman, Lester; Ed. 1992. British Cinema and Thatcherism. London: UCL Press Geraghty, Christine. 2000. British Cinema in the Fifties: Gender Genre and the New Look. London Routledge Gillett, P. 2003. The British Working Class in Postwar Film. Manchester: Manchester University Press Green, I. â€Å"Ealing in the Comedy Frame,† in British Cinema History, eds. , James Curran and Vincent Porter (London: Weidenfeld and Nicholson, 1983). Landy, M. 1991. British Genres: Cinema and Society, 1930-1960. Princeton University Press Low, R. 1985. Film Making in 1930s Britain. London: George, Allen and Unwin Rotha, Paul. 1973. Documentary diary; an informal history of the British documentary film, 1928-1939, New York: Hill and Wang Swann, Paul. 2003. The British Documentary Film Movement, 1926-1946. Cambridge University Press Manvell, R. ‘The British Feature Film from 1925 to 1945’, in Twenty Years of British Film 1925–1945, eds M. Balcon, E. Lindgren, F. Hardy and R. Manvell (London, The Falcon Press, 1947), p. 85. Murphy, Robert. 2000. British Cinema and the Second World War. London: Continuum Murphy, R; Ed. 1996. Sixties British Cinema. London: BFI Orwell, G. â€Å"England, Your England† (1941), in A Collection of Essays (New York: Doubleday, 1954). Perry, G. 1988. The Great British Picture Show. Little Brown, 1988. Porter, V. â€Å"The Context of Creativity: Ealing Studios and Hammer,† in British Cinema History, eds. , James Curran and Vincent Porter (London: Weidenfeld and Nicholson, 1983). Powell, Pressburger and Others (British Film Institute, 1978). Shaw, T. 2001. British Cinema and the Cold War. London: I. B. Tauris Williams, T. various lectures, The Survey of Film History, fall semester, 1991, Southern Illinois University, Carbondale. How to cite Contemporary Culture Seen Thru Post-War British Films, Essays

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