By Jack Goldstein
Are you partial to 80s videos? Do you're thinking that you may know a movie simply from a unmarried quote?
If so, you'll love this extraordinary quiz that includes a hundred and twenty of the best videos from the last decade that style forgot. With vintage strains from Stand by means of Me to Scarface, Ghostbusters to The Goonies and plenty of extra, those questions - taken care of into effortless, medium and tough different types - are certain to continue the full relations entertained.
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Additional resources for 1980s Movie Quotes: The Ultimate Quiz Book
Yoshimoto points out that: ‘studies of non-Western cinemas based upon the axiomatics of Self/Other opposition cannot but reproduce the hegemonic ideology of Western neo-colonialism’ (2006: 33). This means that the positioning of Japanese cinema as radical and oppositional, in comparison to the inherent and perceived conservative ideology of mainstream American cinema, functions simply to consolidate Japan as a place of inalterable difference and exoticism. In ‘The Concept of National Cinema’ Higson points out that this concept is often used ‘prescriptively rather than descriptively, citing what ought to be the national cinema, rather than describing the actual cinematic experiences of popular audiences’ (2002: 133).
In Japan in the 1920s, as elsewhere, there were concerns over the tension between cinema as entertainment and cinema as education and purveyor of public morality. In Japan, there were two main categories that caused anxiety: laying the foundations 23 ko-an (issues relating to public security) and fuzoko (issues relating to public morality) (Freiberg 2000). The left-wing tendencies of some films in the 1920s were of particular concern to censors. The Prokino (Proletarian Film League of Japan) movement, founded in 1929 and influenced in particular by Soviet Film, aimed to produce films (documentaries mainly, but also fiction films) that examined the ‘realistic’ lives of working-class people and documented historical events of importance.
2005: 22) The influences of theatre on cinema were many. First and foremost was the figure of the benshi, adopted from Bunraku. Rather than onscreen intertitles, Japanese films utilised a narrator or benshi, who from an off-stage position would relate the story of the film, acting out all the different character roles. This allowed the assertion of the spectacular form of the cinematic image. Freiberg comments: By relieving the film text of the need to narrate a story, he enabled Japanese film-makers to concentrate on extra-narrative embellishments of the visual text, on surface play, and thus transgress the norms of Hollywood-style narrative efficiency (continuity editing, crisply cut to tell a story, shot-reverse-shot dialogue exchanges, eyeline matching, use of 90 degree shooting space).