I will pay for the following essay Film Studies (Realism). The essay is to be 7 pages with three to five sources, with in-text citations and a reference page.Download file to see previous pages... Bef

I will pay for the following essay Film Studies (Realism). The essay is to be 7 pages with three to five sources, with in-text citations and a reference page.

Before I refer to the film of my choice which is deemed a visual translation of Brechtian thought into celluloid it's important to give due recognition to the man behind the magic and the very definition of critical realism. When you begin to delve deeper into what realism is about you can begin to comprehend that it actually attempts to explore the relationship between consciousness (thinking and, as consciousness is embodied, feeling) and consciousness of the social conditions (our social being, as Marx put it) shaping our consciousness. Moreover the theme that remains predominant all throughout a movie that makes it Brechtian or subject to critical realism is its reflexive quality that shines through each frame. Especially not in a narrow stylistic sense, but in the sense that it explores the relation between consciousness and its material ground. What is perhaps important is that the goal of a critical, dynamic and a realistic movie remains that it spins and kick starts the thinking mind to connect webs that pull consciousness and the social being closer together.

Magnolia-released in 1999, and directed by Paul Thomas Anderson, is a movie that beautifully narrates about all the things important to us. Two parallel stories are in motion that dramatizes men about to die. who in spite being different are both estranged from a grown child and their attempts at making contact with their children seems to fail miserably. What remains consistent throughout this movie is the choice in its three forms-the present, the past and the future, made by different age groups and how we come to either succumb to one over the other, or sometimes completely negate logic and take a different route. Earl Partridge's son is charismatic, Jimmy Gator's daughter on the other hand is a on drugs. The story progresses with a nurse's intervention in Earl's life who helps him in reaching out to his son. In an almost similar fashion through outside interception an upright officer meets Jimmy's daughter, bringing more calm and piece in her life. In all these variations and role reversals, Earl's young wife, with two whiz kids-one grown and battling with life, the other wonderfully young and pressured are shown to be coming to term with their own ghosts and problems, in various permutations and combinations. Another common component that sustains itself, throughout in the characters, is the emptiness that gnaws at them. We also find in the same breath a common thread in the two distinct characters-that of regret. The thought that drives the movie is real and critical to each frame, the way the movie takes shape because it talks about what most of us have to face up to everyday. It doesn't seem like an alien concept, which one cannot relate to. What it does achieve is, connect. An awesome plot where two lives, share the same transitions and the same conflicts. It is reminiscent of how things usually take shape, for people depending on the choices they make in life-completely real in all its reel magic. Although many lives seem to be woven into the movie, they seem like voices from the field of life. The film actually begins with a narrator and then moves into three lives, based on the rather debatable them of coincidence.