Summary
Article 1 reveals the various financial struggles Pablo Berger, a Spanish writer-director, faced when prepping Blancanieves , which was his second film. The film was unique to the extent that Berger targeted surprising and delighting audiences all over the world, since his form mainstream of entertainment, a silent movie cast in black and white that featured luxurious orchestration. People did not know about Pablo Berger until Blancanieves appeared in Cannes. Nevertheless, the imagination Pablo employed in the film in conceiving and realizing riff on Snow White gorgeously persuaded audiences as well as won awards. The initial despair on French film news was comprehensible owing to the challenges he faced with the project. Making a silent film was a challenging task, while the script of the movie led the curious and courageous individuals to perceive Blancanieves as a complex and experimental film, which was doomed to fail. However, the passion Pablo had for the film and traveling film festivals led him to encounter a silent film, which became an obsession. After struggling with financing the film, Berger eventually received a budget for having the film made. The film emerged a success particularly based on the significant attention Berger directed to period detail, which evoked different eras of the history of Spain.
According to Article 2, the film Blancanieves merges two movie trends, which comprise of updating the traditional folktales and the reawakening of silent movies. Set in 1920s Spain, Blancanieves employs cinematic antiquarianism, primal emotions, and period atmosphere. It replaces the scary romanticism of northern Europe with tragic sensibility attributed to the Iberian Peninsula. Blancanieves updates gender politics decisively. Whereas Berger raises lovely antiquarian images while at the same time utilizing Alfonso de Vilallonga ideas to change the present emotions from seething melodrama to mild travesty, Blancanieves fails to attain the mysterious as well as lingering intensity associated with silent films, which it mimics studiously and lovingly. From this perspective, the film resembles “The Artist” in such a manner that it emerged as an admirable and enjoyable entertainment while failing to become an astonishing film. The emotions in the film appear simplified as opposed to enhanced by the silence discipline. As such, whereas Blancanieves appears less self-conscious, despite setting in 1920s Spain, it does not revolve around the world of the silent movie. Thus, it communicates the pleasures of pastiche as opposed to the excitement of the initial creation. Blancanieves is, therefore, a secondhand film love, which is seductive, although it fails to be completely satisfying.
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Article 3 is about how Pablo Berger, a Spanish writer-director, gained popularity after creating the Torremolinos 73 film, which revolved around an unlikely couple who emerged star and director of adult movies and gained more success than emerged. The film that followed, Blancanieves, was ambitious while it found the eclectic filmmaker focusing on an entirely different area while targeting introducing a new twist to notable content. The article reveals how the innovative concept of the movie transformed the traditional Snow White fairytale into a female bullfighter’s journey during the 1920s Spain. Also, the article depicts how Blancanieves is able to combine several genres, including a gothic melodrama, a fairytale, and a love story. Even by taking almost ten years creating the movie, Berger offers the reasons behind taking that long and the major challenges faced along the way. Also, since filming a black-and-white and silent movie was a challenging task, the article details the significant hurdle ever faced during the shooting process. Even with silent film making a comeback, Pablo argues that the genre will witness a resurgence in the coming years since the silent film is an industry and art. Based on the expectations from the audience, the article stipulates they would witness a sensorial experience as a take away from watching Blancanieves.
Analytical Essay
The film Blancanieves is an art form of the 20 th century that gained popular reception due to its sincere nature. Berger made the movie black and white to present the story in an emotionally honest nature. The emotions that the different scenes in the movie depict are presented in a new vision as opposed to exaggerated facial expressions that come with color films. By adopting black and white, Berger can combine emotional sincerity with powerful visuals, which upset the idea of a silent nature. The action leads the audience to accept contemporary elements, such as the case where the evil stepmother shows a humorous liking for dominatrix activities behind closed doors. It also becomes possible to understand the film ends with an ambiguous scene that features unrequited love and depression. The adoption of black and white allows Berger to reveal images that portray the human form with dramatic attributes, such as a beautiful woman having dark eyebrows that contrast with a white lace show, which she places over her head. The black and white movie appropriates the old more as opposed to new, making it fresher in line with rendering the shadows’ velvety texture and the gothic sensibility of the film. Also, the use of black and white allows Plato to produce Spanish historical reality in documentary form.
In Blancanieves, the use of the old and well-known story Brothers Grimm writes is crucial to uniting these tendencies to facilitate in finding a way forward by means of the old or basic nostalgia. It also facilitates in depicting how a longing for wonder and magic prevails in the movie in a cynical time. The result is that the film reveals each spectacle Berger imagined in developing the movie. By using the Brothers Grimm’s story, Berger is able to lift his montera to the silent cinema of Europe during the period as well as flamenco and bullfighting with an environment of Gothic melodrama, which has elements of humor. These mostly emerge in the scene where the social-climbing stepmother who has a liking for invention and expressive score. In this manner, he makes Blancanieves in a way that blends cinematic antiquarianism, primal emotions, and period atmosphere.
From the film, the term Corrida refers to a form of Spanish-style bullfighting that entails physical contests in which humans, as well as other animals, try to immobilize, subdue, and kill a bull publicly. The Corrida becomes apparent in a sequence of memories by Carmen when she reunites with her dead father during a corrida. Bullfighting emerges an experience that is intense and significant enough such that she manages to overwhelm her memory of loss. The plot point, in this case, speaks of the strength of the feelings by Carmen while at the same time addressing the cultural dilemma problem in Spain. However, the stance of the film on bullfighting results in several questionable assumptions, such as the decision by Antonio to battle six bulls in celebration for pregnancy his wife conceives. The act is portrayed as heroic as opposed to irresponsible, although his rejection of Carmen after the death of his wife is forgiven quickly and never questioned.
Based on my experience with the film, I would prefer seeing it in a conventional manner. I would like it to offer me a sensorial experience and gain the experience of dreaming awake, as evidenced in the film. I would wish to understand the lives of the film’s characters based on how the movie depicts them and how they experienced a great time. I would love the movie to surprise me while at the same time understanding how people understood the events and ways in which they revolved the problems they encountered in 1920s Spain.
