Movies

Mise- En- Scene is a very significant factor in film making since it conveys a thousand of meaning. Basically Mise- En- Scene describes the design aspects of production from the arrangement of sets, props, costumes and lighting to the positioning of actors on the set. Those visual elements are put together to create a scene. In the film 3-Iron, mise-en-scene is very important especially that the film is notable for the lack of dialogue between two main characters. However, the mise-en-scene with its little details give the viewers a clue about the deeper reality or story of the film. It doesnt matter whether the film is in Korean or English language. Everybody, with the help of its mise-en-scene, can already create multiple interpretations.

The story is basically about the grotesque relationship between a young drifter and a battered housewife. The drifter randomly enters in empty houses. He lives in each flat while the house owners are away. He washes their clothes, repairs things and puts things together as his ways to repay the occupants back without them knowing it. He eats their food, he uses their water, cleans himself and watches television. Before he leaves the house, he makes sure to find a photo of the owner and its family and take picture of himself standing beside it. In this way, he attempts to find a home for himself in the photos of the other families. The photos are significant mise-en-scene that illustrates how lonely the drifter is who continually finds his identity in the home of others even just for a fleeting moment.

One day however when he breaks into a large and beautiful home, he is being watched by a battered wife. The house with the help of some properties illustrates it belongs to an abusive husband and battered wife. He saw a book of pictures where a woman is taken  abusively-- nude photos that shows her physical pain. Her husband also calls often with a domineering and powerful tone. Though the house is cheerful and beautiful, feelings and emotions are powerfully shown through the facial countenance of the woman. After making eye contact with her or when the woman reveals herself, the drifter finds a connection but immediately leaves. However as he contemplates on the road, he decided to go back to probably help her since her husband hurt and abuses her.  In the house, one can also immediately notice the man made golf course, giving the viewers clue that later the gold properties will be used for an important turning of events. Though the drifter temporarily sprints from the scene, he eventually returns to observe how the husband abuses her wife. Apparently each scene is shot with a delicate approach perfectly paced which truly makes the audience contemplates.

In the third apartment where the two main characters go together, the voice mail serves as an important property since it says that the owner will be gone to abroad for a short period of time. The artistic human photographs hanging in the wall also suggests that the owner of the house is a photographer. When the battered wife folded her own photograph and artistically cut it to create an abstract form, it suggest that though she is broken, her life is still artistic. Meanwhile the audience will discover the consistent attachment of the main protagonists to the 3-Iron golf club. Initially he uses the club to smash the chest of his lovers detested husband. Then, he rigs the golf ball to wire, continually hitting the ball round and around a tree. With the use of golf club, the viewers will clearly see his act as the only outlet for his hate and violent tendency.

In this film, even if there is almost a complete absence of dialogs, the viewers, through the mise-en-scene, are assist to this platonic form of love between the main characters. Even without saying a word, the film slowly moves deeper with the great help of their relaxed yet emotional physical countenance. The manner in which the elements are framed perfectly complement the characters delicate yet desperate attempt to find their identity and belongingness. The characters faces are so expressive, gestures ideal and their performance so flawless that the absence of talk proves more the richness of their love. When the woman finally talks, her words are so powerful and mesmerizing, one can feel the sincerity of her words. Mise-es-scene apparently becomes a helping tool for the viewers to understand the richness of love and emotional depth of the main characters even without dialogues. The small details, specifically the properties and the actors movement and positioning, give the audience clue on what is happening.

The 1942 romantic movie Casablanca is considered one of the all-time greatest movies produced by Hollywood. The movie starred screen legends Humphrey Bogart and Ingrid Bergman as estranged lovers caught up in the tense and dangerous times of the Second World War.  In the midst of the rekindled romance between Rick Blaine (Bogart) and Ilsa Lund (Bergman) and the things happening around them, a critical thinker can find a sense of parallelism in the film to the realities of the ongoing war, thereby making the film an allegory, if not a metaphor.

In terms of metaphor or symbolism, Rick represents the United States during the World War II, and the name of his caf alone serves as an understatement. At first, he was a cynical, indifferent man running a bar in Casablanca far away from the place where his heart was broken in order to put that past behind him. At the start of the war, the United States strove to maintain its neutrality in keeping with its policy of isolationism. It was because of the  neutrality  of Ricks caf that people from belligerent nations came and secretly played a game of cat and mouse. Ilsa and her husband Lazslo represent the oppressed countries of Europe as they make a bid to freedom while being pursued by a German officer named Strasser aided by a Vichy French police officer Louis Renault. At first, Rick was reluctant to help because of his bitterness, but his love for Ilsa was so great that it finally won him over. He selflessly helped them make their escape to freedom and in the process killed Strasser who was trying to stop them from escaping. The film closes with Rick and Renault leaving the airfield with the former saying the memorable line,  I think this is the beginning of a beautiful friendship  (Curtiz Sennett).

This line underscored Americas new commitment by joining the war on the Allied side following the attack of Pearl Harbor and realizing that there existed a cause worth fighting for as exemplified by Ricks selfless act of helping Ilsa escape. Just as America came to the aid of Europe to restore its freedom from tyranny and oppression, Rick made his choice and America reflected that choice he made by siding with the Allies in defeating the Axis, which was further underscored when Rick killed Strasser. Besides Rick, another character who changed was Renault who at first was an opportunist siding with the Germans but later changed when he did not arrest Rick and joined him as they prepared to leave Casablanca themselves to start that  beautiful friendship  which of course symbolized the alliance between the United States and France (Sennett). Hence, despite the heart-warming romance between Rick and Ilsa, a very keen political observer would be able to see the hidden message of the film and realize that it is more than just a romantic film but a political one disguised in a love story.

The analysis of this film and the character of Citizen Kane was broadly divided into shots within shots that showed the emphasis in great detail to the viewer of this picture.

The variables of viewing this picture is shown with the variation of many scenes over time.  One might expect  a dynamic focus only to be led to a closer imitation of a natural vision of this man Citizen Kane. This film shows spatial techniques that subsequently has been expunged from the mainstream filmmaking.

If one has  a naturalistic thought system called a dream factory this can only be brought to a truth that those with all the money one could use never bring true happiness to their lives.  Although this movie like in real life may make one look back at a life that was an early education on how to not be willing to express or show his true feelings it can also be seen as a real life perspective on finding ones own true happiness through self exploration.

Showing the torture of the mental health of one human being may bring another human of self loathing to look deeply at what is important in life.  Money may be a great way to obtain a goal but it will not bring about the ultimate happiness that one searches deeply for during ones lifetime.

In several respects, Modern Times is a general critique of capitalism. It is a critique because it expresses reservation and disapproval. For example, the vivid image of a factory dominating the city landscape is an expression of a historic age. Capitalism has become the dominant economic system in the country.

Inside the factory, there is the assembly line. This is a symbol of efficiency and alienation. Marx argues that the assembly line is a source of alienation alienation in the sense that workers are prohibited from interacting with one another, like the case of Chaplin in the movie.

Then, there is the labor market. Life in the city is harsh and poor. Individuals are desperate for jobs and shelter. Chaplin is one of those employed, the lucky ones. Chaplin sells his labor for wage. Those who are unable to contribute labor are disenfranchised, left to rot in the city streets. For those employed, they have to face a stunning reality. Wage is insufficient to maintain a family. Indeed, under capitalism every worker must fend for himself.

What about the capitalists In the movie, they are portrayed as profit-seeking individuals. They develop new products to expand market operations. In the movie, Chaplin is shown a circular dining product. He is asked whether the product is good or not. Chaplin, not wanting to embarrass the owner, agrees. The owner repeats the process of inquiry and asks the chief operating officer to begin selling the product in the market.
Chaplin is pounded by machines. He is dragged, smashed, and loomed by the machines. This instance is an expression of economic priority. Individual workers have become mere appendage of machines. Indeed, in the movie, machines are the primordial creatures of the factory system.

From an epistemological perspective, Modern Times is a forceful critique of capitalism. It is able to show that capitalism is a pervasive reality, out of mans grasp. It is able to explain the conditions which allowed capitalism to prosper. And, in general, it is able to enumerate the social ills which characterize city life.

Double Indemnity (1944), an early example of the film noir genre, is one of the greatest movies ever made and is always a pleasure to watch and write about.  Other films in this category include The Maltese Falcon (1941), Murder, My Sweet (1944) and The Big Sleep (1946), which called noir (black) not only because of the grim, gritty, hardboiled plots and settings in the urban jungle of mid-20th Century America, but also because of the liberal use of shadow, shading and contrast that set the entire mood of the movie.  In these movies, many of the scenes take place in the shadows or in darkened interiors, with plenty of Venetian blinds, of course, and characters that are generally cynical, corrupt, deceitful, double-crossing and paranoid.  Overall, the use of this type of cinematography and lighting creates a sinister, menacing, claustrophobic effect, and unlike the typical Hollywood films, these never had happy endings.  This replicates the tone and mood of the detective stories on which many of these films were based, written by the masters of the genre like Dashiell Hammet and Raymond Chandlerwho actually co-wrote the screenplay for Double Indemnity.

Double Indemnity begins with a classic film noir scene in which Walter Neff (Fred MacMurray) drives erratically at high speed through the dark streets on Los Angeles then staggers into his office at the Pacific All Risk Insurance Company.  He stumbles to his desk, turns on the desk lamp and lights a cigarette with his one good arm.  Slowly and with seemingly great effort, he begins speaking into an old-fashioned Dictaphone.  As the camera focuses closely up on him, surrounded only by darkness and shadows, he is sweating and looks disheveled, weak and exhausted as he explains how he came to be alone in this office at night, bleeding from a bullet wound.  He starts recording his confession to Barton Keyes (Edward G. Robinson), the claims managing of the company, saying that Keyes was correct about almost everything in the case of Mr. Dietrichson.  His death was not an accident and his wife Phyllis (Barbara Stanwyck) was involved in planning and carrying it out, but he got one major item wrong Walter had killed Dietrichson rather than the man that Keyes had fingered.  In one of the classic film noir lines, he tells Keyes that he did it for money and a woman, but got neither in the end.

Phyllis is sick of her husband and also having an affair with a younger man named Zachetti, although Walter does not find this out until he has already become too deeply involved with her and her sinister plot.  She wants to take out an accident insurance policy on him without telling him, and Walter realized at once that she wants to knock him off.  Initially, he refuses, but then a voiceover scene as he driving around Los Angeles, drinking a beer at a drive-in then bowling and finally standing by the Venetian blinds in his darkened apartment, smoking a cigarette, he cannot get her out of his mind.  Alone in the dark, Walter realizes that he is all twisted up inside about Phyllis, and he knows that she will be coming there soon.  Soon enough, she is at the door, literally dressed to kill, telling him that he left his hat in her house.  Walter turns on a floor lamp but it does not seem to brighten the room very much, and the camera focuses on them and she comes closer and tells Walter that she only wants him to be nice to her.  They hold each other and then kiss in the still-shadowy room, as the camera stays centered on then.  In another voiceover to Keyes, Walter explains that he felt like a man who had spent his life working in a casino, and after catching many cheaters finally starts thinking about how he can crook the house better than anyone else.

The murder also takes place at night, with Walter in the back seat of the car as Phyllis and Mr. Dietrichson sit in front, waiting for the train.  They strangle her husband and leave his body on the train tracks so they will be able to collect double indemnity on his life insurance policy.  Once again, the parked car, the station and the train itself are all very dark and sinister-looking as Walter limps to the train on crutches, pretending to be Dietrichson, whose body is actually still in the car.  There are more Venetian blinds on the windows of the observation car as Walter stands there in the darkness talking to a Mr. Jackson of Medford, Oregon, making sure to tell him that his name is Dietrichson.  After he asks if Jackson could go back to his compartment and get his cigars, he jumps off the train into the night.  She is waiting in the car as the train passes by, and they quickly dump Dietrichsons body and crutches on the tracks.  When she cannot get the car started, they both appear to be terrified for a second, knowing they would be caught, but then Walter finally gets the motor to turn over and, relived, they kiss in the darkened car.  As Walter tells Keyes in another voiceover, Phyllis was as cold as ice as she drove through the dark streets, taking him back to his apartment she had no nerves and did not shed a tear.  Of course, as Walter knew all along, Keyes does not believe this death was accidental, but he tries to pin it on the wrong man.

One of the greatest scenes in the film is the climax at the Dietrichson house at night, in which Phyllis and Walter finally have a major falling out.  In the darkened living room, she sits in a chair, smoking, while Walter stands by a window staring out into the night through the Venetian blinds.  He tells what Keyes said, that both people involved in this murder were on a trolley ride to the gas chamber, but now he was going to get off the trolley.  From somewhere in the night, the song Tangerine is playing on the radio, but Walter decides he no longer likes the music.  Keyes and the cops would be there soon, and he would make sure that she and Zachetti took the fall for the murder then walk away free and clear.  He is about to close the blinds and the curtains, but just as he is turning around, Phyllis shoots him.  She only hits him in the shoulder, though, and Walter walks up to her and says she should try again, but she cannot do it, though.  Walter holds her close, and with the venetian blinds casting a shadow on the wall behind them, says Goodbye, baby before he shoots her twice.  Outside in the darkness, Walter hides in the bushes when he sees Zachetti approaching the house. He hands Zachetti a nickel, telling him to call Lola Dietrichson, the stepdaughter of Phyllis, who is the only nice character in the film.  For some reason that Walter cannot comprehend, she also loves Zachetti, so he makes sure that he will not be there when Keyes and the police arrive and find Phyllis dead on the floor of the living room.

In the last scene of the film, it is dawn in the office of the Pacific All risk company, and the sun is coming up through the Venetian blinds.  Walter is still speaking into the Dictaphone, looking even more pale, sweaty and shaky, but then he slowly turns his head discovers that Keyes has been standing at the door listening to him and finally knows the whole truth.  This knowledge makes Keyes look even more sad and tired than usual, however, rather than triumphant.  Walter asks him how long he has been standing there and responds long enough.  Walter laughs and says that here was one case that Keyes never figured out, to which Keyes replies that You cant figure them all, Walter.  He then tells Keyes that he can go ahead and give him the speechlets have itbut Keyes does only reluctantly and regretfully, in one of the classic lines of the film noir genre Walter, youre all washed up.  He offers to call an ambulance, but Walter says that he does not want the doctors to patch him up only so he can walk into the gas chamber at San Quentin under his own power.  He asks Keyes to give him four hours so that he can cross the border into Mexico.  He staggers out into the shadowy corridor but collapses right by the glass doors of the office, too weak from shock and loss of blood even to reach the elevator, which seems like it has been moved a couple miles away.  We hear Keyes dialing the telephone, requesting an ambulance at the pacific All risk Insurance Company and informing them that yes, its a police case.  Walter is leaning up against the glass doors, and Keyes kneels next to him.  He puts a bloody cigarette in his mouth but is unable to light it, so Keyes strikes a match and does it for him.  Walter says that he could not figure out the case because the man who committed the crime was too close, sitting at the desk right across from him.  Closer than that, Walter, Keyes replies, to which Walter says I love you, too.

In mood, tone, use of lighting, shadow and close-ups on characters surrounded by darkness, Double Indemnity was one of the films that set the standard for the entire film noir genre.  These characters seem to spend most of their lives in darkness and shadows as they plot their murders and betrayals, and the use of Venetian blinds to cast shadows in darkened rooms actually become one of the clichs of these types of films because they were used so frequently in Double Indemnity.  Its scenes are full of all the familiar objects, furniture and paraphernalia of urban, industrial America circa 1940 dark train stations and sedans, all-night bars with neon signs, old-fashioned street lights, desk lamps and floor lamps, telephones with dials rather than push buttons, radios playing big band music, characters who chain smoke everywhere without any hint of self-consciousness.  Film noir also offered outstanding roles for women characters, playing very deadly and deceitful females in world where nothing is as it seems, no one can be trusted and people will do anything for money.

The world suffers.  It experiences pain, anguish, grief, disappointment, anger, fear and hatred. Why  Is there a way to get out of this trap  Is it a spider web that traps its prey, to be eaten alive later  This is a question that Wachowskis The Matrix asks its viewers.  It proposes the Buddhist view of sunyatathat the world is simply virtual reality.  It is fakean unreal simulation of the world that controls peoples lives.  However, through bodhisatvas or Enlightened Ones or buddhas, one can attain freedom from this matrix of suffering.  This was practiced in Shaolin, China by Buddhist monks who were also trained in Kung Fu (name after Kung Fu Tzu or Confucius or Master Kung Fu).  They trained themselves to master the elemental matrix that produces great suffering the world, and through discipline, dedication and hard work, they were able to use their skills and abilities to subdue the evil elements in China and unite it as one.  Through Confucius Doctrine of the Mean and Buddhas Middle Way, they were able to subdue the dystopian technological Matrix that controlled them.

Wachowskis Matrix depicts Neo (Keanu Reeves) as a computer programmer, who is asked by his machine What is the Matrix  He then encounters Morpheus (Laurence Fishburne), who asks him if he wanted to know the truth about the Matrix.  Like Alice in Wonderland, Neo accepts Morpheus offer and swallows a red pill that transports him to a virtual machine world.  Neo realizes that he is wired to this machine world, but Morpheus crew rescues him from bondage.  Morpheus then explains to Neo that machines have taken over the world and that Morpheus and his team are rebels whose mission is to free mankind from this evil.  Morpheus also tells Neo that Neo is the One, the man prophesied to destroy the Matrix and free everyone from suffering.  He then trains Neo to become a rebel fighter like them through Asian martial arts like Kung Fu and Buddhist mind-control skills.  They also visit the Oracle (Gloria Foster) who advises Neo about his gift as the One.  But Neo is doubtful.

Later, Morpheus is captured by agents of the Matrix because they were betrayed by Cypher (Joe Pantoliano), who used to be with Morpheus.  However, Cypher was eventually defeated.  Neo eventually improves his martial-arts abilities and mind-control skills while battling agents of the Matrix.  As he fights Agent Smith (Hugo Weaving), he is ultimately shot dead.  But because of Trinitys (Carrie-Anne Moss) love for him, Neo is revived.  Finally, Neo destroys the agent and subdues the Matrix.  As a rallying call to all humans trapped in the Matrix, he exclaims that anything is possible.

In Illuminati Healing and Developing the Mind, Rodney St.Michael describes Keanu Reaves as being apt for the character of Neo, who is an illuminatus or Enlightened One, since Reaves is a practicing Buddhist.    The experience of Neo is similar to Alice in Alice in Wonderland as she falls into a schizophrenic and bipolar world of suffering.  And to free themselves, they need to follow the Asian philosophies of Confucianism, Buddhism and Taoism.  The Middle-Way approach to the extremes of desire and aversion are suggested.  People who push themselves to the extremes of either side will suffer.  For example, people who overuse technology will suffer, but people who avoid all technology completely will also suffer.  A balanced approach is necessary to free the people from suffering.

St.Michael also describes the Matrix of suffering in Sync My World Thiefs Honor GA SK as the infinite combinations of Yin and Yang.  Yin is 0 and Yang is 1.  This is the binary code used by computers to code everything from documents to pictures, videos, sounds, computer programs, games, simulation software and artificial intelligence.  All numbers and all of these codes are simply combinations of 1s and 0s or Yin and Yang.  It is an artificial world of suffering described by Buddhists as sunyata.   And in order for someone to free himself from suffering, he must follow the Middle Way.

St.Michael describes Buddhas four Noble Truths in this way.  First, life is dukkhathe experience of riding a wooden cart with an uneven wheel on a bumpy road or hearing the squeaking sounds of an uneven potters wheel as it spins unevenly.  As told by Taoists, it is astrophysical phenomena that cause Yin and Yang.  Gravity, space and time create uneven cycles in the Universe.  For example, the earth spins around its tilted axis producing day (Yang) and night (Yin).  It also travels around the sun in an eccentric tilted orbit that cyclically varies over time, creating the Four Seasons (combinations of Yin and Yang).  Then the sun travels up and down around the center of the Milky Way over millions of years that create climate change (ice ages or warm periods which are combinations of Yin and Yang).

Astrophysics, as St.Michael and the Taoists claim, also produces Yin and Yang among genders, races, classes, political divisions and so forth.  For example, there are two basic gendersmale (Yang) and female (Yin).  Using Yin-Yang combinations, one can produce five gendersmale, female, gay, lesbian and bisexual.  These all clash and create suffering.  There are also five corresponding races or what St.Michael calls gender breedsYellows, Small Browns, Whites, Blacks and Big Browns.  The creation of the genders stems from the ovum-polarity cycle as it corresponds to astrophysical events that control a womans hormones, neurotransmitters and organs.  Menstruation and ovulation for instance correspond to the 29.5-day lunar cycle.  The creation of races involves mutations from astrophysical phenomena over the 26,000 wobble cycle of the earth.  The existence of various races creates conflict and consequently, suffering.  These people will also develop various personalities which are described by the Wu Xing as Wood, Water, Earth, Fire and Metal.  These five elements not only describe the five genders, the five races, but also the five genders minds or personalities that clash and fight with each other, producing suffering.  The Wu Xing also corresponds to five classes in societythe Scholars, Shamans, Business Class, Militants and Working Class that again clash to create suffering.  Political organizations also follow the Wu Xing.  For example, Democrats are Yang or male (wood) and gay (fire), while Republicans are Yin or female (water), lesbian (earth) and bisexual (metal).  Again their division creates disharmony and suffering.  Nations and international organizations also follow the Wu Xing and Yin and Yang, producing national and international conflict, war and suffering.

So Buddhas second Noble Truth, as told by St.Michael, claims that suffering is caused by the existence of Yang and Yin or in politics, Left and Right.  The Far Left and Far Right produce pendulum swinging that makes them almost similar to each other, creating insanity.  For example, while Stalins communist government is traditionally called the Far left and Hitlers Nazi government is the Far Right they have similar characteristics of desire and aversion that creates a terrible world.

Thus, Buddhas third Noble Truth, suggests that to manage suffering, one must extinguish the existence of the Matrix of Yang and Yin, Left and Right or desire and aversion.  And Buddhas fourth Noble Truth continues to say that in order to extinguish this Matrix, one must follow the Middle Way or Noble Eightfold Path.
The Middle Way then is a balanced path.  In terms of government, it is administration from the Center, instead of the extremes of Left and Right, which produces suffering.  Ultra-conservative Republicans or Liberal Democrats, for instance, have extreme views that create suffering.  But moderates are more peaceful and harmonious.

In terms of technology, St.Michael calls the middle-way approach as parallelism.  Continuously improving technology leads to destruction.  However, people inevitably are tempted toward it because the five elements compete with each other.  They develop an edge only temporarily and deteriorate as the technology spreads.  For example, before the age of computers, it took hours to type a report, search for information, correct mistakes and send the information across the globe.  If a student had computer technology and everyone else did not, then that student would have an edge.  But nowadays, everyone has it, so the advantage is lost.  Instead, expectations are higher.  Deadlines are shorter.  And presentation, information and substance are more demanding.  The same thing is true for other technologies such as cell phones.  People are now more demanding because of it.  So that is why countries like China are moving toward parallelism.  They will try to match the most dangerous technology to protect itself, but it will refrain from moving forward if it can avoid it.  For instance, in missile-defense technology, China will not develop it unless the United States pushes it.  If everyone disarmed themselves, that would produce peace, but nations cannot trust each other, so they try to balance their approach.

In Conclusion, Wachowskis The Matrix mimics Asian philosophy in an artistic way.  While it may be dystopian, the Middle-Way solution is promising.  It may not be perfect, as nothing is, but at least people have a principle from Asia to work with.  This gives people some hope for the future.

King Kong, Dracula, Frankenstein  2001

The fear namely before a wild animal  this fear has been bred the longest in man, including the animal he hides inside himself and fear Zarathustra calls it the inner beast.

- Friedrich Nietzsche, Thus Spake Zarathustra

From the 1931classics Dracula and Frankenstein to the 2010 remake of Wolf Man, vampires, werewolves, savage alien beings, fearsome creatures from the deep, monster bugs, mutants, all kinds of animals and animal-like entities have gone through several decades of cinematic existence and evolution in Hollywood. They are all out to get you and eat you And perhaps the fear of being eaten  or sucked dry as in the case of vampires (who take some of their essential traits from vampire bats)  is the most primordial fear of all.

Even an imaginary encounter with a ferocious beast evokes primal dread in us. For hundreds of thousands of years during the process of natural evolution, the primitive evolving man lived in the wild, engaged in making sharp implements and killing animals with these tools to appease his hunger. The most horrible threat the ancient man must have feared was coming into close quarters with a ferocious beast when he was completely unprepared for it. This lifestyle of living at large and being to some degree or other vulnerable to sudden lethal animal attacks continued for literally millions of years, from the time we got down from the trees and started walking in the open savannahs of Africa over 3.5 million years ago to just 10,000 years ago when human beings started living in large communities and villages. Even when cocooned by the trappings of civilization the fear of wild animals must have loomed large in the minds of those ancient people. The fear of being attacked by killer animals has taken very deep roots in our collective memory.

No doubt the first horror stories ever told by human beings must have been recountings of the confrontations between our ancient ancestors and the predator animals they were surrounded with. Throughout the history, monsters populated peoples worst nightmares, and with the advent of cinema, people found a way to live through gruesome confrontations with beasts of all varieties vicariously, experiencing the heart-pounding chill of it while fully well knowing that they are totally safe in their seats. The whole point of a monster movie is to evoke this chilling fear in us.

Today we can experience the primal fear of stumbling into the vicinity of a fearsome animal only through film and fiction. Monster films have all a central fact in common. Except for some rare exceptions like Cujo (1983)  which features a pet dog gone insane  monster movies deal with fictional entities. For example, even if a movie like The Edge (1995) has a mountain bear terrorizing the protagonists, it is not considered a monster movie. In this sense, monster movies are larger than life. And yet a majority of the Hollywood monster movies tend to convey a message which is very pertinent to reality of modern man. These movies are typically cautionary tales, conveying a message to temper mans increasing power over his environment with a measure of wisdom.  

With the advancing of civilization, the actual fear of animals of course gradually subsided in our minds, and yet in its place a greater fear emerged, the fear of the animal inside man. This animal inside the man makes us act in ways fraught with folly and hubris, thereby bringing destruction upon ourselves.

In our increasingly technology-dependent society, as is highlighted in the movie 2001, machine has come to take the place of the beast  it could serve us well but in other circumstances it could also trample upon us. As we move into the 21st century, the Monster is more and more likely to embody science gone amok. But science cannot go amok by itself the responsibility to some extent or other lies with humans. This is dominant paradigm in which monster movies usually operate.

The great irony here is that the fear of monsters is so deeply ingrained in us because of the helplessness and the lack of technology during the hundreds of thousands of years of our gradual evolution. All we had was fire and a few stone blades to keep the beasts at bay. Through science and technology, man became the supreme creature on the planet, but that same science and technology are threatening to become part of our worst nightmares. Science gives power, but not necessarily the wisdom to use it.

Incidentally, one of the first American classic monster movies, Frankenstein (1931), is based on one of the first science fiction stories, and perfectly brings this message home. Science may even be able to conquer death, but that does not necessarily imply that it could bring meaning, peace and happiness to human life. Science could make us feel like gods, but that feeling could be an illusory one, as it happens in the case of Dr. Frankenstein. The doctor revives a dead person with the aid of science, only to realize his folly in prematurely playing God.

King Kong (1933) is not a tale of science fiction, and yet the message is almost the same. The hubris, selfishness and inconsiderateness of man are clearly evident in this story. King Kong is a benign monster, just an oversized mild-mannered gorilla. But men, out of greed and callous disregard for the creatures basic welfare, chain him and bring him into the City. Men are so stupid, they cannot even be consistent in their stupidity, and are bound to commit silly mistakes. The protagonist in the film does not even have the sense to restrain the great ape in strong enough chains, perhaps drunk by the excitement and the promise of money and fame. King Kong breaks loose and wreaks havoc.

King Kong has come to be regarded as the quintessential monster movie. It is definitely a trendsetter for myriad creature features that would be unleashed upon the audiences in the decades to come. An intriguing and ironical aspect of this film is that in the second half of the movie the humans seem to be behaving like animals and the animal appears very human-like, especially because of its strong affinity to love. King Kong is only intent on defending himself and preserving his existence.

King Kong is a tale of an encounter of the mighty beast with the civilization. It effectively portrays the juxtaposition of primordial wilderness where giant creatures roam with the hustling bustling civilization of the little man. What it shows us is that this so-called civilization is not so civilized after all. Buildings and cars and airplanes are not the only things that make us civilized, it is our considerateness for other beings that makes us truly human and civilized.

Dracula (1931) too is the story of an encounter between the wilderness and the civilization. But this movie operates more on a symbolic one. Is vampire an animal or just a supernatural being The vampire in this movie is the id or the instinctive animal in us. While the werewolf is a cross between an animal and a man, we can consider the vampire to be a cross between an animal, a man, and a zombie. Unlike the werewolf though, the vampire does not generally metamorphose into an animal (or actually a bird, the bat), but the beast inside him surfaces prominently at times when he gets to feast on live human blood.
There is no need for this Dracula to reestablish animal connections by metamorphosing into a bat... it is quite clear that in his unrepressed physicality he is a beast as well as an apparently sophisticated human being. (Tudor 172)

In other words, Dracula is an effective portrayal of the animal lurking within us, the animal that we need to fear the most As a consequence of our advanced civilization, we need not fear lions, jackals, bears, snakes and such creates any more, though these are the creatures that we dreaded for most of our existence as a species. However, we certainly need to fear a Frankensteins monster, a Dracula, and a King Kong. Fools rush in where angels fear to tread, goes the old adage. In these three movies, men bring destruction upon themselves by haste, folly and action prompted by greed. In Dracula, the protagonist rushes to Transylvania, simply urged on by his greed to make some money selling real estate, ignoring a plethora of signs that warn him. For someone to so terribly ignore everything he sees around him, he must have been completely blinded by greed. He pays the price. It is the same theme in King Kong haste, greed, folly, destruction. Same theme again in Frankenstein, though money is not a factor here, the doctor is rather prompted by fame and power.

In 2001 (1968), human folly and greed are not evident. On the contrary, the film shows man at his best, enterprising, innovative, constantly exploring, seeking the beyond. Yet we need to exercise great caution in our enterprise of endless exploration. The spaceships computer in charge of most of its operations, in a bid to preserve its existence, tries to take over the ship and kill the crew members. The monster turns up in the unlikeliest of all places. Mans science and ingenuity promises to take him places, to show him the world, and the universe itself. But with greater freedom comes greater responsibility. Enjoying one without exercising the other leads us into grave danger. That is the message that lies at the heart of many monster movies.  

The animal represents the primitive in and around us, while science and technology have caused the progress of civilization and have brought us so far from our animalistic beginnings. In the decades to come, technology and machines will play an increasingly significant role in our lives. But even as we gradually move far away from our primitive beginnings and animal heritage, the animals in our nightmares would continue to chase us and hunt us down. No matter how sophisticated we grow in our technology, we would never be able to escape the Animal.

The fear namely before a wild animal  this fear has been bred the longest in man, including the animal he hides inside himself and fear  Zarathustra calls it the inner beast.

Such long ancient fear, at last grown refined, spiritualized, intellectualized  today, methinks, it goes by the name of science.

- Friedrich Nietzsche, Thus Spake Zarathustra

Write a clear and detailed description of your studyresearch objectives, and give your reasons for wanting to pursue them. Be specific about your major field and your specialized interests within this field. Describe the kind of program you expect to undertake, and explain how your study plan fits in with your previous training and your future objectives.

My major field of study is Cinema and the reason I am pursuing a course within the American higher education system is the fact that, for over a century, the US film industry has been the worldwide leader, setting and raising the standards of quality film-making by pioneering technologies, developing ideas and producing a constant flow of fresh talent. Simply, I want to learn from the best.

I understand the importance of  good relationships, of mutual agreement and understanding, between the USA and Turkey, as a beneficial factor to Turkeys cultural development. I am aware of the output of American culture into the Turkish society through film and realize the need for Turkish cinema to reflect these influences, reaching a wider audience while maintaining its cultural identity  in the same manner that the US cinema can deal with local (suburbia) or national (Vietnam War) problems and still be able to reach a worldwide audience in this perspective, the Turkish cinema is still too national in character, perhaps too shy to present Turkish society to the world through the art mirror. I believe that the short film is a good medium to start working in this direction as it avoids the scrutiny of the critics, it is easier to circulate and thus allow for a meaningful cultural interaction and can become a great platform where US and Turkish talent can each demonstrate their countries unique cultural values and at the same time share their common needs and attitudes.          

My primary objective for studying film is the mutual cultural understanding between US and Turkish citizens. I intent to research the way cross-cultural friendship between Americans and Turkish is reflected in the cinema of the two countries. My aim is to be able to craft stories about urban migration, documenting the cultural outpour from Turkey to America, and, by using ingredients from both communities, producing a series of short films where both Turkish and Americans can identify themselves into, while at the same time, provide a cultural insight to a wider audience. My interest in the subject has let me to shoot a documentary where I researched the living conditions of the communities of different cultures that populate the suburbs of Izmir in Turkey.      

Further education is essential in achieving my goals. I seek for a course that will provide me with the essential skills to fully realize my potential. These skills include a spherical knowledge of the film production process, a thorough understanding of film genre and expert knowledge of filmmaking techniques. I expect to undertake, and benefit from,  such classes as Directing, Scriptwriting, Filmmaking Experience, American Film History, American and Turkish Society Relationships. I expect to become familiar with current and emerging film practices and technologies and be able to produce short films that will set the path in creating the cinema of the future. I intent to work hard towards achieving my goals by watching as many films as possible, practicing the craft at any given opportunity and gaining as much hands on experience as this is provided.
I seek to produce street-style documentaries about the American and Turkish culture          based on true stories by researching media and history archives. My future aim is to apply the experience I obtain from crafting these short films and the insight they will provide me on the subject matter  in the production of a feature film.

Im applying to Fulbright because I want to study in the USA a different kind of filmmaking, outside of the Turkish model. I strongly believe that studying cinema in the USA will provide me with the vital technical training I need in order to develop my skills and realize my full potential, and also, allow me to form creative relationships that I expect to last long after the course finishes.  Upon my return to Turkey, I trust  to add a strengthening knot to the already fertile relationships between the Turkish and American film industries.    
I am currently studying at the cinema and TV department of Beykent University  anticipated to graduate the following year. I took Graphic Design as a minor field of study which I intent to use as a highlighting technique in storytelling.

This personal statement should be a narrative statement describing how you achieved your current goals. it should not be a mere listing of facts. It should include information about your education, practical experience, special interests, and career plans. Describe any significant factors that have influenced your educational or professional development. Comment on the number of years of practical experience already completed in the field in which academic work will be done in the US.

Cinema has been my passion since an early age, originating from an essay project in junior school where I drafted ideas from both local and foreign films. This interest grew during my years in senior high school and I begun to develop my creative skills and gain technological knowledge.

I have been fascinated by Citizen Kane, a film based on the life of American newspaper tycoon William Randolph Hearst, directed by Orson Welles. Watching this film allowed me to recognize a new style of filmmaking, one that was combining all previous forms of cinematic storytelling into one, groundbreaking genre.

I became familiar with all the arts and researched the history of Turkish cinema. At the age of eleven I took painting which, although not my main interest of study, helped towards expanding my perspective of the arts.
I won a scholarship from Beykent University for study at the cinema and TV department. I worked hard through this four year program which provided me a solid background not only in cinema but also in other disciplines such as graphic design, literature and photography. My training made me realize that directing is a lot more than just determining the camera location  its about developing a series of dramatic events and executing them while devising practical solutions. With this in mind, I produced several short films  more than ten in number, two documentaries, six fiction and many training videos.

My second short film was an adaptation of a Samuel Beckett theater play and the lesson Ive learned during its production was that only through love and friendship we can create the best product. I managed to balance the tension between the group and provided and comfortable environment for the actors, maximizing their performance. I received a grade A for this project, the films royalties were purchased and provided the funds for my next project.

I did my internship at the Turkish Official Channel as an assistant program editor, grasping the opportunity to work on a different media field. By the end of my internship, I was preparing my own program for the networks childrens zone.

I am an active sports fan, my interests range from swimming to martial arts. I love to travel and take photographs. Every summer, during break season I used to work with a film company as an editor and as a production assistant.

My strengths are diligence, enthusiasm and abundance of energy as well as paying attention to detail and the ability to work under pressure. I am friendly, sociable and love to make new acquaintances.  
My goal is to get a career in media production that will allow me the interact with and engage in every part of the process, allowing me to expand the critical, theoretical and historical components of this art form. I aim at making films that promote friendship.                

The films Syriana, The Last King of Scotland and Babel are all recent releases that have received critical acclaim. While each film addresses serious and dramatic issues, the stories take place in different countries, focus on different central themes and involve a wide range of very different characters. There are, however, common themes that connect each film to each other and also connect all three films to the films viewed at FilmAid.org. In viewing each film and seeing the film and pictures presented at the website, several common threads of humanity become apparent. The characters in the film come from different backgrounds, social classes and belief systems. Their paths throughout the films and the conclusions they reach at the ends are varying. But each film features characters that are forced to deal with issues of loss and death, misconceptions or discrimination, fear and violence. The characters confront and discover previously unrecognized parts of them. The most common thread between the three movies and Film Aids work is that of humanity and interconnectedness.

Babel tells multiple stories at once and introduces several characters intermittently. An Asian teenager copes with the loss of her mother and her feelings of alienation and being misunderstood because she is deaf-mute, Moroccan children face their fate after a seemingly innocent game goes horribly wrong, an American couple is brought back together after a tragedy while vacationing, and a Mexican woman reaches a crossroads in her life after a well-intentioned trip goes very wrong. The viewer is shown the differences between these characters  Moroccan farmers surviving in the desert, a Mexican immigrant trying to make a living while still connecting with her family, a wealthy Asian girl that feels empty in spite of her life of privilege and freedom  in stark contrast. At the beginning of the film they seem to have nothing in common and it seems impossible that a common thread could connect them. But as the story unfolds, it is apparent that they are all woven together by actions that each of them has taken. The concept of wrong place, wrong time affects each set of characters and they are brought together by circumstances that none of them have planned. The Moroccan boys shoot at the van the American couple is traveling in with the gun purchased from the Japanese girls father while the Mexican woman takes the American couples children with her across the border to Mexico to avoid missing her sons wedding.

They are all also connected by the theme of honesty. The viewer never learns what the American couple is fighting about, only that the man has been dishonest and lied to his wife. The Mexican woman and the children are abandoned in the desert after her nephew tries to lie to the border patrol guards when taking her back across the border, forever affecting her future and endangering the children. The Moroccan boys try to lie about their involvement in the shooting when they find out an American tourist was involved and Chieko initially lies to the police about her fathers whereabouts because she doesnt want to get him in trouble. They are all forced to be honest after lying, either by their consciences like Chieko or by threat of violence like the Moroccan brothers. In each case, they find their lives forever altered by the effects of honesty and lies. It was the filmmakers intent to illustrate how ones actions can affect people one has never met and will never meet as well as affecting ones own fate.

The Last King of Scotland is based on actual historical figures and events and takes place in Uganda during the reign of Idi Amin. A young Scotsman travels there to work as a doctor and is taken in by Amin and made his personal doctor. Again, the filmmaker illustrates the interconnectedness of people and the effect of ones actions. In this case, Nicholas allows himself to pretend that he doesnt know what Amin and his regime are doing to eliminate political opposition and even finds himself turning in one of Amins cabinet members to be interrogated. He repeatedly tells people that hes just a doctor and that he cant be held responsible for Amins actions or turning a blind eye to them. Its only when Amins paranoid fury reaches a woman he cares for and results in his death sentence that he realizes the consequences of turning a blind eye to the situation. This film made Amin and his regime more understandable by presenting him as a likeable character initially, then gradually revealing his true intent and violence. The viewer learns about the more human side of one of Ugandas most pivotal figures. There is also a theme of fear of authority in this film that is echoed in Babel. Amins security advisor and crew are allowed to kidnap, torture, and execute anyone that they feel is a threat to Amins rule, resulting in hundreds of thousands of deaths. The Moroccan police in the previous film use similar methods of violence and intimidation to coerce information out of citizens.

Syriana focuses on the Middle East and the battle for control of oil. In a style similar to Babel, the viewer is introduced to several sets of characters at the movies onset, and then comes to see how they are all connected by actions, intentions, and unforeseen life changes. The characters of Bob, Bryan and Prince Nasir all seem vastly different, but their lives are each affected by the role they play in the control of the Middle Eastern oil fields. Bob, a long-time operative for the US government, finds himself being tortured and then investigated by his own country. Bryan feels that he has sacrificed his son for the sake of a deal with Iranian oil barons. Prince Nasir is restricted by the custom of procession and rule by the first born son and fights to control the family empire to ensure a prosperous future for his family and country. This movie makes the complicated world of corporate mergers and international agreements and partnerships more understandable by showing the viewer how each person involved in such deals is affected in his personal life by the results. The filmmaker successfully illustrates the worldwide impact that control of foreign energy and the oil supply will have on each individual relying on it by making the characters involved human and understandable. Again, all of the characters are connected by their actions. The US oil corporations find out that the Iranians and Palestinians have made deals with the Russians and funneled money through Switzerland and the viewer sees how each character is connected to one of these places or people. This method illustrates the interconnectedness of people and the unforeseen result of actions.

Characters in each of the three films also represent issues faced by refugees seen in the Film Aid camp films. In each, there is a lack of basic public healthcare and treatment. Ugandas hospital is featured in stark contrast to the crude huts and skinny children living in the desert, and the American tourist goes for days without medical care because of political issues over airspace. There is a lack of education for children in each film that is also faced by the refugees. Women and children receive little of the critical care they require and children usually get no education and work for their familys basic survival instead. There is a general appreciation for the help and medical treatment given by aid workers, and for the education offered by Film Aid. The refugees have had their lives permanently altered by political wars, ethnic discrimination and culture clashes in their countries as most of the characters in the movies. The refugee films on FilmAid.org and the three movies all illustrate the principle that people are all human and all connected, regardless of who they are, where they live, or what they believe, and that we all have the ability to help or destroy one another.

War always has its basic components  guns, bullets, and more firepower. This is so because conflict has accompanied man in his journey through history. The evolution of motion pictures provided for a medium of expression of thoughts and feelings, and of course, the circumstances about a war. Apocalypse Now and Platoon are two films of the same genre, but they do have distinct stories. They tell of the same war yet they present the realities of that time in different ways. With the advent of television, for the first time, daily war footage was being projected into television screens of American homes, a big leap from the two great wars and Korea. As they say, everything in war is so cold, thus people could not believe that the country was perpetuating a dirty war in another mans land. Protest flared up and in university campuses and later in the streets, echoed the chant peace, love, not war. These were tumultuous times and the war brought about a bitter taste in the collective value system of America. People became disappointed about the engagement and this is greatly reflected in numerous anti war films, notwithstanding that there were films in favor of the war, but the ones which dissected its ills became sort of subgenre. It was not just the intent to kill that was highlighted, but it also delved on its effects on the soul. Drama soon accompanied action and war pictures tend to focus on every human aspect of a conflict. This discourse is how two films portrayed their representation of the war in Vietnam.

This war was a military success for it dealt the enemy with sound setbacks. But, it was a political defeat for it turned a big portion of the populace against it and ultimately, the US had to withdraw. For the first time, the eagles wings were clipped and America was healing from its wounds. At this atmosphere, it would be professional suicide for a film maker to glorify its exploits. War pictures from World War II tended to present heroes and portray the enemy as an evil that deserved to be castigated. The nation that had to redefine its ideals, Vietnam War movies tended to explore on the human side of the conflict. This brought about powerful action dramas that captivated viewers. In the centennial anniversary of the American Film Industry (AFI) where they identified the top 100 films, both Apocalypse Now and Platoon were acknowledged (AFI 1). Another interesting factor about the war was that it not only affected peoples opinion about conflict, it also brought about major changes in the war room planning boards of the Pentagon. The emphasis on the use of air power is one of the lessons of the Vietnam War. It seemed that the strategist did not read The Art of War of Sun Tzu where it said that Hence the saying If you know the enemy and know thyself, your victory will not stand in doubt (Sun Tzu p. 112).

The US entered the Vietnam War for fear of the domino effect brought about by the rise of communism. The south was incapable of sustaining a fight against the red north. American troops had to be deployed. A military analyst in a study of this war may take into consideration such factors as strategies and tactics in maneuvering, command performance, logistics, and the level of training and discipline of the fighting men. So much literature has been expended on this end. Both movies, in a way, tried to get close as can be to real situations. A study and comparison then can cull out some good lessons, whilst being entertained of the circumstances of these two great films. So the question, what do we want to see in a war movie Welcome to the theatre, Apocalypse Now opens up with the blazing fury of napalm. Just seeing the fiery explosion makes you aware of your skin, being stripped of its soft tissue and bones. Choppers as they debut on the war front, glide through the screen. This is war, this is the end, and the Doors song heightens up the appetite, let us have the bang and the gore. In Platoon, a C-130 opens up its belly and delivers a band of soldiers. The airstrip is busy with activity, fighting men arriving, and body bags of the dead leaving. The quotation that starts up the movie is just so fitting Rejoice, oh young man, in thy youth . . . You get a feeling that they are about to die.

In the next scene, Apocalypse introduces us to the main character of Captain Willard, drunk, delusional, and somewhat on the edge. He is whisked away to the headquarters in Nha Trang and is in a briefing with senior officers. He gets to be introduced to the person he has to kill. This target is a highly decorated soldier and was even being groomed to be a chief of staff or for one of the high positions. This colonel has deserted and has been doing unsound practices and the army wants him eliminated. The scene is quite dramatized and portrays fighting men who have experienced the perils of war. We get the feel that they are emotionally disturbed. It seems that the personality factors expounded by Sigmund Freud the id, ego, and superego are up against each other. Platoon at this point immediately goes into action with the main character, Chris, going to patrol duty. Being the fresh meat, as the new recruits were called, he gets his first shock as they encounter a fearsome enemy. At this point, the viewer already gets the impression that it takes a lot of courage to be in this war. There are brave soldiers, there are the frightened fresh meats, no matter the gallantry it starts to be gripping as we see pain, suffering, and death for the first time. You are of the impression that the Vietnam War is a very bloody war.

In Apocalypse, the viewer gets to see how soldiers were living their life in Vietnam. There are lots and lots of drugs and booze. It is like a big party where hedonism is the norm and everybody is just in for some good time. We get to meet the eccentric Colonel Kilgore whose main purpose in life is to surf. The colonel is more fun loving than being intent in waging a war. Though, when at the battle field, he is just a cold soldier, aloof of the debris that he causes. Willard is quizzical, if Kilgore wields a command borne out of his eccentric personality and gets away with it his target must have done a lot worse. At this point, it seems that US forces are in control and they display awesome firepower with the dominance of deadly flying machines. The colonel even say that he loves the smell of napalm in the morning, apparently referring to the destruction being brought about by the surroundings going up in flames. At this point, life is still easy, we see the troops being entertained by playboy bunnies and living is just wonderful. A regular guy on the street may say, hey, I want to be in Vietnam, too, we are in control of the place and it is a one big party. You can do what you want to do, brother.

In Platoon, we get to see some good times, too. Yet, the viewer is already introduced to conflict among the soldiers themselves. Sergeant Barnes is quite unfeeling and is cold blooded. In direct contrast is Sergeant Elias who is kind and is shown to be a nice guy. Action is constant as they are in near confrontation with a whole regiment of the North Vietnamese Army (NVA). Barnes perpetuates atrocities in a village reminiscent of the original My Lai massacre in March 1968 (Time Magazine 1). Elias arrives at the scene, stops the grave injustice, and confronts Barnes. A fight ensues between the two and we see a conflict between highly trained killing soldiers where threats to each other is as deadly as their personality, especially with Barnes. In an encounter with the enemy, Barnes deviously isolates Elias and shoots him with his M-16 and orders the troops to move back. The soldiers are airlifted from the area and while on air, they get to see Elias being pursued by a swarm of enemy soldiers. He is riddled with bullets, falls on his knees, and the good soldier raises his arms to the air and dies. Fighting is quite heavy and the ordinary guy in an American street would never want to go there. All the time, the soldiers express that they just want to be out of Vietnam. Indeed the movie portrays the place to be terrible. The NVA is surely giving the GI a lot of beating.

In Apocalypse, action intensifies and we get to see some heavy fighting. The scene is no longer a big rest and recreation time and the troop is now a harassed bunch. Willard and his group get to the front lines where a bridge is being blown off by the NVA. Soldiers are helplessly scampering towards their boat in their clamor to escape from the chaos of the place. The viewer gets to see ordinary Americans who are trapped in a hellhole and are desperate to get out and to go home to their nice cozy homes. We get a feeling that we do not want this to happen to us and somewhat solicit a feeling of compassion for these wretched souls in imminent demise. Some soldiers already appear deranged by the constant explosions of guns and bombs. The viewer now gets to see what a post traumatic stress syndrome is all about. These soldiers are fighting a desperate war against a determined foe. He is faced with an enemy who is intent in winning and is putting up a fierce fight. This is a grand departure from the post World War II movies where soldiers are glorified heroes. Here, it is clear that in Vietnam, the American soldier took a beating and they not only hurt physically, but their souls are scarred as well.

In Platoon, we now see the climactic action as the NVAs were all over the place and American soldiers are being massacred. The commanding officer had to call an air strike on themselves in order to kill the enemy swarm. In these skirmishes, Barnes was about to kill Chris, but is thrown away as bombs explode everywhere. In the morning of the bloody aftermath, bodies are all around with some soldiers still struggling to hold on to dear life. Chris chances upon the devious Barnes and in his hatred, gets to kill him.

Reinforcements arrive and a lot of dead enemy soldiers are being placed in mass graves. It is a horrific site, death is everywhere. The wounded Chris is just happy to be on the chopper and out of Vietnam. He salutes a comrade then waves goodbye as he is shown with an obvious psychological strain in his face. The movie ends here and the viewer just feels sorry for the place and the people in it. The usual guy in the street may just blurt out a question it is just terrible, why did this war ever have to happen anyway

In Apocalypse, Willard finally meets Colonel Kurtz, his target for assassination. The place is just terrible with hanging bodies and the dead everywhere where the natives just do not seem to care about them. Kurtz is wanted for murder of Vietnamese intelligence agents and did not want to face charges. He is hiding in a native tribe in Cambodia where he is worshipped as a god by the tribe. Willard wonders how such a great person can just dissipate into such a sorry state. Willard is first kept in custody but is later released. He gets his chance to kill Kurtz. While he puts on the machete to the colonel, it is interspersed with a ritual being performed by the natives where a buffalo is hacked to death. The scene is just so gruesome that you wish you did not see it. The buffalos head was almost severed before it fell to the ground. This gore dramatized the death of a once prized officer who has gone over the edge. The movie ends shortly and the viewer is just shocked and maybe relieved that it is the end.

Both movies are excellent portrayals of the Vietnam War. They approached and portrayed what transpired in their own dramatic ways. In Apocalypse, we first see an army in control of the place and drugs and booze are just so plentiful that the whole thing looks like a big party. Slowly, the action intensifies until you get to hate why they are there and you would question why America went to war in that place anyway. It ends dramatically and you feel relief that the nightmare is over. The last word of Colonel Kurtz seals in the theme of the movie as he utters the horror, the horror. Obviously, what he went through despite being a trained soldier just consumed him. Platoon early on depicts a place where young men die. Chris arrives at the airstrip and body bags are loaded where the dead are allowed to go home. Action is constant and the pain and suffering is quite seat-gripping for the viewer. We are introduced to conflict among the fighting men themselves and the grave consequences that it brings. All the while, soldiers express that they want out of the place, but they have to serve their tour of duty. The movie ends with fantastic fighting where one would just be lucky to survive. Chris was an idealist who actually dropped out of college to volunteer his service for a nation at war. In the end, he is just disappointed about it and feels that he has to rebuild his life. The viewer feels better, too that the movie is over and the gore has stopped. Both films are great in portraying the evils of war and the effect it has on the American soldier who struggles through it. It also provides us with an insight on how terrible the local Vietnamese must have felt with all those injustices committed in the cold atmosphere of a war. In the final analysis, we can just conclude that war is just a terrible expression of mans anger.

Nearly eighty years ago, in 1931, the film entitled M was released in Germany.  The said film was about a serial murdererpedophile being hunted not only by the police, but by mobsters as well, as the murderers criminal acts on young girls had resulted in a more extensive patrolling by the authorities, hindering the illegal businesses perpetuated by the gangs.  Set during the 1930s in downtown Berlin, the film had likewise depicted an accurate portrayal of the citys street life from the parents accompanying their children to and from schools, the busy streets of a metropolis, to the beggars and vendors prowling the streets.  Basically, the movie revolved around the serving of justice of the ultimate reality that every crime has its own appropriate punishment.  Also emphasized is the societys need to lend an understanding surrounding the many complexities brought about by mental illness.

Symbols
One of the symbols that were utilized by its director, Fritz Lang, was the balloon that the murderer had bought for his eventual victim, Elsie Beckmann.  As what is also true with the ball that the victim had been playing with before the crime took place, this symbolizes childhood and the inherent freedom or carefree attitude that children ought to enjoy in full security.  Worth noting was the scene showing the balloon flying past the electric posts, suggesting that Elsie was no longer in possession of the balloon, and that  the crime had already been successfully committed.  The meanings surrounding this symbolism were also true with the scene showing the ball rolling freely on a grassy lot, expressing the same innuendos with that of the balloons.  It is evident that the usage of the balloon as a symbolism for innocence and childhood had been successful in its purpose.  The crime perpetuated by the murderer can be viewed as an act that had deprived his victims of the innate rights of any child to be free, naive of evil, and happy.

The next symbolism that the films director has used and that has been effective in expressing its desired purpose is the letter M that was placed at the back portion of the murderers coat.  This served as a marker a turning point in the story conveying that evil has finally been located and identified.  Not only has the letter M signified the person being pursued, but more importantly, it had tacitly suggested a message of hope that soon good will be able to prevail over the evil that has plagued the populace for so long.

In addition, the interlaying sequences showing the simultaneous yet separate meetings of the police authorities and the gang leaders served to emphasize the great need for each of these groups to find the criminal, as these murders have become a source of great distress for each of them.  For the police, the unsolved murders were an embarrassment to their competitiveness, especially since it only involved one person and the public clamor has been on a consistent rise.  On the mobsters part, their reason for wanting to find the murderer is purely monetary, as their illegal operations have already incurred heavy financial losses as a result of the increased police presence all over the city.  Based on these two separate yet inter-related motives for ending the murders committed on children, the gravity of the effect of finally being able to identify the cause of evil, through the letter M, has greatly enhanced the importance of this symbolism used by Fritz Lang.

Of all the symbolisms used in this film, perhaps the only one that is representative of the murderers character is glass and the reflection on it.  Although it was only used once in the entirety of the film, it allowed the viewers to finally have a glimpse of the psychological mindset of the murderer.  Likewise, this particular scene showing Han Beckert evidently frightened of the reflections of his murdered victims was the first instance that showed him not as a murderous monster but as a human who feels guilt, remorse, and has emotions.

The fact that during the mock trial set by the gang leaders, where Mr. Beckert challenged the crowd with his questioning, Who knows whats it like to be me (Lang) and where he had painfully revealed his deep remorse in having no control over his psychotic need to ravish young girls, he had distinctly described the ghosts of those whom he had killed endlessly following him every minute of the day.  The importance of glass as a symbolism is most evident here, as it was through this medium that the ghosts were physically shown to the viewers, which were in fact the girls that he had victimized.

The importance of glass being a symbolism for this film may be proven by the fact that it is the only one that is utilized to express the inner workings of the criminals psyche.  Thus, the glass in the film is in reality the very soul of Mr. Beckert.  It showed that despite of his mental illness and of all the murders he had committed, there still remained a part of him that is uncorrupted and has retained the innate quality that is true for any personthat of being morally good.  

Conclusion
The 1931 film, M, by Fritz Lang, allowed us the opportunity to view a masterpiece that is void of any modern technique in cinematography that is common in todays movie releases.  With this film, we are taught of the importance to view and judge films according to its true values such as in the plot, characterization, theme, and symbolism.  Perhaps more importantly, M reminds us that the values mankind upholds, such as justice and the guarantee of human rights, are morals that will forever endure as important in whatever generation, race or culture.

The movie  Groundhog Day  is a comedy movie with a spiritual lesson.  The story centers on a news weatherman named Phil Connors (played by Bill Murray).  Connors is by nature a very sarcastic curmudgeon who tends to have a very bleak outlook in life.  It does not help either that he has a self-centered, egotistic personality that tends to antagonize all but the closest of his friends. By some unusual twist of fate, he appears to be fated to relive the same day each day   Groundhog Day after being stranded in a Pennsylvania town to cover the Groundhog Day event there with the rest of his news crew including Rita (played by Andie McDowell), his producer and the object of his affection.

Phil discovers this  time loop  and it appears he is the only one experiencing it as the others have no recollection of the  past  Groundhog Day except him.  Initially disoriented by this unusual phenomenon, he gradually became accustomed to it and decided to take advantage of it by  experimenting  on possible scenarios that could possibly happen in his life without fearing any adverse consequences in the future since his life seems to be  reset.   One one occasion, he learns the secrets of the people of town and uses it to commit nefarious activities  each day  by seducing women, driving drunk and even tries committing theft and robbery.  His attempts to be closer to Rita fail and it made him more despondent to the point he started doing desperate measures with the hope of putting himself out of his misery by abducting the groundhog also named Phil, the towns mascot and in the ensuing chase heads for a quarry hoping to kill himself but instead finds himself still alive the following day on the same date.

At this point, he confided his experiences to Rita and advised him to try making himself a better man. Spurred by her advice, he painstakingly tried to get to know the townspeople more and Rita as well each day and building on these experiences, he is able to help most of the townspeople with their problems as well as learn something productive like ice sculpting, playing the piano he is also able to deliver a report no one in his crew ever heard him give before for it is the best one they have ever heard from him. Of course, he and Rita became very close as their relationship blossomed. The day after this, the time loop was broken when the next day is no longer Groundhog Day.

Although the movie is a comedy, it does have lessons it can teach which can be very enlightening.  If one were to explain the experience Phil has been going through, it is a case of a Buddhist phenomenon called  karma.   Karma is a concept which Buddhists and even Hindus subscribe to.  It is the  law of moral causation.   What it means is that how we live our life right now would create a corresponding consequence sometime in the future.  Living a righteous life will reap rewards while living the opposite will yield what most people call  poetic justice (Sayadaw, 2008) .

This is evident to each scenario Phil tried to live in the early parts of the film when he tried to commit wrongful acts. He tried to be happy but his personality dictated his program in life and as a result, he became unhappier, especially in trying to win Ritas affections and this drove him to try and commit suicide.  Fortunately for Phil (and it is a movie after all), he is given many chances to try again with the hope of achieving his goals of a happier life. At first, he may have squandered these and it was not until Rita goaded him into trying something different that his life began to turn around for the better (Ramis, 1993).

Sometimes, we wish we were given this same ability to  reset  our lives but unfortunately we are not as gifted as Phil.  However, this does not mean that our proverbial fate is sealed by our present conduct at present.  Each new day is an opportunity for us to live out life in pursuit of our dreams, goals and desires and as the law of karma goes, how we do it, as dictated by our attitudes, will lead to a certain result (Wenger, 2004).  Going back again to the film, when Phil was trying to seduce women, he is not helping himself in trying to win Ritas heart.  He is self-centered.  He thinks only of himself  There is something he wants from the things that he does and instead of getting the desired results, he gets the opposite and it is worse than before.   This is called  samsara,  the cycle of becoming driven by our karmic intentional activity.  It appears as though the universe tends to sense this and gives the corresponding reward (or punishment).  However, when he tried to do things differently later on, by  letting go  of his interests and began to take into consideration others, he (surprisingly) get the things his heart desired, particularly Rita.  According to a Buddhist scholar,
 If we recognize what is driving us, and clarify our true intention, the unexamined shadows are no longer about some solely external reality or objective weather, but about us. Each moment is a new beginning. Our projections and stance in the world can cast a long shadow on our lives, and the Spring of each moment is postponed for a long Winter. If you examine and test your perceptions, each moment brings forth a new world. If we lead an unexamined life, we feel each day is different, but it is really a rerun of our habits. If we examine a disciplined life closely, each instant can blossom into a unique flower (Wenger, 2004).

The challenge therefore is to change our habits, if we appear to be living our life the wrong way.  This can be done by not being too conscious of our desires.  Live each moment without giving it any thought.  If one were to remember the main argument of Buddhism, suffering is caused by our attachment to the material world.  We desire many of its things yet it is realistically impossible to have them all and our frustration feeds our suffering hence, we will never be happy.  Going back to Phils case, he won Rita over because his intentions are different now.  He does not attempt to possess her and this allowed genuine intimacy to enter and this broke the  samsara.

This is the lesson Buddhism intends to teach us, regardless of the faith we practice.  Surprisingly, this lesson can be learned by watching this film.  If one were to apply this in Christian teachings, we would be surprised to learn there is a similarity. Christian teachings teaches us not to be too attached with material things as well, that we should always turn our attention to God, where all things emanate. By turning to God, we can be sure of receiving many graces we stand to receive if we have enough faith to submit to His will and let Him guide our way.  For when we deviate from His will, we end up suffering. God, as well as Buddha, teaches us to let go and live our life without being too conscious about our desires and true to the law of karma, we will receive our just rewards.  Even though we cannot  reset  our lives like Phil Connor, each day is an opportunity to try again. As far as God is concerned, it is never too late so as long as one is till living.  For God, and even Buddha, there is no such thing as  too late.   We may not go back to the past and undo it.  We must use to future to do better.  It is by moving forward that we can find enlightenment and the fulfillment of our hearts desires.

Plot
Bugcrush is a short film directed by Carter Smith based on Scott Treleavens story of the same title. It is about a high school boy named Ben (Josh Caras) who is infatuated with a mysterious guy named Grant (Donald Cumming). Grant is one of the new kids in school, and he gets to accomplish what the other  goths and freaks  (Treleavean 23) were trying to do become an outcast. Ben is largely interested in Grant for his personality is very intriguing that he even stalks Grant in order to catch glimpses of him. For some reason, Ben finds Grants mysterious aura as something both terrifying and sexually arousing. Despite the warnings of his closest friend, Amber (Elnore Hendricks), Ben eventually decides to muster up some courage to finally talk to Grant and see whether he has a chance.

When Ben finally gets a chance to talk to Grant, he feels a mixture of butterflies in his stomach which are both of the good and the bad kind. It can be said that he has some sort of hesitation located somewhere deep in his brain, but since he is infatuated with Grant, he pushed his negative thoughts aside. Eventually, Grant invites Ben over to his place to hang with him and some of his friends, and Ben, thoroughly ecstatic over the fact that Grant wanted to hang out with him, immediately agrees. Grant tells Ben that they could hang out at his house along with his friends, and maybe they could have a good time together. When Ben is finally hanging out with Grant and his friends, he becomes excited over the fact that Grant seems to reciprocate his feelings towards him. However, Ben discovers that Grant has a chilling secret and unfortunately, he could not escape.

The Technical Aspects
Carters Smiths Bugcrush has amazing cinematography the lighting, the shots, and the cuts of the film all work together into maintaining the atmosphere of unease. From the beginning of the film, the viewers get a sense of foreboding that, unfortunately, does not dissipate as the film progresses. The blend of erotic overtones and the disturbing atmosphere glues the viewers to their seat, heart thumping while waiting for the next scene.

In a manner of speaking, the movie makes the viewers want to grasp the screen and shake it violently, just to alert the young protagonist that there is something terribly wrong about the individual he is attracted to even if one does not know what exactly is wrong about Grant. The film injects a nagging at the back of the viewers mind, and it is quite possible that one gets frustrated in fear for Ben. The atmosphere of tension and unease is carried out throughout the film, and it undeniably sucks the viewers into the story. The pacing of the short film is also laudable, since it does not hurry the story and it makes the viewer constantly uneasy with the notion that the next scene might confirm their worst fears.

Apart from this, the cast of the film were chosen perfectly in fact, it is quite hard to imagine anyone else playing their roles. The roles were carried out with sincerity and were very realistic. There is one point in an individuals life where he or she feels the same kind of longing that Ben has for Grant, and one can certainly relate to his decisions, despite the fact that there may be something wrong with the decision altogether.

Of course, Bugcrush is not the typical horror film in fact, it is hard to categorize it as a horror film, since it has also something to do with a young gay man pursuing his hearts interests. In analysis, it could be said that the film is a blend of drama and constant dread as it reflects the teenage problems regarding sexuality and acceptance, and at the same time, it injects an eerie cloud of unease to the viewer.  It is easy to say that the feeling of unease settles in and eventually grasps the audience into watching despite the common reaction of wanting to close ones eyes during the scenes. The film, with its cinematography, will grasp the viewer by the arms and whisper that it will be okay, so the viewer continues to watch despite the feeling of unease much like Ben who continues to pursue Grant despite reason.

Lastly, the end of the film is a perfect cliffhanger, for it confirms that ones worst fears about Grant and his friends were justified, and yet it leaves the viewer with merely nothing else but that realization. It is undeniable that thirty-five minutes of run-time for this film is too short, for it leaves the viewers hanging to their own paranoia of what could have happened to Ben. In fact, the viewer could come up with various endings to the disturbing cliffhanger ending of the film, but in reality, this scene would forever remain embedded in the viewers mind.The Prose vs. the Movie

In analysis, it could be said that the movie is faithful to Treleavens story. Smith was careful to include the vital parts of the story and succeeded in making an almost-perfect translation of the story. Of course, in the movie, Ben was given a surname, Holcomb, whereas in Treleavens story, it was merely Ben. Apart from this, Ben does not have a specific best friend in the prose it is stated in the story that he feels ashamed of his friends and eventually, he isolates himself from them as they seem pretentious compared to Grant.

One problem with the film, like every other film, is that one cannot hear or read or possibly know what the character is thinking. Smith was able to depict Bens desires quite well, but it is simply not like Treleavens prose, wherein one has an omniscient view of what the character is thinking regarding various situations. At the end of the film, when Ben is paralyzed, the viewer could not possibly hear what Ben is thinking. However, at the end of the story, it is stated that  There was nothing he could do but try to shut his eyes and concentrate on the warmth of the body that was now lying on top of him. He hoped it was Grant  (Treleaven).

As for the end of the film, some would argue that it is too ambiguous or that it is far too disturbing for those who are far more inclined to happy endings. Nevertheless, in some ways, it can be said that the film remained somehow faithful to Treleavens version of the story. Most of the scenes seem to be actual depictions of what is written in the story, and they carry the same atmosphere and sense of foreboding.

However, the final few scenes seem like Grant and the other guys are killing Ben, which is a certain twist, for in Treleavens story, the ending is also a cliffhanger, although it appears like he would be killed by the bugs. When Grant and his friends violate him, Ben is positioned outside the ring of light, which means that the bugs are less frightened to come closer. Also, the story merely ends with  He hoped it was Grant  (Treleaven).

Although there are certainly a few discrepancies between Carters film and Treleavens story, it cannot be denied that the overall concept remained intact. Apart from this, Smith was able to capture the essence of the story and depicted his interpretation of it through his foreboding film. There are very few films which capture the real essence of the original story version most filmmakers cut the important scenes or alter the story altogether that it does not bear any semblance to the original one. However, Smiths Bugcrush is one film that somehow remained faithful to the Treleavens story.