http://www.inquiriesjournal.com/keyword/film-history Inquiries Journal provides undergraduate and graduate students around the world a platform for the wide dissemination of academic work over a range of core disciplines. en-us Wed, 13 May 2026 23:21:30 -0400 Wed, 13 May 2026 23:21:30 -0400 http://www.inquiriesjournal.com/articles/1848/examining-the-complex-subjective-filmography-of-oliver-stone-a-comparison-and-critique-of-jfk-to-nixon-and-platoon-to-heaven-and-earth By Mang Lu - Oliver Stone's filmography has levied an unprecedented effect on the popular understanding of American history, especially of the turmoil surrounding the Vietnam War and the assassination of John F. Kennedy. His style has been described as highly subjective, fantastical, impassioned, insensitive, and unabashedly masculine. It is rather undisputed, however, that his features are not without cultural, racial, or religious shortsightedness. Stone's narrative style is particularly strong when working within a certain set of circumstances with respect to story and historical substance. Western, male... Tue, 08 Dec 2020 12:20 EST http://www.inquiriesjournal.com/articles/1848/examining-the-complex-subjective-filmography-of-oliver-stone-a-comparison-and-critique-of-jfk-to-nixon-and-platoon-to-heaven-and-earth http://www.inquiriesjournal.com/articles/740/power-and-presence-in-fritz-langs-m-1931 By Zachary B. Wunrow - In the penultimate scene of Fritz Lang’s M (1931), mentally-disturbed child murderer Hans Beckert (Peter Lorre) falls to his knees before a kangaroo court and cries out, “I have to roam the streets endlessly, always sensing that someone’s following me. It’s me! I’m shadowing myself!”  Beckert’s monologue conveys that a disparity exists between his shadow and his self, and it becomes apparent that his self cannot exist without his shadow.  For most of the film, the Beckert on screen is a “shadow,” a monster; only at the end is the... Tue, 11 Jun 2013 09:33 EDT http://www.inquiriesjournal.com/articles/740/power-and-presence-in-fritz-langs-m-1931 http://www.inquiriesjournal.com/articles/560/the-technological-evolution-of-filmmaking-and-its-relation-to-quality-in-cinema By Ryan A. Piccirillo - The development of motion picture complexity has been driven by a continuing technological evolution, ignited and manipulated by human initiative and inventiveness, which has afforded filmmakers the opportunity to practice a more complex craft to tell more complex stories. In concert with societal attitudes and proximity, this evolution has driven the development of distinct styles, movements, and methods that would have been impossible without increasingly advanced apparatus. However, while this technological progression has been linear, it has not necessarily coincided with a similar evolution... Sat, 13 Aug 2011 03:02 EDT http://www.inquiriesjournal.com/articles/560/the-technological-evolution-of-filmmaking-and-its-relation-to-quality-in-cinema http://www.inquiriesjournal.com/articles/206/hitlers-use-of-film-in-germany-leading-up-to-and-during-world-war-ii By William K. Boland - Lang’s masterpiece focuses on an oppressed lower class that rises to rebellion through the inspiration of one individual. Riefenstahl’s Triumph des Willens, however, is a propaganda piece about German society fighting outside international oppression and rebuilding itself to a world power under the guidance of “their hero,” Adolph Hitler. When compared to one another, Triumph des Willens is easily seen as a propaganda reinvention of Metropolis through the eyes of Hitler, envisioning himself as the hero of his people but really representing every ideal the original Metropolis... Thu, 18 Mar 2010 04:04 EDT http://www.inquiriesjournal.com/articles/206/hitlers-use-of-film-in-germany-leading-up-to-and-during-world-war-ii http://www.inquiriesjournal.com/articles/86/an-analysis-of-film-critic-andre-bazins-views-on-expressionism-and-realism-in-film By Katherine Blakeney - In fact to Bazin, reality and everything that can support it such as sound, deep focus, and invisible editing, define what film should be. Although he admits that “it was montage that gave birth to film as an art”[2], he is apprehensive of anything that supports “the creation of a sense or meaning not proper to the images themselves but derived entirely from their juxtaposition”.[3] He feels that any manipulation of the image such as the suggestive editing developed by Eisenstein or the dramatic sets and lighting of German Expressionism stands in the way of releasing film... Fri, 11 Dec 2009 11:23 EST http://www.inquiriesjournal.com/articles/86/an-analysis-of-film-critic-andre-bazins-views-on-expressionism-and-realism-in-film