The Animated Movie “Up” by Carl Fredricksen Essay (Book Review)

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Grief Conceptualization

The 2009 animated movie Up follows the adventures of Carl Fredricksen as he strives to achieve his deceased wife’s and his life-long dream of living near Paradise Falls. However, the story’s primary focus is not only the adventure but the grief with which the main character is dealing. As the movie shows, Carl met the love of his life, Ellie, when he was a young boy. The beginning part of Up shows the progression of their relationship. They grow from friends into a romantic couple, get married, and want to have children; however, they find out that Ellie is infertile. Determined to live their life happily, Carl and Ellie decide to save enough money to move to Paradise Falls but have to spend this money on trivial problems in their adult lives. The couple grows old together, and as Carl finally saves up enough to surprise his wife with tickets to Paradise Falls, Ellie suddenly dies from an illness (Keogh, 2010).

The rest of Up shows Carl’s grieving process and his eventual acceptance of his wife’s death. It is unclear how many months or even years pass where Cark is completely isolated from social interaction. His behavior is indicative of a person who cannot let go and go through a healthy process of grieving. In particular, the largest part of the movie depicts Carl’s inability to let go, which leads to him prioritizing possessions that hold memories of Ellie over his and other people’s lives.

In the scenes following Ellie’s death, Carl is completely different from the happy man who has been just shown to the audience. He is grumpy, unsociable, and rude – he avoids interactions with people, does not express positive emotions, and has a pessimistic outlook on life. It is clear that Carl feels sadness and anger over his wife’s passing. Possibly, Carl also felt numbness following Ellie’s death, as he quickly sequestered himself in his house.

As for cognition related to grief, Carl’s main symptom is preoccupation. While he does not express guilt about Ellie’s death, he believes that he is responsible for not achieving their childhood dream. Thus, he obsessively thinks about Ellie’s ideas and ruminates on what they could have accomplished in their younger years. His behavioral symptoms are defined by social withdrawal and aggressiveness toward people. A particular sign is that Carl carries and surrounds himself with objects that remind him of Ellie. He leaves Ellie’s favorite chair in its old place and does not allow anyone to sit in it. Carl also wears a handmade pin that Ellie gave him. As he decides to lift his house in the air and physically move to Paradise Hills, the whole place becomes a way for him to further distance himself from society and deny moving on with his life.

One of Carl’s limitations is that he does not appear to have any other relatives or friends left in his life. Another problem is his lack of desire to reach out for help or conversation. Nevertheless, Carl continues living and performing daily tasks – his routine of caring about his basic needs is not disturbed. He also does not show any stronger symptoms of depression, such as self-harm and suicidal ideation.

Following Worden’s (1996) description of grief mediators, it becomes apparent that Ellie played an essential role in Carl’s life. Ellie was his life-long partner and wife, and their relationship seemed very strong. Due to them being friends from early childhood, Carl was overly attached to Ellie, and they depended on each other for moral support. The death was natural but somewhat unexpected for Carl, as Ellie’s health declined quickly. Notably, the couple had another type of loss – as the couple could not have children, Ellie mourned the possibility of a family. Carl was supportive, and the two found solace in one another and their ultimate dream.

As for Carl’s personality variables, at the moment of Ellie’s passing, he was an older man who started engaging in avoidant emotional coping. The loss has affected Carl’s ego, as Carl sees his life as less important than completing Ellie’s dream of moving to Paradise Hills. As noted above, Carl did not have any emotional or social support immediately after Ellie’s death. The interaction with Russell, a young Wilderness Explorer, is possibly the longest event of socialization that Carl had for months. Finally, Carl’s concurrent stress is that newly built skyscrapers are occupying his house’s neighborhood, and the building company tries to take away Carl’s land as well. After a fight with the builders, Carl is ordered by the court to leave his home and move into a retirement home – this event motivates him to turn his house into a flying balloon and start his journey.

The movie is unclear about what culture Carl turns to when experiencing grief. The wedding and funeral scenes feature a church of ambiguous denomination, and Carl does not have any other religious items or rituals. Thus, one cannot describe any specific cultural considerations; Carl engages in a formal funeral and preserves mementos reminding him of Ellie. The lack of rituals and socialization may play a role in his inability to finish mourning.

There are many ways to assess grief, and most of them are formulated as questionnaires. For example, Neimeyer (2018) lists the Texas Revised Inventory of Grief (TRIG) and the Inventory of Complicated Grief (ICG) as two of the most commonly used tools to measure one’s emotional, behavioral, and cognitive responses to their loss. The ICG contains such statements as, “I find myself thinking about the person who died” and “I can’t help feeling angry about his/her death” (Prigerson et al., 1995, p. 72). Looking at all items listed in this assessment, one may suggest that Carl is likely experiencing complicated grief. The Brief Grief Questionnaire also exposes Carl’s prolonged grief in that Carl has distanced himself from people and still has trouble talking about his wife’s death (Neimeyer, 2018). Nevertheless, it is challenging to assess Carl’s grief, as he does not speak openly about his feelings following Ellie’s death in the movie. Most of the evaluation points are drawn from his behavior before leaving for Paradise Hills and interactions with Russell when they are up in the air.

Theoretical Frameworks

Two theories can be utilized to understand Carl’s situation better. The first one is Kübler-Ross’s five stages of grief – denial, anger, bargaining, depression, and acceptance (Kübler-Ross et al., 1972). As the scholar notes, people can skip some stages, and everyone experiences each step within their own timeframe. Looking at Carl’s social isolation, pessimistic outlook on life, and emotional responses to the world around him, one may conclude that Carl is at the stage of depression. While he does not experience anger about the death, he is angry at people who try to disturb his grieving process. At the same time, he cannot finish mourning and is stuck on a type of grief that brings him pain.

The second theory is Worden’s (1996) tasks of mourning that describe actions that people go through to complete grieving. The four tasks include accepting the loss, processing the pain, adjusting to a world without the deceased person, and starting a new life while finding an enduring connection with the departed (Worden, 1996). Carl seems to have accepted the death of his wife in that he does not deny her passing. He does not have delusions or distortions about Ellie, although he is seen talking to the house as if asking his wife’s opinion. Thus, Carl is between the first and second tasks since he does not adequately process his pain of grief. While he physically leaves the area where the family lived together for years, he does that not to find relief or new meaning of life, but to take away all mementos of Ellie and sequester himself in an area where he would not be bothered by society. Thus, Carl refuses to process his emotions and adjust to the world without Ellie.

Interventions

While Carl’s adventure eventually helps him to move on and leave his house in the movie, in real life, he would benefit from some psychological interventions to process his grief. For example, Johannsen et al. (2019) and Boelen and Smid (2017) suggest using complicated grief treatment, exposure therapy, and cognitive behavioral therapy. Moreover, group therapy is found helpful for grieving adults, as they can share their feelings with people who went through similar experiences (Chow et al., 2019). Overall, all approaches would require Carl to seek and agree to help and open up about his feelings, which may be challenging for him.

Boelen, P. A., & Smid, G. E. (2017). Disturbed grief: Prolonged grief disorder and persistent complex bereavement disorder. BMJ , 357 , j2016.

Chow, A. Y., Caserta, M., Lund, D., Suen, M. H., Xiu, D., Chan, I. K., & Chu, K. S. (2019). Dual-process bereavement group intervention (DPBGI) for widowed older adults. The Gerontologist , 59 (5), 983-994.

Johannsen, M., Damholdt, M. F., Zachariae, R., Lundorff, M., Farver-Vestergaard, I., & O’Connor, M. (2019). Psychological interventions for grief in adults: A systematic review and meta-analysis of randomized controlled trials. Journal of Affective Disorders , 253 , 69-86.

Keogh, A. (2010). ‘Up’ with grief: Film review . Open to Hope. Web.

Kübler-Ross, E., Wessler, S., & Avioli, L. V. (1972). On death and dying. Jama , 221 (2), 174-179.

Neimeyer, R. A. (2018). Complicated grief: Assessment and intervention. Psikiyatride Güncel Yaklaşımlar-Current Approaches in Psychiatry , 10 (3), 269-279.

Prigerson, H. G., Maciejewski, P. K., Reynolds III, C. F., Bierhals, A. J., Newsom, J. T., Fasiczka, A., Frank, E., Doman, J., & Miller, M. (1995). Inventory of Complicated Grief: A scale to measure maladaptive symptoms of loss. Psychiatry Research , 59 (1-2), 65-79.

Worden, J. W. (1996). Tasks and mediators of mourning: A guideline for the mental health practitioner. In Session: Psychotherapy in Practice: Psychotherapy in Practice , 2 (4), 73-80.

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Crafting a Powerful Thesis Statement for a Movie Review: Examples and Tips

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  • October 28, 2023

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Introduction

writing a movie review can be an exciting task, but IT requires careful consideration and thought. One of the most important elements of a movie review is the thesis statement, as IT sets the tone and direction for the entire review. In this article, we will explore the process of crafting a powerful thesis statement for a movie review, providing you with helpful examples and tips along the way.

What is a Thesis Statement in a Movie Review?

A thesis statement in a movie review presents the main argument or opinion that you will be discussing and supporting throughout your review. IT typically appears near the end of your introduction and should be clear, concise, and thought-provoking. The thesis statement should provide an overall evaluation or interpretation of the movie, highlighting the key aspects you will be focusing on in your review.

Examples of Powerful Thesis Statements

Let’s now explore some examples of powerful thesis statements to give you a better understanding of how to structure your own. Remember, these examples are not meant to be copied directly but rather to serve as inspiration for crafting your unique thesis statement:

  • Example 1: The movie “Inception” explores the convoluted depths of the human mind, challenging our perception of reality and leaving audiences questioning the nature of dreams.
  • Example 2: Through its stunning cinematography and emotional storytelling, “The Shawshank Redemption” showcases the resilience of the human spirit and the power of hope in the face of adversity.
  • Example 3: In “Black Swan,” the director delves into the dark and obsessive world of ballet, blurring the lines between sanity and insanity, leading to a mesmerizing and haunting cinematic experience.

Tips for Crafting a Powerful Thesis Statement

Now that you’ve seen some examples, let’s dive into some tips to help you craft a powerful thesis statement for your movie review:

  • Identify the central theme: Analyze the movie and identify the central theme or message being conveyed. This will serve as the basis for your thesis statement.
  • Be specific: Make your thesis statement clear and specific, avoiding vague language or generalizations. This will make your argument more compelling and focused.
  • Consider the audience: Think about the intended audience of your review and tailor your thesis statement to resonate with them. Different audiences may have varying expectations or interests.
  • Support with evidence: Your thesis statement should be supported by evidence from the movie. Incorporate specific scenes, dialogues, or character developments to strengthen your argument.
  • Stay objective: While expressing your personal opinion is essential, ensure that your thesis statement remains objective and balanced. Avoid overly biased language that may detract from the credibility of your review.

Crafting a powerful thesis statement for a movie review is crucial in setting the tone and direction for your review. IT should provide a clear evaluation or interpretation of the movie, supported by evidence and examples. By following the tips outlined in this article and considering the provided examples, you can create a compelling thesis statement that engages your readers and enhances the overall quality of your movie review.

1. Can I include my personal opinion in the thesis statement?

Yes, you can include your personal opinion in the thesis statement, but ensure that IT remains objective and supported by evidence from the movie.

2. Should I mention the title of the movie in my thesis statement?

While IT is not mandatory, IT is recommended to include the title of the movie in your thesis statement to provide clarity and context.

3. How long should my thesis statement be?

A thesis statement should be concise and to the point. Aim for a sentence or two that effectively conveys your main argument.

4. Can I change my thesis statement after writing the review?

Yes, IT is possible to make adjustments to your thesis statement if you feel IT needs refinement or modification based on your analysis and review process.

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The Writing Center • University of North Carolina at Chapel Hill

Film Analysis

What this handout is about.

This handout introduces film analysis and and offers strategies and resources for approaching film analysis assignments.

Writing the film analysis essay

Writing a film analysis requires you to consider the composition of the film—the individual parts and choices made that come together to create the finished piece. Film analysis goes beyond the analysis of the film as literature to include camera angles, lighting, set design, sound elements, costume choices, editing, etc. in making an argument. The first step to analyzing the film is to watch it with a plan.

Watching the film

First it’s important to watch the film carefully with a critical eye. Consider why you’ve been assigned to watch a film and write an analysis. How does this activity fit into the course? Why have you been assigned this particular film? What are you looking for in connection to the course content? Let’s practice with this clip from Alfred Hitchcock’s Vertigo (1958). Here are some tips on how to watch the clip critically, just as you would an entire film:

  • Give the clip your undivided attention at least once. Pay close attention to details and make observations that might start leading to bigger questions.
  • Watch the clip a second time. For this viewing, you will want to focus specifically on those elements of film analysis that your class has focused on, so review your course notes. For example, from whose perspective is this clip shot? What choices help convey that perspective? What is the overall tone, theme, or effect of this clip?
  • Take notes while you watch for the second time. Notes will help you keep track of what you noticed and when, if you include timestamps in your notes. Timestamps are vital for citing scenes from a film!

For more information on watching a film, check out the Learning Center’s handout on watching film analytically . For more resources on researching film, including glossaries of film terms, see UNC Library’s research guide on film & cinema .

Brainstorming ideas

Once you’ve watched the film twice, it’s time to brainstorm some ideas based on your notes. Brainstorming is a major step that helps develop and explore ideas. As you brainstorm, you may want to cluster your ideas around central topics or themes that emerge as you review your notes. Did you ask several questions about color? Were you curious about repeated images? Perhaps these are directions you can pursue.

If you’re writing an argumentative essay, you can use the connections that you develop while brainstorming to draft a thesis statement . Consider the assignment and prompt when formulating a thesis, as well as what kind of evidence you will present to support your claims. Your evidence could be dialogue, sound edits, cinematography decisions, etc. Much of how you make these decisions will depend on the type of film analysis you are conducting, an important decision covered in the next section.

After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:

  • Make sure you understand the prompt and what you are being asked to do. Remember that this is ultimately an assignment, so your thesis should answer what the prompt asks. Check with your professor if you are unsure.
  • In most cases, the director’s name is used to talk about the film as a whole, for instance, “Alfred Hitchcock’s Vertigo .” However, some writers may want to include the names of other persons who helped to create the film, including the actors, the cinematographer, and the sound editor, among others.
  • When describing a sequence in a film, use the literary present. An example could be, “In Vertigo , Hitchcock employs techniques of observation to dramatize the act of detection.”
  • Finding a screenplay/script of the movie may be helpful and save you time when compiling citations. But keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).
  • Go beyond describing basic film elements by articulating the significance of these elements in support of your particular position. For example, you may have an interpretation of the striking color green in Vertigo , but you would only mention this if it was relevant to your argument. For more help on using evidence effectively, see the section on “using evidence” in our evidence handout .

Also be sure to avoid confusing the terms shot, scene, and sequence. Remember, a shot ends every time the camera cuts; a scene can be composed of several related shots; and a sequence is a set of related scenes.

Different types of film analysis

As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write.

Semiotic analysis

Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context.

For instance, a writer could explore the symbolism of the flowers in Vertigo by connecting the images of them falling apart to the vulnerability of the heroine.

Here are a few other questions to consider for this type of analysis:

  • What objects or images are repeated throughout the film?
  • How does the director associate a character with small signs, such as certain colors, clothing, food, or language use?
  • How does a symbol or object relate to other symbols and objects, that is, what is the relationship between the film’s signs?

Many films are rich with symbolism, and it can be easy to get lost in the details. Remember to bring a semiotic analysis back around to answering the question “So what?” in your thesis.

Narrative analysis

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell.

For example, you could take the same object from the previous example—the flowers—which meant one thing in a semiotic analysis, and ask instead about their narrative role. That is, you might analyze how Hitchcock introduces the flowers at the beginning of the film in order to return to them later to draw out the completion of the heroine’s character arc.

To create this type of analysis, you could consider questions like:

  • How does the film correspond to the Three-Act Structure: Act One: Setup; Act Two: Confrontation; and Act Three: Resolution?
  • What is the plot of the film? How does this plot differ from the narrative, that is, how the story is told? For example, are events presented out of order and to what effect?
  • Does the plot revolve around one character? Does the plot revolve around multiple characters? How do these characters develop across the film?

When writing a narrative analysis, take care not to spend too time on summarizing at the expense of your argument. See our handout on summarizing for more tips on making summary serve analysis.

Cultural/historical analysis

One of the most common types of analysis is the examination of a film’s relationship to its broader cultural, historical, or theoretical contexts. Whether films intentionally comment on their context or not, they are always a product of the culture or period in which they were created. By placing the film in a particular context, this type of analysis asks how the film models, challenges, or subverts different types of relations, whether historical, social, or even theoretical.

For example, the clip from Vertigo depicts a man observing a woman without her knowing it. You could examine how this aspect of the film addresses a midcentury social concern about observation, such as the sexual policing of women, or a political one, such as Cold War-era McCarthyism.

A few of the many questions you could ask in this vein include:

  • How does the film comment on, reinforce, or even critique social and political issues at the time it was released, including questions of race, ethnicity, gender, and sexuality?
  • How might a biographical understanding of the film’s creators and their historical moment affect the way you view the film?
  • How might a specific film theory, such as Queer Theory, Structuralist Theory, or Marxist Film Theory, provide a language or set of terms for articulating the attributes of the film?

Take advantage of class resources to explore possible approaches to cultural/historical film analyses, and find out whether you will be expected to do additional research into the film’s context.

Mise-en-scène analysis

A mise-en-scène analysis attends to how the filmmakers have arranged compositional elements in a film and specifically within a scene or even a single shot. This type of analysis organizes the individual elements of a scene to explore how they come together to produce meaning. You may focus on anything that adds meaning to the formal effect produced by a given scene, including: blocking, lighting, design, color, costume, as well as how these attributes work in conjunction with decisions related to sound, cinematography, and editing. For example, in the clip from Vertigo , a mise-en-scène analysis might ask how numerous elements, from lighting to camera angles, work together to present the viewer with the perspective of Jimmy Stewart’s character.

To conduct this type of analysis, you could ask:

  • What effects are created in a scene, and what is their purpose?
  • How does this scene represent the theme of the movie?
  • How does a scene work to express a broader point to the film’s plot?

This detailed approach to analyzing the formal elements of film can help you come up with concrete evidence for more general film analysis assignments.

Reviewing your draft

Once you have a draft, it’s helpful to get feedback on what you’ve written to see if your analysis holds together and you’ve conveyed your point. You may not necessarily need to find someone who has seen the film! Ask a writing coach, roommate, or family member to read over your draft and share key takeaways from what you have written so far.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Aumont, Jacques, and Michel Marie. 1988. L’analyse Des Films . Paris: Nathan.

Media & Design Center. n.d. “Film and Cinema Research.” UNC University Libraries. Last updated February 10, 2021. https://guides.lib.unc.edu/filmresearch .

Oxford Royale Academy. n.d. “7 Ways to Watch Film.” Oxford Royale Academy. Accessed April 2021. https://www.oxford-royale.com/articles/7-ways-watch-films-critically/ .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Film Analysis

Crafting a Winning Thesis Statement in Film Analysis: A Step-by-Step Guide

Dec 6, 2023

Avinash Prabhakaran

Film analysis is a captivating and insightful way to explore the world of cinema. Whether you're a film student, a cinephile, or just someone who enjoys dissecting movies, you'll find that forming a solid thesis statement is the cornerstone of a successful film analysis. 

A thesis statement serves as the roadmap for your analysis, guiding your reader through your interpretation of the film's elements and themes. 

In this blog post, we'll outline the steps to help you craft an effective thesis statement for your film analysis.

Understand the Film's Context

Before diving into your analysis, it's crucial to understand the film's context. This includes the director's background, the film's era, its genre, and any cultural or historical factors that may have influenced its production. Gathering this context will help you form a more informed thesis statement.

Watch the Film Multiple Times

You must thoroughly watch the film multiple times to craft a thoughtful thesis statement. Each viewing will reveal new details and nuances that you may have missed initially. Take notes during your viewings to record your observations and ideas.

Identify Key Themes and Elements

During your viewings, pay close attention to the film's themes, characters, plot, cinematography, sound, and other elements. Think about what the director is trying to convey and how they use these elements. Make a list of the most prominent themes and elements you observe.

Formulate a Research Question

Based on your observations and analysis, formulate a research question you want to answer in your essay. This question should be open-ended and should invite critical thinking. For example, "How does the use of color symbolism in 'The Shawshank Redemption' reflect the theme of hope?

Brainstorm and Organize Ideas

Now, brainstorm your ideas related to the research question. Think about the evidence you've gathered and how it supports your interpretation of the film. Organize these ideas into a logical structure that will guide your analysis.

Craft a Thesis Statement

A thesis statement should be concise, clear, and arguable. It should encapsulate the main argument of your analysis and give the reader a clear sense of what to expect in your essay. Here are some tips for crafting a solid thesis statement:

Make it specific:  Avoid vague or overly broad statements. Be precise in what you're arguing.

Make it debatable:  Your thesis should invite discussion and disagreement. Avoid stating the obvious.

Make it relevant:  Ensure that your thesis directly addresses the research question and the film's themes or elements.

Example Thesis Statement:

"In Christopher Nolan's 'Inception,' the use of dreams as a narrative device serves to blur the line between reality and perception, challenging conventional notions of truth and subjectivity."

Examples to Support the Thesis:

Dreams as a Narrative Device

Throughout 'Inception,' the characters enter various dream levels, each with its own set of rules and physics. Nolan uses this complex narrative structure to keep the audience engaged and constantly questioning what is real.

The manipulation of time within dreams adds another layer of complexity to the narrative. Time moves differently at each dream level, leading to intricate storytelling that challenges traditional linear storytelling.

Blurring Reality and Perception

The film consistently blurs the boundaries between dreams and reality, making it difficult for the characters and the audience to distinguish between them. This intentional ambiguity creates a sense of unease and intrigue.

The use of the spinning top as a totem to determine reality in the film's closing scene encapsulates the theme of perception versus reality. The spinning top symbolizes the characters' struggle to discern the truth.

Challenging Conventional Notions of Truth and Subjectivity

'Inception' invites viewers to question their understanding of reality and truth. The film challenges the idea of an objective reality by presenting multiple layers of dreams and subjective experiences.

The film's enigmatic ending, which leaves the spinning top's fate unresolved, forces viewers to confront their subjectivity and interpretation of the story's conclusion.

By examining these specific examples, it becomes evident how using dreams as a narrative device in 'Inception' blurs the line between reality and perception, ultimately challenging conventional notions of truth and subjectivity as proposed in the thesis statement. 

This exemplifies the importance of using concrete evidence from the film to validate your interpretation as outlined in your thesis statement.

Forming a thesis statement in film analysis is vital in creating a compelling and well-structured essay. 

By understanding the film's context, closely examining its elements, and crafting a clear and arguable thesis statement, you'll be well on your way to conducting a thorough and insightful analysis that will engage your readers and deepen your understanding of cinema. Happy analyzing!

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ABSTRACT AN ANALYSIS OF MORAL VALUES OF THE MAIN CHARACTER OF THE MOVIE ‘UP’ BY BOB PETERSON BY: PUPUT SUMARNI This research about moral values of the main character of the movie „UP‟ by Bob Peterson. The subject of this research is a film entitled UP by Bob Peterson. The object of this research is the monologue of the main character in the film. In this research, the researcher used qualitative data analysis method, is used to can identify the visible message and not visible from the document being researched from the part of the existing part in the movie, capture the picture in movie that represents an event in a related scene which has a moral message and take some dialog conversation or narration by the charachter who represented the moral message. The qualitative research that describes, notes, analyzing and interpreting meanings, that are contained in the film related to the meaning of the moral message contained in the movie. Alwasilah said the result/goal of qualitative research is not to find generalization, but instead looking for a comprehending of the meaning of the problem by collecting and doing the data analysis. The results of this study indicate that the moral values contained in the UP movie are courage, wisdom, attention, and loyalty. Moral values are very important to be instilled in children, because they will be useful in the future. Moral value is something that is considered to affect a person's character. If everyone has good moral values, a safe and peaceful environment will be created. Key words : Moral Value, UP Movie, Qualitative Data Analysis Method

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How to Write a Film Analysis Essay: Examples, Outline, & Tips

A film analysis essay might be the most exciting assignment you have ever had! After all, who doesn’t love watching movies? You have your favorite movies, maybe something you watched years ago, perhaps a classic, or a documentary. Or your professor might assign a film for you to make a critical review. Regardless, you are totally up for watching a movie for a film analysis essay.

However, once you have watched the movie, facing the act of writing might knock the wind out of your sails because you might be wondering how to write a film analysis essay. In summary, writing movie analysis is not as difficult as it might seem, and Custom-writing.org experts will prove this. This guide will help you choose a topic for your movie analysis, make an outline, and write the text.️ Film analysis examples are added as a bonus! Just keep reading our advice on how to get started.

❓ What Is a Film Analysis Essay?

  • 🚦 Film Analysis Types

📽️ Movie Analysis Format

✍️ how to write a film analysis, 🎦 film analysis template, 🎬 film analysis essay topics.

  • 📄 Essay Examples

🔗 References

To put it simply, film analysis implies watching a movie and then considering its characteristics : genre, structure, contextual context, etc. Film analysis is usually considered to be a form of rhetorical analysis . The key to success here is to formulate a clear and logical argument, supporting it with examples.

🚦 Film Analysis Essay Types

Since a film analysis essay resembles literature analysis, it makes sense that there are several ways to do it. Its types are not limited to the ones described here. Moreover, you are free to combine the approaches in your essay as well. Since your writing reflects your own opinion, there is no universal way to do it.

  • Semiotic analysis . If you’re using this approach, you are expected to interpret the film’s symbolism. You should look for any signs that may have a hidden meaning. Often, they reveal some character’s features. To make the task more manageable, you can try to find the objects or concepts that appear on the screen multiple times. What is the context they appear in? It might lead you to the hidden meaning of the symbols.
  • Narrative structure analysis . This type is quite similar to a typical literature guide. It includes looking into the film’s themes, plot, and motives. The analysis aims to identify three main elements: setup, confrontation, and resolution. You should find out whether the film follows this structure and what effect it creates. It will make the narrative structure analysis essay if you write about the theme and characters’ motivations as well.
  • Contextual analysis . Here, you would need to expand your perspective. Instead of focusing on inner elements, the contextual analysis looks at the time and place of the film’s creation. Therefore, you should work on studying the cultural context a lot. It can also be a good idea to mention the main socio-political issues of the time. You can even relate the film’s success to the director or producer and their career.
  • Mise-en-scene analysis . This type of analysis works with the most distinctive feature of the movies, audiovisual elements. However, don’t forget that your task is not only to identify them but also to explain their importance. There are so many interconnected pieces of this puzzle: the light to create the mood, the props to show off characters’ personalities, messages hidden in the song lyrics.

Film analysis types.

To write an effective film analysis essay, it is important to follow specific format requirements that include the following:

  • Standard essay structure. Just as with any essay, your analysis should consist of an introduction with a strong thesis statement, body paragraphs, and a conclusion. The main body usually includes a summary and an analysis of the movie’s elements.
  • Present tense for events in the film. Use the present tense when describing everything that happens in the movie. This way, you can make smooth transitions between describing action and dialogue. It will also improve the overall narrative flow.
  • Proper formatting of the film’s title. Don’t enclose the movie’s title in quotation marks; instead, italicize it. In addition, use the title case : that is, capitalize all major words.
  • Proper use of the characters’ names. When you mention a film character for the first time, name the actor portraying them. After that, it is enough to write only the character’s name.
  • In-text citations. Use in-text citations when describing certain scenes or shots from the movie. Format them according to your chosen citation style. If you use direct quotes, include the time-stamp range instead of page numbers. Here’s how it looks in the MLA format: (Smith 0:11:24–0:12:35).

Even though film analysis is similar to the literary one, you might still feel confused with where to begin. No need to worry; there are only a few additional steps you need to consider during the writing process.

Need more information? It can be found in the video below.

Starting Your Film Analysis Essay

There are several things you need to do before you start writing your film analysis paper. First and foremost, you have to watch the movie. Even if you have seen it a hundred times, you need to watch it again to make a good film analysis essay.

Note that you might be given an essay topic or have to think of it by yourself. If you are free to choose a topic for your film analysis essay, reading some critical reviews before you watch the film might be a good idea. By doing this in advance, you will already know what to look for when watching the movie.

In the process of watching, keep the following tips in mind:

  • Consider your impression of the movie
  • Enumerate memorable details
  • Try to interpret the movie message in your way
  • Search for the proof of your ideas (quotes from the film)
  • Make comments on the plot, settings, and characters
  • Draw parallels between the movie you are reviewing and some other movies

Making a Film Analysis Essay Outline

Once you have watched and possibly re-watched your assigned or chosen movie from an analytical point of view, you will need to create a movie analysis essay outline . The task is pretty straightforward: the outline can look just as if you were working on a literary analysis or an article analysis.

  • Introduction : This includes the basics of the movie, including the title, director, and the date of release. You should also present the central theme or ideas in the movie and your thesis statement .
  • Summary : This is where you take the time to present an overview of the primary concepts in the movie, including the five Ws (who, what, when, where, and why)—don’t forget how!—as well as anything you wish to discuss that relates to the point of view, style, and structure.
  • Analysis : This is the body of the essay and includes your critical analysis of the movie, why you did or did not like it, and any supporting material from the film to support your views. It would help if you also discussed whether the director and writer of the movie achieved the goal they set out to achieve.
  • Conclusion: This is where you can state your thesis again and provide a summary of the primary concepts in a new and more convincing manner, making a case for your analysis. You can also include a call-to-action that will invite the reader to watch the movie or avoid it entirely.

You can find a great critical analysis template at Thompson Rivers University website. In case you need more guidance on how to write an analytical paper, check out our article .

Writing & Editing Your Film Analysis Essay

We have already mentioned that there are differences between literary analysis and film analysis. They become especially important when one starts writing their film analysis essay.

First of all, the evidence you include to support the arguments is not the same. Instead of quoting the text, you might need to describe the audiovisual elements.

However, the practice of describing the events is similar in both types. You should always introduce a particular sequence in the present tense. If you want to use a piece of a dialogue between more than two film characters, you can use block quotes. However, since there are different ways to do it, confirm with your supervisor.

For your convenience, you might as well use the format of the script, for which you don’t have to use quotation marks:

ELSA: But she won’t remember I have powers?

KING: It’s for the best.

Finally, to show off your proficiency in the subject, look at the big picture. Instead of just presenting the main elements in your analysis, point out their significance. Describe the effect they make on the overall impression form the film. Moreover, you can dig deeper and suggest the reasons why such elements were used in a particular scene to show your expertise.

Stuck writing a film analysis essay? Worry not! Use our template to structure your movie analysis properly.

Introduction

  • The title of the film is… [title]
  • The director is… [director’s name] He/she is known for… [movies, style, etc.]
  • The movie was released on… [release date]
  • The themes of the movie are… [state the film’s central ideas]
  • The film was made because… [state the reasons]
  • The movie is… because… [your thesis statement].
  • The main characters are… [characters’ names]
  • The events take place in… [location]
  • The movie is set in… [time period]
  • The movie is about… [state what happens in the film and why]
  • The movie left a… [bad, unforgettable, lasting, etc.] impression in me.
  • The script has… [a logical sequence of events, interesting scenes, strong dialogues, character development, etc.]
  • The actors portray their characters… [convincingly, with intensity, with varying degree of success, in a manner that feels unnatural, etc.]
  • The soundtrack is [distracting, fitting, memorable, etc.]
  • Visual elements such as… [costumes, special effects, etc.] make the film [impressive, more authentic, atmospheric, etc.]
  • The film succeeds/doesn’t succeed in engaging the target audience because it… [tells a compelling story, features strong performances, is relevant, lacks focus, is unauthentic, etc.]
  • Cultural and societal aspects make the film… [thought-provoking, relevant, insightful, problematic, polarizing, etc.]
  • The director and writer achieved their goal because… [state the reasons]
  • Overall, the film is… [state your opinion]
  • I would/wouldn’t recommend watching the movie because… [state the reasons]
  • Analysis of the film Inception by Christopher Nolan .
  • Examine the rhetoric in the film The Red Balloon .
  • Analyze the visual effects of Zhang Yimou’s movie Hero .
  • Basic concepts of the film Interstellar by Christopher Nolan.
  • The characteristic features of Federico Fellini’s movies.
  • Analysis of the movie The Joker .
  • The depiction of ethical issues in Damaged Care .
  • Analyze the plot of the film Moneyball .
  • Explore the persuasive techniques used in Henry V .
  • Analyze the movie Killing Kennedy .
  • Discuss the themes of the film Secret Window .
  • Describe the role of audio and video effects in conveying the message of the documentary Life in Renaissance .
  • Compare and analyze the films Midnight Cowboy and McCabe and Mrs. Miller .
  • Analysis of the movie Rear Window .
  • The message behind the film Split .
  • Analyze the techniques used by Tim Burton in his movie Sleepy Hollow .
  • The topic of children’s abuse and importance of trust in Joseph Sargent’s Sybil .
  • Examine the themes and motives of the film Return to Paradise by Joseph Ruben.
  • The issues of gender and traditions in the drama The Whale Rider.
  • Analysis of the film Not Easily Broken by Duke Bill.
  • The symbolism in R. Scott’s movie Thelma and Louise .
  • The meaning of audiovisual effects in Citizen Kane .
  • Analyze the main characters of The Girl with the Dragon Tattoo .
  • Discuss the historical accuracy of the documentary The Civil War .
  • Analysis of the movie Through a Glass Darkly .
  • Explore the core idea of the comedy Get Out .
  • The problem of artificial intelligence and human nature in Ex Machina .
  • Three principles of suspense used in the drama The Fugitive .
  • Examine the ideas Michael Bay promotes in Armageddon .
  • Analyze the visual techniques used in Tenet by Christopher Nolan.
  • Analysis of the movie The Green Mile .
  • Discrimination and exclusion in the film The Higher Learning .
  • The hidden meaning of the scenes in Blade Runner .
  • Compare the social messages of the films West Side Story and Romeo + Juliet .
  • Highlighting the problem of children’s mental health in the documentary Kids in Crisis .
  • Discuss the ways Paul Haggis establishes the issue of racial biases in his movie Crash .
  • Analyze the problem of moral choice in the film Gone Baby Gone .
  • Analysis of the historical film Hacksaw Ridge .
  • Explore the main themes of the film Mean Girls by Mark Walters .
  • The importance of communication in the movie Juno .
  • Describe the techniques the authors use to highlight the problems of society in Queen and Slim .
  • Examine the significance of visual scenes in My Family/ Mi Familia .
  • Analysis of the thriller Salt by Phillip Noyce.
  • Analyze the message of Greg Berlanti’s film Love, Simon .
  • Interpret the symbols of the film The Wizard of Oz (1939).
  • Discuss the modern issues depicted in the film The Corporation .
  • Moral lessons of Edward Zwick’s Blood Diamond .
  • Analysis of the documentary Solitary Nation .
  • Describe the audiovisual elements of the film Pride and Prejudice (2005) .
  • The problem of toxic relationships in Malcolm and Marie .

📄 Film Analysis Examples

Below you’ll find two film analysis essay examples. Note that the full versions are downloadable for free!

Film Analysis Example #1: The Intouchables

Raising acute social problems in modern cinema is a common approach to draw the public’s attention to the specific issues and challenges of people facing crucial obstacles. As a film for review, The Intouchables by Oliver Nakache and Éric Toledano will be analyzed, and one of the themes raised in this movie is the daily struggle of the person with severe disabilities. This movie is a biographical drama with comedy elements. The Intouchables describes the routine life of a French millionaire who is confined to a wheelchair and forced to receive help from his servants. The acquaintance of the disabled person with a young and daring man from Parisian slums changes the lives of both radically. The film shows that for a person with disabilities, recognition as a full member of society is more important than sympathy and compassion, and this message expressed comically raises an essential problem of human loneliness.

Movie Analysis Example #2: Parasite

Parasite is a 2019 South Korean black comedy thriller movie directed by Bong Joon-ho and is the first film with a non-English script to win Best Picture at the Oscars in 2020. With its overwhelming plot and acting, this motion picture retains a long-lasting effect and some kind of shock. The class serves as a backbone and a primary objective of social commentary within the South Korean comedy/thriller (Kench, 2020). Every single element and detail in the movie, including the student’s stone, the contrasting architecture, family names, and characters’ behavior, contribute to the central topic of the universal problem of classism and wealth disparity. The 2020 Oscar-winning movie Parasite (2019) is a phenomenal cinematic portrayal and a critical message to modern society regarding the severe outcomes of the long-established inequalities within capitalism.

Want more examples? Check out this bonus list of 10 film analysis samples. They will help you gain even more inspiration.

  • “Miss Representation” Documentary Film Analysis
  • “The Patriot”: Historical Film Analysis
  • “The Morning Guy” Film Analysis
  • 2012′ by Roland Emmerich Film Analysis
  • “The Crucible” (1996) Film Analysis
  • The Aviator’ by Martin Scorsese Film Analysis
  • The “Lions for Lambs” Film Analysis
  • Bill Monroe – Father of Bluegrass Music Film Analysis
  • Lord of the Rings’ and ‘Harry Potter’ Film Analysis
  • Red Tails by George Lucas Film Analysis

Film Analysis Essay FAQ

  • Watch the movie or read a detailed plot summary.
  • Read others’ film reviews paying attention to details like key characters, movie scenes, background facts.
  • Compose a list of ideas about what you’ve learned.
  • Organize the selected ideas to create a body of the essay.
  • Write an appropriate introduction and conclusion.

The benefits of analyzing a movie are numerous . You get a deeper understanding of the plot and its subtle aspects. You can also get emotional and aesthetic satisfaction. Film analysis enables one to feel like a movie connoisseur.

Here is a possible step by step scenario:

  • Think about the general idea that the author probably wanted to convey.
  • Consider how the idea was put across: what characters, movie scenes, and details helped in it.
  • Study the broader context: the author’s other works, genre essentials, etc.

The definition might be: the process of interpreting a movie’s aspects. The movie is reviewed in terms of details creating the artistic value. A film analysis essay is a paper presenting such a review in a logically structured way.

  • Film Analysis – UNC Writing Center
  • Film Writing: Sample Analysis // Purdue Writing Lab
  • Yale Film Analysis – Yale University
  • Film Terms And Topics For Film Analysis And Writing
  • Questions for Film Analysis (Washington University)
  • Resources on Film Analysis – Cinema Studies (University of Toronto)
  • Does Film Analysis Take the Magic out of Movies?
  • Film Analysis Research Papers – Academia.edu
  • What’s In a Film Analysis Essay? Medium
  • Analysis of Film – SAGE Research Methods
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Have you ever read a review and asked yourself how the critic arrived at a different interpretation for the film? You are sure that you saw the same movie, but you interpreted it differently. Most moviegoers go to the cinema for pleasure and entertainment. There’s a reason why blockbuster movies attract moviegoers – cinema is a form of escape, a way to momentarily walk away from life’s troubles.

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An Analysis of Directive Speech Acts in "UP" Movie

Sari, Anis Kurnia (2022) An Analysis of Directive Speech Acts in "UP" Movie. Undergraduate (S1) thesis, IAIN Ponorogo.

ABSTRACT SARI, ANIS KURNIA. 2022. An Analysis of Directive Speech Acts Used in “UP” movie: thesis, English Education Department, Faculty of Teaching and Education, Institute Islamic College of Ponorogo. Advisor: Wiwin Widyawati, M. Hum. Keywords: Directive, Dialogue, Speech Acts, “UP” Movie The directive act is one type of speech acts that has an essential function in communication. Directive speech acts are intended to get the conversation used to give instruction from the speaker to the listener. By utterance, the speaker tries to get the address to perform some act or refrain from performing an act. It means, the listener does what the speaker wants. Directive speech acts become important in communication among people. It is because the communication that happens must be said clearly. So, others will understand and there will not be any misunderstandings between the speaker and the listener. The purposes of this research are: 1) to describe and explain the types of directive speech acts utterances that appear in Up movie. 2) to describe and explain the dominant type of directive speech acts utterances in Up movie. This research used library research as the research design and descriptive qualitative research as the research approach. The researcher conducted the data based on the main characters in Up movie. The primary data source of this research used Up movie script and the Up movie. Then, the secondary data source from journals, books, and internet websites. In this research, the researcher used documentary technique to collect the data. The result of this research showed that there are four types of directive speech acts are used in the Up movie script. These four types are commands, orders, requests, and suggestions, with total number of 106 utterances contained by command with 52 utterances (49%), order with 19 utterances (17,9%), request with 17 utterances (16,1%), suggestion with 18 utterances (16,9%). As a result, command is the dominant type of directive speech acts found in Up movie. The contribution of Up movie to education world is that can be the reference as a media for the teaching-learning process.

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An Analysis on Moral Value in UP Movie

Shaliha, Azuna Fitratush (2021) An Analysis on Moral Value in UP Movie. Undergraduate (S1) thesis, IAIN Kediri.

Movie, also known as a film, is one of types in visual communication. It shows the moving pictures that tell a story in a cinema or on television. In this way, language learning will become more enjoyable because movie is not only as interesting media in learning but also it can be introduced for the people with moral values. Then, watching movie can help to develop people's motivations in learning English. This research is entitled “An Analysis on Moral Value in “Up” Movie”. The research design of this research is qualitative method. The researcher used descriptive method in this research. The aim of this research is to find and describe the moral values in up movie. Up movie was directed by Pete Doctor and co-directed by Bob Peterson. Up movie was written by Pete Doctor, Bob Peterson and Tom McCarthy. It told about elderly widower Carl Fredricksen having a journey to Paradise Falls by tying thousands of balloons to his house. Ellie has dream to go Paradise Falls. Carl Fredricksen promise to go Paradise Falls with Ellie and their house. In collecting thedata, the writer used two source, those were primary and secondary sources. The primary data is script of the movie and the secondary data such as books, internet, and others. The result of research showed that there were ten moral values in up movie, there were loyalty 6 dialogs, self- reliance 2 dialogs, honesty 1 dialog, love 5 dialogs, affection 1 dialog, self-discipline 3 dialogs, respect 2 dialogs, bravery 3 dialogs, peace ability 2 dialogs, and kind and friendly 2 dialogs. The most dominant moral value in this research is loyalty that found six dialogs.

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The Famous Opening Sequence of ‘Up’ Originally Looked Very Different

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‘In a Violent Nature’ Does Something Horror Movies Never Do and Is Better For It

Viggo mortensen & kirsten dunst are on the run in this twisty mystery thriller, you can't help rooting for denzel washington in this intense thriller.

When it comes to which Pixar film is guaranteed to make you sob like the filmmakers personally visited your home and personally ripped your chest open, there's no shortage of options. After all, the animation studio made its exalted name through nuanced moments of unforgettable poignancy. For most, however, the answer to "Which Pixar movie destroys you the most?" is probably not one film but a single sequence: the opening ten minutes of Up . Just reading that sentence might cause a fight-or-flight response in some readers: "No," they cry out while running away. "Please, anything but Up! "

Obviously, this is a slight exaggeration, but saying those ten minutes marked a shift in the filmmaking landscape is an understatement. Few were prepared for a story within a story so powerful that just the evocation of its title doubles as an emotional detonation. Nostalgia often applies rose-tinted glasses to beloved media, but Up simply boasts one of the best thematic shots across the bow of any film, animated or live-action. Fourteen years after its 2009 release, director Pete Doctor reflected in a detailed interview with The Ringer that it's "pretty wild to think that something we created as an explanation for something else still affects people like that!"

It's wild indeed, and a testament to art's power. It's also surprising to learn why such a universally beloved and lauded prologue came to be: because the filmmakers needed to info-dump. Carl ( Ed Asner ), the miserly main character and mourning widower, needed his motivation established and his history introduced. Similarly, and most paramount, the audience had to care about Carl. If they weren't emotionally invested before his journey began, then Up was dead on arrival. Doctor and his team faced a seemingly impossible mission: how could they quickly distill a lifetime's worth of information in a way that ensured viewers gave a rip? The result is history, but the journey to said cultural touchstone is just as fascinating.

RELATED: This Cancelled Pixar Movie Would’ve Been Its First Live-Action Project

'Up' Focused on the Tiniest Details

Up director Pete Doctor knew there was a lot of ground to cover about Carl's past to properly set up his future. Accordingly, his Pixar team "overwrote" an abundance of material they trimmed down into two parts: Carl and Ellie's (voiced by Doctor's daughter) dialogue-laden meet cute and the silent film-esque "Married Life" montage (named after maestro composer Michael Giacchino's Oscar-winning track).

Despite its ten-minute run-time, "Married Life" is robust enough to exist as an independent short film. Two seemingly mismatched yet perfectly paired people meet as children, fall in love, get married, and share a lifetime together until the inevitability of loss wrenches a partnership into solitude. Not only does Carl mourn Ellie's passing in self-imposed solemnity, but regret propels his every action — regret for the adventures they didn't take as a couple as much as all the wonders Ellie never saw. Doctor approached this narrative thesis statement with the same careful detail required of a feature-length film. According to Doctor, "We figured the best way to make the audience understand—and care —would be to connect [Carl's] house to a relationship, and unfinished business. We worked hard to visually train the audience to associate the house with his wife, and the unkept promise of an adventure in South America.”

But the visual of a house isn't a home unless it's earned that emotional gravity. The team used every mise-en-scène technique in the book to ground "Married Life" in pathos: including Ellie and tying her personality to bright colors, the lack of dialogue, the lighting, the timing of the camera's movement, etc. For example, the last sound effect heard before the montage begins is the pop of young Carl's balloon (which he's leaning on while swooning over Ellie) merging with the pop of a flashbulb camera during their wedding. Making Up 's opening reminiscent of a silent film wasn't the initial plan, but after encouragement from Ronnie del Carmen , Up 's storyboard artist, Doctor ruled to nix the already-scripted dialogue. "Being [a] fan of silent films," he explained, "I kept pushing to see how much we could take out, and discovered that it seemed like the less we had the more emotional it felt."

Pixar Used Lighting and Cinematography To Bring ‘Up’ to Life

As the montage unfolds, Carl and Ellie build a full, happy life together in instantly recognizable ways, instantly becoming one of the most iconic couples from Pixar movies . There's the renovation of their first (and forever) home, which transforms from a wretched fixer-upper nightmare into a structure with an identity so tangible, it's almost a living thing. Director of camera photography Jean-Claude Kalache explained how these bright colors, especially pink, represent Ellie's vibrant presence. "Throughout the movie," he said, "even when Ellie is not there, we have her spirit." In addition, almost every moment the two share is drenched with natural light. The camera even slides vertically and pushes up to match the vivacious propelling movement Ellie brings into Carl's life. According to director of lighting photography Patrick Lin , "I would use a very gentle lateral camera movement of tracking and panning just to kind of say that, OK, they’re going through life."

Smaller moments like spring picnics and casually holding hands while reading sell the couple's easy affection. Once they decide to have children (because all the clouds they saw looked like babies!), Carl and Ellie paint a baby's room that's as wistful, sun-dappled, and loving as everything else she's touched. Then the camera shifts from the radiance they've crafted into a hospital's cold, gray hostility. Miscarriage and infertility are still rarely discussed in visual media, let alone animated features aimed at children. But the very best animation, the kind that understands the heights of which the medium's capable, never talks down to children. They healthily challenge them, introducing life's complexities and providing a safe outlet for discussion. Some Pixar executives wanted Ellie's miscarriage removed , fearing it was too dark, but Doctor retained the detail precisely because of its potency.

The couple rally and devote every spare penny to their travel funds. But accidents, debt, and bills rack up over and over until suddenly, after a mini-montage of Ellie adjusting Carl's ties for work, they've aged. The camera remains as still and frozen as the once boisterous Ellie's slow, fragile walk. The pair's last moments are full of the same tenderness as always, and Ellie seems reassuring instead of regretful. But once she's passed and Carl is left alone holding a single balloon, the color seeps into black-and-white darkness. Their dreams were lost in the nonstop pandemonium of everyday life. It's too late, and Carl's hopes are as empty and shattered as their "travel money" jar.

Because It Prioritized Emotion, ‘Up’ Was Pixar at Its Best

Figuring out the opening's finer details proved tricky and ultimately came down to gut instinct. “We made lots of changes and adjustments," said Doctor, "and it was really hard to know whether we were making it better or breaking it. Some days it would be super emotional, and other days we wouldn’t feel anything at all. Oh no, we took out three frames—did we break it?”

"Married Life" is an emotional masterclass in storytelling, especially the non-verbal kind. Most movies require ninety minutes — or a trilogy! — to make audiences care this viscerally about its story and characters. In the aftermath of "Married Life," visual callbacks like Ellie's empty chair and Carl crossing his heart to her memory are transformative and gutting. Few forget the first time they watched Up, and its themes of loss and resilience hit harder with every passing year. Up was Pixar at its height , and without "Married Life," Up is meaningless. The sequence remains famous to the point of risking hyperbole because of the studio's attentive passion for its creation. These ten minutes prove that if a film prioritizes characterization and utilizes all cinematic elements, then the result will pay off tenfold. It also confirms the ironic fact that sometimes the best art isn't what you planned to make. A masterpiece emerged from info-dumping plot necessity; who could have imagined?

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Janis paige, star of ‘silk stockings’ and broadway’s ‘pajama game,’ dies at 101.

She stepped in for Angela Lansbury in 'Mame,' wed the "Zip-a-Dee-Doo-Dah" lyricist and almost broke up Archie's marriage on 'All in the Family.'

By Mike Barnes

Mike Barnes

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Janis Paige

Janis Paige, the ebullient redhead who starred in the original Broadway production of The Pajama Game and in such Hollywood musicals as Silk Stockings and  Romance on the High Seas , has died. She was 101.

Paige, who was discovered in the 1940s while performing at the legendary Hollywood Canteen, died Sunday of natural causes at her home in Los Angeles, her friend Stuart Lampert announced.

The actress also turned in two memorable guest-starring stints in 1976, playing an attractive diner waitress named Denise who tempts Archie (Carroll O’Connor) to cheat on Edith ( Jean Stapleton ) on All in the Family and a former flame of Lou’s ( Edward Asner ) on The Mary Tyler Moore show .

In 1968, Paige replaced Angela Lansbury in Mame on Broadway and performed as the title character for nearly two years.

After spending six years working on the stage and on television, Paige returned to the big screen to star alongside Fred Astaire and Cyd Charisse in Silk Stockings (1957), an adaptation of a stage musical that had Greta Garbo’s Ninotchka at its roots.

She and Astaire teamed for the Cole Porter song-and-dance number “Stereophonic Sound” that culminates with the duo swinging on a chandelier above the heads of some reporters.

Doing Silk Stockings “was hard work, believe me,” Paige said in a 2016 interview. “I was one mass of bruises. I didn’t know how to fall. I didn’t know how to get down on a table — I didn’t know how to save myself because I was never a classic dancer. Those are the tips you learn when you learn how to dance.

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In The Pajama Game , Paige portrayed Katherine “Babe” Williams, a garment worker at the Sleep-Tite Pajama Factory and the leader of the plant’s Union Grievance Committee. She falls for new superintendent Sid Sorokin (John Raitt, father of singer Bonnie Raitt) despite the fact he’s her adversary in the labor dispute.

The musical premiered at the St. James Theatre in May 1954, ran for more than 1,000 performances over 15 months and won the Tony Award for best musical.

“We were the happiest bunch of people you ever saw in your life,” she said in 1990, “because everybody said we were going to be a flop. A show about a pajama factory? And we were a smash. It was a special time — it will never come again.”

Raitt went on to appear in the 1957 big-screen version of The Pajama Game at Warner Bros., but Paige’s role was filled by Doris Day.

A few years earlier, Day, in her movie debut, had stepped for Paige in Romance on the High Seas (1948). In the screwball musical comedy, Paige’s socialite character hires a singer (Day) to take her place on a cruise so she can spy on her cheating husband (Don DeFore). Meanwhile, Day and a detective (Jack Carson) fall in love on the boat.

Paige and Day would work together again in Please Don’t Eat the Daisies (1960).

Born Donna Mae Tjaden in Tacoma, Washington, on Sept. 16, 1922, Paige moved to Los Angeles with her sister after graduating from Stadium High School and was hired to sing at the Hollywood Canteen, the club on Cahuenga Boulevard that was set up by the studios to entertain military personnel during World War II.

MGM and then Warner Bros. signed her, and in 1944 she made her big-screen bow in Bathing Beauty , starring Esther Williams , Red Skelton and Basil Rathbone, and played a studio messenger in the Hollywood Canteen movie.

In 1946, Paige landed her first leading role, as a nightclub singer in Her Kind of Man , and appeared opposite Carson — they would make eight movies together — in Two Guys From Milwaukee and The Time, the Place and the Girl .

One of Don Rickles' First Insult "Victims" Explains How She Dealt With It

She starred in Cheyenne (1947), directed by Raoul Walsh, played opposite Bette Davis in Winter Meeting (1948) and had prominent parts in One Sunday Afternoon (1948), The House Across the Street (1949), Fugitive Lady (1950), Mister Universe (1951) and Two Gals and a Guy (1951).

After Warner Bros. released her, Paige headed to Broadway and starred with Jackie Cooper in the 1951 crime comedy Remains to Be Seen , but June Allyson played her part in the 1953 MGM version.

Later, she portrayed Bob Hope ‘s love-starved married neighbor in Bachelor in Paradise (1961) and a prostitute in Joan Crawford ‘s The Caretakers (1963).

She was a real trouper on Hope’s USO tours and in 1956 released an album, Let’s Fall in Love . And in 2020, she published Reading Between the Lines: A Memoir .

Paige donated to Emerson College her papers and filmed episodes of  It’s Always Jan ; videos of film, TV, and live musical performances; scripts; musical scores; photographs and other memorabilia from her career.

For years, she was still receiving fan mail and requests for photographs and autographs from all over the world.

Paige was married to restaurateur Frank Martinelli Jr. from 1947-51; to Arthur Stander, who wrote and produced It’s Always Jan , from 1956-57; and to Gilbert from 1962 until his death after open-heart surgery in 1976. 

She inherited from Gilbert his Ipanema Music Corp., which he founded with Brazilian musician Antônio Carlos Jobim , and many of the songs he wrote.

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Emotions in the “Up” Movie by Pete Docter

The movie UP is one of the highly emotional and impactful animated films made by Pixar. The story describes the importance of appreciation, love, and friendship. There are three main characters Carl, Ellie, and Russel. After the death of Carl’s wife, Ellie, he decides to fulfill his promise of traveling to South America. Along the way, an earnest boy named Russel joins Carl on his journey. The given movie illustrates numerous conceptual ideas and knowledge related to effective communication. It is important to understand that emotions and openness play a crucial role in promoting effective communication.

The movie is highly emotional and touching due to the depressed and sad mood of the main character. Carl’s happiness fades after the death of his wife, which was the most tragic moment. The main reason for his sadness is that Ellie was the only person who was close to introverted Carl. This means that he was emotionally open to and reliant on a single person. Thus, the loss of the woman led to severe psychological trauma alongside extreme social isolation (Engelberg and Gouzoules 6).

Emotions and feelings, like other mental phenomena, are various forms of reflection of the real world. In contrast to the cognitive processes that reflect surrounding reality in sensations, ideas, emotions, and thoughts reflect unique truth in the experiences. These psychological elements express the subjective attitude of an individual to various components and phenomena of the surrounding reality. Some objects, elements, things make a person happy, whereas others sicken and leave him/her indifferent (Ruppel 668).

Thus, the reflection in the mind of a person of their real experiences, that is, the attitude of a subject to objects that are significant to him/her, is usually called emotions and feelings. In other words, emotions are a particular class of subjective psychological states that reflect, in the form of direct experiences, a pleasant or unpleasant process and results of practical activities aimed at satisfying actual needs (Ruppel 669). Emotion is an internal reaction of the body to the action of irritants. Internal reactions have external manifestations, and the combination of these manifestations is the response to the environment and is what is called behavior.

The external manifestation of internal emotional reactions to stimuli is directly and indirectly connected with human mental activity (Engelberg and Gouzoules 5). The higher the psychological organization of an individual, the more developed his/her intellect, the more their behavior is controlled by consciousness. It is important to define the concepts of emotions in order to understand Carl’s problems.

The movie UP illustrates how emotional display can affect the communication flow between profoundly different individuals. Both Carl and Russel are bound to each other because they are on the same journey. However, they are complete opposites of each other. Carl is old, depressed, and introverted, whereas Russel is young, energetic, and open to new possibilities. Interpersonal connection plays a significant role in the emotional openness of a person because an individual is in need of social interaction and communication (Engelberg and Gouzoules 3).

The perception of phenomena and objects of the modern world, as well as their diverse properties and relations, is one of the central processes in the mental activity of an individual. Emotional communication is a spontaneous, unplanned natural demonstration of emotions as a manifestation of the inner human emotional state, not necessarily taking into account the reaction of the interlocutor or others (Ruppel 681).

The effectiveness of emotional communication depends entirely on emotional competence, including knowledge about emotions, their functions, knowledge of the psychological foundation of their own, and another’s language. It also involves the culture of the means of nomination for expressing and describing emotional experiences in the specific cultural context of a certain communicative locus.

There are a number of communication-related challenges presented in the movie UP . Significant improvements could be made for Carl, who is not fully able to express his thoughts and emotions. By being sullen and grumpy, he dismisses the opportunity to share his problems and allow others to be involved in them. Humans are social creatures; therefore, Carl needs to be in touch with others and have a “circle” of support (Ruppel 672).

Nevertheless, he was lonely and isolated due to his introverted nature, which can be healthy only to a certain degree. The given movie demonstrates the important concepts of emotional perception, self-disclosure, and communication barriers. Moreover, Carl’s thought process is closely connected with his emotional process and constantly interacts with and accompanies it. He needs to understand that internal distress can be eliminated through self-disclosure. Carl should have opened himself more by allowing others to know about his loss and depression.

In conclusion, emotional communication and openness can be described as the analysis of the external behavioral patterns of a person, the self-disclosure with his/her interpretation, characteristics, and prediction based on an individual’s actions. It is necessary to present an assessment of another person and the formation of attitudes towards him/her in emotional and behavioral terms. It is critically important to note that emotional closeness and the lack of self-disclosure can severely hinder the communication flow, which only promotes the depression of an individual.

Works Cited

Engelberg, Jonathan WM, and Harold Gouzoules. “The Credibility of Acted Screams: Implications for Emotional Communication Research.” Quarterly Journal of Experimental Psychology , vol. 1, no. 1, 2018, pp. 2-7.

Ruppel, Erin K. “Use of Communication Technologies in Romantic Relationships: Self-Disclosure and the Role of Relationship Development.” Journal of Social and Personal Relationships , vol. 32, no. 5, 2015, pp. 667–686.

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Warner Bros. Discovery Cooks Up New Serving of ‘Dinner & A Movie’ For TBS

By Brian Steinberg

Brian Steinberg

Senior TV Editor

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Jenny Mollen ’s and Jason Biggs ’ next date night will likely capture more attention than usual.

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As such, there’s a lot of what made “Dinner” so digestible in the past. And maybe some other treats. Because of their show-business background — Biggs is best known for his role in the “American Pie” franchise and the Netflix series “Orange Is The New Black,” while Mollen has done films, written books and even filled in on “Live With Kelly and Mark” — this pair may bring extras to the “Dinner” feast.

“We have a lot of friends in movies,” says Mollen. “We have insights and backstory. What was going on during the shooting? That’s always fun to have.”

“Not fun is seeing a movie…”says Biggs

“..that you auditioned for…”  Mollen adds

This kind of back-and-forth fueled the original, and no one wants to deviate too much from the recipe. “It was a show, certainly for me, that was part of the cultural zeitgeist,” says Biggs.

Except there may be a little more spice. Biggs and Mollen don’t get to leave their quips on the set. “We really go there,” says Mollen. “It’s our authentic relationship. We get in fights. We come back. We bicker. We banter. It’s real and I think that’s the fun of it.”

Paul Gilmartin knows what that’s like. The comedian was one of the original co-hosts, along with Annabelle Gurwtich and chef Claude Mann, and stayed with “Dinner” until the kitchen closed for good. He says the program took on a life all its own with viewers. That’s largely because the team was left alone to shape the show without much interference. He and Gurwitch made sure they were commenting on the exact scene viewers saw just before the break, and spent hours figuring out jokes and sketches that might require a fast trip to a clothing store as the team waited for the food to look just right.

“For that first year, we felt like we were on Public Access TV,” Gilmartin recalls. “The network wasn’t even giving us notes or saying anything. There was a tremendous amount of freedom.”

Similar concepts were sprouting up across the set-top box as a growing pack of still-nascent TV networks scrambled to fill their schedules. USA, well before it was owned by NBCUniversal, ran hours of “Up All Night,” a format that had Rhonda Shear or Gilbert Gottfried chatting about B-movies after midnight. Joe Bob Briggs led “MonsterVision,” a collection of sci fi and horror films on TNT. And Comedy Central gained notice for “Mystery Science Theater 3000,” a clever show that had two robots and a stranded space traveler make fun of silly old sci-fi films.

Such stuff flourished in cable’s early era and fizzled out as the upstarts became more corporate. Gilmartin says he and his on-air cohorts had less screen time as TBS doled out more product placements in the series. “By the end, it felt like we were limping along. Our creative time was down to 30, 40 seconds,” he recalls. “It was a shell of itself. But in its heyday it was really fun, and I loved the people I worked with.”

 Neither Biggs nor Mollen are strangers to hosting. The pair did a stint on a game show for Lifetime called “My Partner Knows Best,” and Biggs has in recent years tried his hand at leading “Cherries Wild:” for Fox and “Cash At Your Door” for E! “It looks so easy, but in fact it’s incredibly difficult,” he says.

In one new episode, the pair host a viewing of “We’re the Millers,” and get ready to feast on Mexican themed cuisine. Mollen asks Biggs if he’d rather be with Jenifer Aniston than her, and Mark L. Young, an actor who plays a small but pivotal role in the film, pays a visit and reveals Adam Driver was once considered for his part. Mollen and Biggs are a team, but one that that is built on its members occasionally pushing back on one another.

“We definitely have our issues,” says Mollen, “but we always bring chemistry.”

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    However, when asked whether or not Elliot's (Evan Williams) ex-wife could be introduced, co-showrunner Heather Conkie paused, then asked, "Who have you been talking to?". Leigh, who joked ...

  28. Elle Fanning to Star in New 'Predator' Movie 'Badlands'

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  29. 'Suits' Reunion Movie Is 'Possible,' Says Patrick J. Adams

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  30. Warner Bros. Discovery Cooks Up New Serving of TBS' 'Dinner & A Movie'

    The actors, husband and wife, on Saturday will attempt to revive a cable-TV mainstay for decidedly new purposes. When "Dinner & A Movie" debuted on TBS in 1995, it did so in an era when cable ...