A Little Bird Told Me . . .

The gossip of the members of his community about his demotion, rather than the demoition itself, is the direct cause of the doorman's downfall in The Last Laugh.  Some of the most expressive images in the film demonstrate the spread of gossip and the resultant mockery of the neighbors: the camera moves to an outstretched ear, the camera follows the doorman along a walk of shame, grotesque and blurry heads superimposed on the neighborhood mock him with unabashed laughter.  What is the movie saying about gossip as a form of communication?  What is it saying about the community that listens to it?  How does what other people think of us influence how we think of ourselves?

Shiny, Happy People

The concluding scene of The Last Laugh depicts the incredible gluttony and generosity of the unnamed, demoted doorman after he miraculously inherits a fortune from a dying American millionaire. He feasts on mounds of food, eating caviar as if it were candy and drinking champagne as if it were water. A tracking shot of the "spread" emphasizes the opulence and indulgence of our hero. What is the point of this ending? Is is a happy ending or a parody of a happy ending? Is this supposed to be objective reality or a fantasy? Is this a cynical commercial ploy or is there deeper significance to the ending?

Tragedy of the Common Man?

When the unnamed doorman in The Last Laugh is demoted to bathroom attendant, his world collapses. At the end of the film he is estranged from his family, fellow workers and neighbors and only the night watchman gives him succor. Is this film a tragedy in the Aristotelian sense (that is, does he fall because of some tragic character flaw?)? Is it an indictment of the society of the time? A study of the inevitable effects of aging? Or, to put the point another way, whose fault is the doorman's downfall?

Damsel in Distress?

Some may argue that the movie The General conforms to traditional patriarchal gender roles.  Annabelle Lee, the heroine, is kidnapped (albeit inadvertently) by hostile soldiers and needs the heroic exploits of her lover to rescue her.  She is portrayed as submissive to her father and brother, ineffectual in plotting her own escape (such as throwing a stick of wood into the train furnace or failing to stop the engine so her lover can board it), and often exhibiting domestic inclinations ( as when she sweeps the engine with a broom).

Do you agree with this picture of Annabelle Lee -- or is it more complicated?  Is Annabelle a stereotypical damsel in distress or is she a more progressive figure?  Is there something about her a feminist could admire?  What is this film saying about gender roles?

Heroes Anyone?

In the movie The General Johnnie Gray, a simple engineer,tries to win the heart of his girlfriend by enlisting in the army. Although he is refused, he eventually takes on a group of Northern soldiers who hijack his train. Not only does he rescue his beloved Anabelle (and General), but he also helps defeat a Northern army in battle. Yet, his methods are hardly standard derring-do. Is Johnnie just lucky or a true hero?  Does this film endorse standard ideas of military heroism or make fun of them?  Or does this movie redefine a hero? What does this movie tell us about heroism (or related concepts of machismo, chivalry, or militarism)?

From Eisenstein to Madonna

Eisenstein's embraced a theory of montage that utilized quick, jump cuts to rouse his viewers to political action.  Nowhere is his technique more fully realized than in the Odessa Steps sequence from his 1925 film Battleship Potemkin.   Fast forward to our own day.  One could argue that the  movies that best exemplify his style are not political in nature but instead music videos first popularized by MTV in the 1980's.  What is the role of quick jump cuts in music videos?  Do videos have a narrative -- or do they have another purpose?  Is there a political message to a Madonna video?  What is the connection between Soviet Montage and the Material Girl?

Birth of a Controversy

D. W. Griffith's The Birth of a Nation is considered a landmark American film that ushered in many of the hallmarks of classic Hollywood cinema. It is preserved in the National Film Registry and is listed in the top 100 films of all time by AMC cable channel and the AFI (American Film Institute). Yet it is also a film which advocates white supremacy and lionizes the Klu Klux Klan. Can such a film truly be great? Why or why not?  What about other films such the Leni Riefenstahl's Triumph of the Will a film that trumpets Nazi ideology and celebrates Adolph Hitler? Do political and moral statements matter in an artwork? Or is it enough to be technically and artistically brilliant? Can an artwork's message trump its style?

Birth of Science Fiction?

Some commentators have dubbed Méliès's film A Trip to the Moon the first science fiction movie.  Not all critics, however, agree.  Tom Gunning, the author of our essay on that film, argues for the contrary view.  He states, " 'Science' fiction implies a certain sobriety and serious concern with scientific and technological possibilities. . . .  But Méliès cannot take his scientists seriously at all, introducing them first as wizards with pointy hats, figures out of fairy pantomime . . . (70).  What do you think?  While you may not be able to judge whether this is the first of its kind, you can make a judgment about whether or not it qualifies as science fiction.  Compare this film with other science fiction movies you have seen.  How is it the same?  How is it different?  Can we call it a science fiction film, a precursor of such films, or something entirely different?