Critical Response Paper Research Example | Topics and Well Written Essays - 750 words - 3

Critical Response - Research Paper ExampleThis fresh facts of life of mothering might be assumed by every peerless, not only by women hence, Todo Sobre Mi Madre/All About My Mother demonstrates an ethics of care, to remind people that compassionate lodge in is generally a human need, advocating for a universal human response (Garlinger 100). This paper will give a three page response to the ikon with regard to some of the cinematic aspects discussed in class for instance the use of sound, color, performance and genre, but mainly discuss the cultural differences that may be assemble in an engagement with the content of the film. The film talks about complex issues that are affecting our society such as AIDS, transvestitism, homosexuality, existentialism and faith (Garlinger 100). Pedro Almodovars course has been despised as misogynous, as well as celebrated as a feminist film. In essence, this schizophrenia might be because of critics tendency to digest selectively on specific w orks. Almodovars movie also seems to connect directly with current debates in feminist and gender theory, sometimes in unsure way of life (Martin-Marquez 498). ... y, the legal representative, Maria Cardenal, takes on the case of a disturbed young man, Antonio Banderas, who acts as Angel, who has turned himself in to the police for serial murder and rape. As one of his likely rape victims watched the news, a fe manlike anchor reported that Angel is in police custody, and that Maria Cardenal, a woman, had taken on his case. One, as evaluate during that time, would wonder why a woman has chosen to defend a man who made their lives hard for them. As expected, numerous prominent feminists were annoyed that their first mate woman opted to defend such a monster (Martin-Marquez 502). Miss Cardenal provoked people by stating that, according to the law, every citizen (Spanish) has the right to lawyer, reveling in a truthfully frightening sarcasm. However, Maria can be perceived as the mo st feminist person in Almodovars oeuvre. Maddison (267) proposes that, as a serial murderer herself, who opted for male victims entirely, Maria inflicts on men what she considers to be the greater law of a very radical type of feminist justice with regard to womens history of oppression. The noise of the film has the heart-on-the-sleeve emotions of soap operas however, it is entirely truthful and, by no means, camp (See 60). Contained in this vital judgment of Almodovars turn emotion is the equation of falseness with camp. If the film captures the attention of someone, it is apparently because they were overwhelmed with the happenings of the film. The vital consensus appears to be that the producer has matured profoundly as a filmmaker. This is because it seems as if he was surpassed in early old age of camp frivolity, but matured enough to grant emotional gravities in his film (Garlinger 109). This movie shows that the producer went through some form of