ANALYSIS OF DANIEL PLAINVIEW’S CHARACTER TRAITS IN THE MOVIE “THERE WILL BE BLOOD” BY PAUL THOMAS ANDERSON

The objective of this research is to analyze about three important aspects, as the component of the story which are related to each other and also as the element of literature. The writer defines about Daniel Plainview’s character traits that his negative character traits are related to the factor of several conflicts in the story. The story depicts of his ambition, persistence, greed and hatred. Ambition and persistence influenced to his success achievement as the oilman, while his greed and hatred are related to the factor of several conflicts in the story. The second aspect is to identify some people who involved in conflicts with Daniel Plainview in the story and the third aspect is to define moral values reflection from the story as a wisdom and life learning for the writer or for the readers. The writer applies content analysis which is the part of qualitative research. This research found that (1) the negative character traits are related to several conflicts and (2) moral values reflection defined as the generosity that as the opposite of greed which is depicted obviously from the main character.

Rethinking Romantic Comedy through the Art Film: Michel Gondry’s Eternal Sunshine of the Spotless Mind

In this chapter, Rafaele Ariano examines Eternal Sunshine of the Spotless Mind (2014) as a hybrid of the art film and the romantic comedy. Ariano conceptualizes the “art romantic comedy” as a sub-genre that targets audiences that would typically reject the romantic comedy based upon conventions of taste and cultural hierarchy. The chapter places Gondry in a cohort of contemporary auteurs, including Paul Thomas Anderson, Noah Baumbach, Sofia Coppola and Alexander Payne, whose romantic comedies are characterized by qualities drawn from art and indie cinema. These characteristics include the expressive use of film style and implementation of metafictional devices, complex “sensitive” protagonists, and endings that are ambiguous and thus only partially “happy.” Ariano applies this genre framework to an analysis of Eternal Sunshine of the Spotless Mind, but also places the film within wider trends in the genre of romantic comedy.

Sobre corpos isolados na imagem: a mise en scène em Sangue negro, de Paul Thomas Anderson

O artigo possui como temática o estilo no cinema independente norte-americano. O objetivo é investigar elementos de mise en scène presentes no filme Sangue negro (2007), dirigido por Paul Thomas Anderson, associando-os às funções do estilo cinematográfico descritas por Bordwell (2008). De abordagem qualitativa e utilizando como método a análise fílmica, a pesquisa foi delineada com base em três momentos do longa-metragem, escolhidos a partir do interesse em estudar como Anderson conduz o posicionamento e o movimento dos atores dentro do quadro. Como resultado, observou-se que o cineasta, a partir de um constante interesse pelos aspectos mínimos da imagem bidimensional, aposta num recorrente jogo de velar e desvelar em que não apenas corpos e rostos são ocultados e assumidos, mas também representações subjetivas importantes para uma compreensão ampla da narrativa.

Composite Interview

This concluding chapter illustrates segments of various interviews Paul Thomas Anderson has given about his feature films, and interviews with actors, such as Philip Seymour Hoffman on The Master. Ultimately, one of the main strands of argument in this book is that Anderson continues to guard the story of his mother that “he might tell;” and yet, the story is always working its way into his narratives about fathers, and carries the real burden of the narrative mystery. The motivation of Anderson's male protagonists in the three films—Punch-Drunk Love, There Will Be Blood, and The Master—becomes increasingly deformed, and in each case the mangling pressure derives from the protagonist's inability to secure a crucial lost balance and alignment with absent maternal shades.

Words and Music: The Magnolia Crisis

This chapter describes a considered, thematic, and stylistic account of the viewing experiences of three films by Paul Thomas Anderson and their backgrounds—Punch-Drunk Love (2002), There Will Be Blood (2007), and The Master (2012). Writer Geoffrey O'Brien, in his essay on The Master, captures the feel of Anderson's recurring landscape of disconnection. He goes on to speak of the expressionist treatment of milieu in the films, as though in each narrative there is an attempt both to acknowledge the claims of material reality and at the same time to reconfigure the real. The chapter also examines the contradictory pressures at work in the avowedly autobiographical, densely verbal Magnolia, which may have necessitated a change in Anderson's method and technique in the films that followed.

Otwarcie filmu fabularnego, jego funkcje i znaczenie

Legendary American producers who’d accepted to read tens of scripts had a justified approach to read only first ten pages. Although on a first sight it may appear negligence, they knew well that if they are not convinced by the first pages of the script, it is very likely that the audience won’t feel convinced either. The article concerns the role of the film opening and its structure. Its functions and transformations are described upon the examples of films by Ingmar Bergman and Paul Thomas Anderson.

‘A Woman with an Endgame’: Megan Ellison, Annapurna Pictures and American Independent Film Production

This chapter examines the career and production strategies of heiress Megan Ellison, whose powerhouse Annapurna Pictures was established in 2012 with the stated goal of ‘creating sophisticated, high-quality films that might otherwise be deemed risky by contemporary Hollywood studios’, especially in an era of industry retrenchment. Like Vachon in presenting an unconventional company figurehead, Ellison spurs media scrutiny paradoxically by shunning the limelight while strategically moderating her image through various social media – as well as through Annapurna’s impressive list of award-winning films and auteurs such as Zero Dark Thirty (Kathryn Bigelow, 2012), The Master (Paul Thomas Anderson, 2012), Spring Breakers (Harmony Korine, 2013) and Her (Spike Jonze, 2013).

Omissão histórica e repressão psíquica em Boogie Nights de Paul Thomas Anderson

Exquisitely filmed in Altmanesque style and drawing on scenes from the films of Martin Scorsese and Quentin Tarantino, Boogie Nights continues to this day to be proclaimed an ultra hip and daring look at the so-called Golden Age of pornography set of the 1970s. In this essay I attempt to document what this film leaves out of the historical record, and to show how historical suppression dovetails with psychic repression. Instead of history we are presented with melodrama. Instead of a historical document, Boogie Nights gives us, again, Oedipus. Like most elegies, the negative or undesirable aspects of the subject are minimized or omitted, although they come back to haunt the text.