Film Studies Polanski and Perception

Questions: 1. What aspect(s) of the film/ topic does the author focus on?2. What arguments does the author make?3. What kind of theoretical and methodological approach does the author employ? Answers: 1.According to Orr and Elzbieta, Cul-de-Sac was shot in Yugoslavia, which had Alexandra Stewart in the protagonist role. The film shows the gangsters approaching Lindisfarne where one is seen pushing and the other inside the car, which was stolen. Albie, who is seriously injured when the car hits the post, he is seen lying on the ground while Dickie goes to get some help. It is seen that Dickie enters a castle, which is bought by a wealthy man for his unfaithful wife. At the end it is seen that when Dickie displaces his jacket, it gives Teresa enough time to take the gun from his pocket, which George uses to shoot him. According to Pieterse, the author compares surrealism with that of absurdism because the context in which Polanski made this film was abstract in nature. The body language of George and the facial expression showed signs of wealth, class and snobbishness. The sexuality in the movie shows there is no affection between George and Teresa as it is present between the gangs ters being of the same gender. The name of the human, which is closest to the main character, is identified through the masochistic dreams. 2. The author argues that Polanski has two characters where the first one shows him as the author of the film, which he directs that is auteur in short. The other Polanski is more of an auteur in the real sense where the director rises to the position of a superstar. The second Polanski takes professionalism on a serious note (Greenberg). According to Orr and Elzbieta, for example, in Chinatown when Polanski tries to rip the nose of Jack Nicholson, it shows the professional part of Polanski that is associated with him in Hollywood. The split between the Polanskis paved the way to the fusion of auteur and entertainer in the Hitchcock era of 1960. It helped to bridge the gaps between Godard and Antonioni with that of the modernism in the films of Polanski. This fusion turned out to be futile in the future. The director and the actor Polanski helps in differentiating the art and the professional one. The sadistic part in the films of Polanski shows the knife as the phallic element in th e movie Knife in the Water. 3. The approach taken by the author is the chicken and egg concept to identify the activities in Lindisfarne. These elements function in a way that calls for responses in multiple levels. As chickens cannot fly, it is seen that Teresa who cannot tender her own chickens brings many men to cater to the service. The concept of chicken and eggs going together only says that she does not care for her husband the way she does for the chickens. This brings out the absurd irony in the film. The isolation in the castle bought by George for his wife is visible because the fridge only contains eggs that are the food, which is from the chickens that Teresa tenders in the castle (Stokes, Melvyn and Matthew). Reference List Greenberg, James.Roman Polanski. ditions de La Martinire, 2013. Orr, John, and El?bieta Ostrowska.The cinema of Roman Polanski: dark spaces of the world. Wallflower Press, 2006. Pieterse, Annel. "Polanski and perception: the psychology of seeing and the cinema of Roman Polanski." (2014): 151-155. Stokes, Melvyn, and Matthew Jones. "Windows on the world: Memories of European cinema in 1960s Britain."Memory Studies10.1 (2017): 78-90.