Although, the fact that a true communist could admire a tsar might sound ironic, Stalin even identified himself with Ivan the Terrible and saw possibility in using the tsar’s image as propaganda to legitimize his dictatorship (Kenez 1). Therefore, in the early 1940s, he charged Sergei Eisenstein to write, produce and direct the movie, Ivan the Terrible, Part I and Part II as well. The date already shows the significance of creating the
A pertinent and undoubtedly true statement which is more relevant in modern times as opposed to other pieces of documentary from the early stages of cinema. When stepping back and properly analysing this quote of Renovs, one can see that due to the surfacing of numerous biography features over the past decade, movie makers are now trying to emulate the realness of non fiction through means that has often been more suitable to fiction itself in the past. And in many cases, to confirm his statement
comparing its value and impact to the culture and fashion. The essay explores how the fatal side of femininity is depicted in media, how and why fashion exploits the femme fatale image and the term definition. The essay concentrates at femme fatale image in the 20th century as the necessary part of the feminism evolution. The work is based on the bodies of work by Mulvey, Elizabeth Wilson Adorned in Dreams (1985). The aim of the essay is to explore the phenomenon of the femme fatale image idolization
Introduction Propaganda remains a relatively unformed concepts despite the fact that it was defined by many scientists with different ways. This is reflected in the uncertainty and absence of agreement between several ways used to explain the phenomenon. But still some aspects of propaganda can be studied without unconditional agreement in political and other sciences. Propaganda in many cases is associated with a distortion of the truth and such expressions as ‘brainwash’, ‘lie’, ‘manipulation’