Die Hard and the Action Movie - by William C. Martell

Also like , is about , the watchword of that first rock and roll generation. Teen sexuality has been an issue in America since the invention of the rumble seat, always moving forward like a freight train, forever going faster and farther; and is a snapshot of America right before teen sexuality exploded, examining the early cracks in the armor of middle-class "respectability" and repression, the fantasy American Dream that never was but that came beaming into Americans’ homes over the television airwaves. Movie star Sandra Dee becomes ‘s overarching metaphor for the artificiality of adult American life, a symbol that needed piercing. Sandra Dee was a big star at this point, and just in the two years that spans, she released (1958), (1958), (1959), (1959), (1959), (1959), and (1959), jumping back and forth between empty-headed teen comedies and stark melodrama. Today, it may be hard to understand what Sandra Dee represented, but she was the poster girl for the big studios’ attempts to make teen movies, a genre which was up until that point the exclusive territory of small, low-budget producers like the ubiquitous Roger Corman (, and others). But the studios’ teen flicks were inevitably artificial in the extreme, creating a freakish – and clueless – adult imitation of the teen world, a kind of cultural Frankenstein, that teens could see right through. To savvy teenagers, Sandra Dee was a teen sellout, and in a world where authenticity was the goal, there was nothing worse. She was a fake – in her life, in her acting style, and in her onscreen emotions. Teen audiences didn’t want that; they wanted and . But adults loved Sandra Dee; she reassured them that teen was a "good girl."

Live Free or Die Hard (2007) - Plot Summary - IMDb

Film: Die Hard Essay Example | Topics and Well Written …

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Learning how to die isn’t easy. In Iraq, at the beginning, I was terrified by the idea. Baghdad seemed incredibly dangerous, even though statistically I was pretty safe. We got shot at and mortared, and I.E.D.’s laced every highway, but I had good armor, we had a great medic, and we were part of the most powerful military the world had ever seen. The odds were good I would come home. Maybe wounded, but probably alive. Every day I went out on mission, though, I looked down the barrel of the future and saw a dark, empty hole.

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Exactly like the teen market they were targeting, teen exploitation films were full of sex and sin and booze and cars, but many of them also had a sanctimonious "moral" laid out explicitly, at the beginning or end of the film, often by a nameless authority figure behind a desk or podium, sometimes by a "survivor" of the "tragedy." These fake morals gave the raunchy stories the patina of respectability to placate parents and would-be censors. But for the kids, these movies mirrored the real world, in which teenagers were discovering they had a certain kind of power, a kind of power that just might be able to challenge the power of their parents. And the teen rebel was born. In 1954, just a year before the kids would start high school, Elvis Presley burst upon the American scene with his first hit, forever changing notions of gender and sexuality, rebelling against the "strong, silent type" model of previous generations of men like John Wayne and Gary Cooper, in favor of a remarkably sexual, nakedly emotional new model of maleness embodied by the likes of Marlon Brando and James Dean. John Waters documented this cultural shift in his film , set just a few years before

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Judgment Day, or Bruce Willis in Die Hard, these movies will lose their charm.

Analyzing the First Few Minutes of Die Hard;

Unlike their parents, rock and roll took teenagers . It took teenage and teenage seriously. It put teenage emotions on a level with adult emotions, and it made teenagers feel like adults. And the best part for the kids was that parents rock and roll. (A 1957 article in asked "Are You Afraid of Your Teenager?") Much of the authenticity of lies in its songs, a virtual catalog of 1950s styles, structures, chord progressions, lyrical themes, distinctive bass lines, and unforgettable guitar licks, all as authentic as a 1954 Fender Stratocaster. By opening the show with the old-fashioned "Alma Mater," followed by the explosion of the hard rocking "Alma Mater Parody," the kids of literally rebel against their older selves (at the reunion), the past assaulting the present, reminding the adults in the audience that most of them have become what they once hated most: The Establishment. The "Alma Mater Parody," blasts off with one of the most famous guitar licks of all time, created by Chuck Berry for the hit "Johnny B. Goode." Berry was one of the fathers of rock and roll, and so in this first scene, instantly establishes its authenticity and its as a rock and roll document.

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"To bait fish withal; if it will feed nothing else, it will feed my revenge. He hath disgrac'd me, and hinder'd me of half a million, laughed at my losses, mock'd at my gains, scorn'd my nation, thwarted my bargains, cool'd my friends, heated mine enemies; and what's his reason? I am a Jew. Hath not a Jew eyes; hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer that a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? why revenge. The villainy you teach me I will execute, and it shall go hard but I will better the instruction."

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Throughout this essay I will be commenting on the filming techniques that Luhrmann uses and what affects these have on the audience, also I will be analyzing how the film is similar and different to typical Hollywood Musicals....