Compare how far your chosen films reflect the auteur signature features of their filmmakers.

Both Casablanca and Bonnie and Clyde have differences in the extent in which they reflect the auteur signatures of their filmmakers. Casablanca was produced during the Golden age of cinema where the production company developed a house style in which all their films followed. This resulted in the the production company becoming the auteur rather than the director due to the lack of creative freedom the director was given. This heavily contrasts from Bonnie and Clyde, where Arthur Penn had a large amount of creative freedom which is shown through the clear auteurship throughout the film and the links to the French New Wave style as well as the independent cinema style. This difference in freedom between the directors in both films results in Casablanca reflecting the style prevalent in the Golden age of cinema whereas, Bonnie and Clyde shows freedom from a narrative and technical standpoint.

Casablanca is a romantic drama directed by Michael Curtiz and released in 1942. The film follows both Rick Blaine (Humphrey Bogart) and Isla Lund (Ingrid Bergman) as the protagonists, following their dynamic and interesting relationship. This film is representative of the style found in the ‘Golden Age of Cinema.’

During the ‘Golden age of Hollywood’ the production companies became auteurs due to their unique and recognisable styles. This differs from the directors as they had little or no auteurship as they had little creative freedom. Casablanca can be shown as a product produced by an auteur institution because of Warner brother’s house style which is present throughout the film. Casablanca’s auteurship is first shown during the opening scene where the Warner brothers logo is shown which is an auteur feature in their films. Jack Warner encouraged projects against European fascism and Nazi Germany and critiqued these heavily, which can be shown as prominent within his films. This is especially shown in Casablanca as Jack Warner produced the film in order to promote America into joining the war showing it as a reflection of the auteur signature features of the house style rather than the filmmaker.

Max Steiner was an American theatre, film and music composer. He worked in England, in broadway and then he moved to Hollywood. There he became one of the first music composers for film. He composed films for Warner Brothers from 1937 to 1953 therefore developing Warner Brothers auteur style which is present throughout Casablanca. Steiner’s involvement in Casablanca creates an aesthetic from the score which suites the film effectively which is shown to be the case in many other Warner Brothers films showing its a product produced by an auteur institution. Steiner’s score can be shown to influence the viewer through his compositions. This is present during the opening scene of Casablanca as when the man has been pickpocketed the score turns darker and more dramatic in order to influence the audience and to show Casablanca as a dangerous place. Another example of this is towards the end of the film as when the protagonist is victorious the French National Anthem is played showing a patriotic and hopeful aesthetic. This therefore connects the audience to the film resulting in an engaging film. The repeated use of these techniques by Max Steiner in many films shows Casablanca as a product of an auteur institution rather than a specific filmmaker.

Hal B. Wallis was a film producer in America who produced Casablanca. He also produced many other major films for Warner Bros meaning he was in control of choosing the casting. Casablanca can be shown as a product produced by an auteur institution because of this as the cast would be very similar for many different Warner Brother films due to the stable of actors that they have. This stable is recognisable to Warner brothers and therefore presents Casablanca as part of an auteur institution rather than that of a filmmaker’s.

Casablanca was directed by Michael Curtiz who was recognised as ‘one of the most prolific directors in history.’ He directed many films in the silent era and many others in the Golden Age of Hollywood. Curtiz was initially a ‘well-known director in Europe when Warner Bros invited him to Hollywood in 1926. Over his Hollywood career he directed 102 films (most of them at Warner Studios). Casablanca is represented as a product of an auteur institution as Curtiz’s directing style has had a huge influence on Warner Brothers as an auteur institution. Curtiz’s auteurship is shown as he helped Warner Brothers develop their house style through his visual style that he introduced into Hollywood using a range of ‘artistic lighting, extensive and fluid camera movement, high crane shots, and unusual camera angles’ presenting Casablanca as reflecting the auteur signature due to these features in the film.

Warner Brothers auteurship is shown as many of there films takes place in exotic locations. Audiences prefer to see films that are located in unknown places and therefore they are shown off by Warner Brothers. This can be shown as Rick’s diner is an expansive set which is common in many Warner brothers films which suggests Casablanca as a product of an auteur institution. Additionally, the streets of Casablanca show a stark contrast to life in America with the camera craning down to show the suburban town in the opening sequence showing Warner Brothers using an exotic location to engage the audience and presenting them as part of an auteur institution rather than a specific filmmaker’s as it’s the house style which results in these uses of sets and exotic locations.  

Overall, Casablanca is a product produced by an auteur institution which is shown as many of the elements of filmmaking within Casablanca are representative of the general style of WarnerBrothers studios. Casablanca is extremely recognisable as a product of WarnerBrothers Studios because of elements such as cinematography, sound and the general production of the film and the people involved presenting it as a product of an auteur institution.

The invention of the television can be shown to have majorly effected the market for theatres as people started to prefer television over the cinema. This increase in competition along with the antitrust regulations meant there was far less money filling the industry creating a decline in profits. This therefore led to the rise of independent cinema presenting the clear contrast between the styles of Casablanca and Bonnie and Clyde and reflecting their different auteur signatures.

Despite Bonnie and Clyde’s attitudes towards realism the film still has many subtleties of the French New Wave style. Warren Beatty, who took the role of producer was interested in the French New Wave and therefore originally approached directors of this movement for the film showing its strong auteur influence. This influence would be present throughout the entirety of the production of Bonnie and Clyde and would influence Penn’s conception of the of the film. The film uses techniques from French New Wave for the characteristics of the characters as well as utilising fast cuts and changes in music to spontaneously shift the tone. There are similarities between Bonnie and Clyde and the French New Wave film Jean-Luc Godard’s Breathless as they both feature anti hero protagonist’s who are arrogant and rebellious. Both protagonists are very masculine and have a sexual facades, where their characteristics of confidence and brutality (which attracts the audience) are the very flaws that lead to their downfall. This demonstrates Bonnie And Clyde reflecting auteur signatures due to the clear effect that these auteurs from the French New Wave had on the production of Bonnie and Clyde.

Bonnie and Clyde took a lot of influence from many French New Wave directors who looked passed the rules set by the Hollywood filmmakers to create a new style of cinema. The style they used often utlised lightweight cameras which were far smaller and often unattached from a tripod. This new handheld style bought a new life and more energy to the films. They used non-linear narratives and fragmented editing which was an ‘exciting contribution’ to the industry. Bonnie and Clyde used techniques such as hand hold shots to allow for more natural movements and flexibility throughout the scene which was aided by the technological advances made by the French New Wave directors showing that Bonnie And Clyde is an example of a product produced under the influence of auteurs. Additionally techniques such as improvised plot and dialogue, shooting on location, jump cuts swell as using available and natural lighting as well as direct sound are all elements developed from the French New wave which were utilised in Bonnie and Clyde and therefore presenting it as reflecting the auteur signature features of it’s filmmaker.

Bonnie and Clyde’s inspiration from the French New Wave can be shown through the films biographical genre and humanistic characteristics. This is similar to Francois Truffaut’s first full length film was ‘The 400 Blows’ which was a deep autobiographical film which’s style is recognisable in his later films as humanistic. The inspiration that Bonnie and Clyde took from Truffaut’s style shows it as being a reflection the auteur qualities of its filmmaker and the influence that it took from other auteurs.  

Bonnie and Clyde can be shown to have taken influence from Alain Resnais who was a French screenwriter and director whose career lasted over 60 years. His work questioned and broke the traditional linear storytelling as it moved between ‘blurred characterisation and jumped between plots and subplots, memories and fictions.’ His work presented the art of filmmaking using narrative techniques to create ‘perfectly lucid and completely impenetrable’ films which pushed the boundaries. Bonnie and Clyde can be shown to have taken influence from this as in the ‘meeting family sequence’ the film shows a dream-like sequence to show a moment of hope for Bonnie as she can see family members and friends again with little threat. This can be presented to be a dream or simply Bonnie’s imagination which is shown as the wide apertures used create a glowing affect along with the filter used to represent a dream like state. This therefore shows Bonnie and Clyde’s overall influence from Alain Resnais as this is a unique narrative technique which is similar to some of his ideas from the French new Wave and shows auteur qualities.

Bonnie and Clyde has a clear influence from direct cinema as it pushes against the grain offering harder and more edgy stories contrasting with Hollywood’s ‘happy endings.’ Towards the late 1980s Americas industry for independent cinema began to grow in a few ‘major American cities’ and then became a far stronger presence in Americas public culture. Independent films are often distinguishable from films produced by a large production company as their style and their content present the filmmaker’s artistic vision and not the production companies vision. Bonnie and Clyde took influence from this style of independent cinema as it followed the artistic vision of Arthur Penn as well as Warren Beatty showing the auteur signature features of their filmmakers.

Overall, while comparing both Casablanca and Bonnie and Clyde it can be argued that they are clear reflections of the auteur signature features which is shown by the house style which is prominent in Casablanca, compared to the influence of The French New Wave and independent cinema throughout Bonnie and Clyde. Additionally, the purpose of making the films differ due the contexts that they were made as Bonnie and Clyde was made as a representation of their lives and Casablanca for a political agenda. In this way it can be shown that both films are the products of different goals and ambitions and their stylistic qualities differ because of differences in the use of an auteur filmmaker or the lack of one in the case of Casablanca.

Compare how far your chosen films reflect their different production contexts.

Both Casablanca and Bonnie and Clyde reflect their different production contexts through the times in which they were produced. Casablanca was produced during the Golden age of cinema where the production company developed a house style in which all their films followed. Additionally the use of sets as well as lighting and shots present the age of cinema in which the production was made. This heavily contrasts to the production of Bonnie and Clyde as it had heavy influences from the French New Wave resulting in a film utilising on location filming natural lighting and wide apertures, heavy violence and sexualisation. There are clear differences between the purpose of making the films as Casablanca was produced for financial gain and it’s strong political agenda which contrasts to the creative freedom from Bonnie and Clyde and artistic endeavours due to Arthur Penn’s freedom from a narrative and technical standpoint.

Casablanca is a romantic drama directed by Michael Curtiz and released in 1942. The film follows both Rick Blaine (Humphrey Bogart) and Isla Lund (Ingrid Bergman) as the protagonists, following their dynamic and interesting relationship. This film is representative of the style found in the ‘Golden Age of Cinema.’

Casablanca can be shown to favour the narrative in the introduction of the film which is shown from the pan down to the streets of Casablanca to show the audience the setting for the film. The narration in this scene sets up the story for the rest of the film showing the focus on favouring the narrative. This demonstrates the time in which it was made as the Golden Age of Hollywood had a lot of focus on traditional forms of story telling with linear narratives to engage the audience and to produce a film which is financially profitable, reflecting the contexts in which it was produced.

Casablanca utilises different sets in order to achieve a man made and ideal environment. Although the film was set in Casablanca they had to shoot it in America due to World War Two meaning the film was produced using elaborate sets and sound stages. A prime example of this is within Rick’s diner as this was an extremely technologically advanced set as it allowed the camera to move freely throughout the set while still making it seem realistic. Additionally it was very common to utilise sets within the Golden Age of Cinema as it allowed for more control over the environment with more flexibility with lighting and control of the weather showing Casablanca as reflecting the context in which it was produced.

The presentation of Ingrid Bergman is stereotypical of the Golden Age of Cinema as the filmmakers would present their stable of stars in the best possible way to accentuate their features and stardom. This is shown by the precise composition of Bergman within the shots and how she’s set up with catch lights to exaggerate her beauty. This links to Laura Mulvey’s theory of the male gaze where flattering and attractive shots are used in order to engage the audience. Bergman is often filmed and lit in order to show a sparkle in her eye which is a typical technique studios use in order to accentuate her beauty.

Warner Brothers house style is a strong and influential factor which is presented within the production. Their house style of the films that they produced had fast paced scripts and performances, snappy dialogue and urban settings. This house style was contributed to by Jack Warner who produced films that were based on his personal beliefs. This can be shown as Casablanca was produced in order to influence the USA’s involvement within the Second World War which was achieved through the negative representation of the Nazi’s. During the scenes where Nazis are involved the non-diegetic composed score becomes darker and more sinister showing Jack Warner’s political agenda and presenting Casablanca as reflecting its production contexts.

Throughout the Golden Age of Hollywood, studios displayed a range of stereotypes of different nationalities. Different nationalities are portrayed throughout the opening sequence of Casablanca. Characters nationalities are presented in different ways so they are easily recognised by the audience. This is shown as Captain Louis Renault is shown to be clumsy and shabby shown by his hat contrasted to the German’s uniform. This fits into a French stereotype making his nationality easily identifiable which is essential in a films with so many different nationalities in it. This stereotype shows the Americans views on the French, as lacking militaristic skills. Contrastingly Rick Blaine is shown to be intelligent and suave showing the American audience’s ideals for the stereotypical ‘perfect man’ at the time. It was very common to make the American protagonist seem vastly superior to the other characters. This appeals to the Western/American audience as the American saves the French from the wrath of the Nazis pushing forward Jack Warner’s agenda of America’s involvement in World War Two and reflecting the context in which the film was produced.

The invention of the television can be shown to have majorly effected the market for theatres as people started to prefer television over the cinema. This increase in competition along with the antitrust regulations meant there was far less money filling the industry creating a decline in profits. This therefore led to the rise of independent cinema presenting the clear contrast between the styles of Casablanca and Bonnie and Clyde and reflecting their different product contexts.

Bonnie and Clyde is an ‘American biographical crime film’ which was directed by Arthur Penn. The film starred Faye Dunaway and Warren Beatty as the protagonists Bonnie and Clyde. It is considered to be one of the first films of the ‘New Hollywood era’ and is a monument of film because of this.

The character based focus in Bonnie and Clyde contrasts from Casablanca’s narrative focus as the film favours the characters rather than the narrative. This is present in the opening scene of Bonnie and Clyde as the camera tracks Bonnie showing the lack of focus on setting compared to character development. This is strengthened as in Bonnie and Clyde the camera dollies around Bonnie as she walks freely around her room showing the freedom of the characters and therefore the French New Wave Influence because of the aesthetic caused by the improvisation of actors.

Unlike Casablanca’s use of sets, the on location shooting of Bonnie and Clyde utilises the realistic settings of Southern America in order to show their journey. This on location shooting is a technique which arose with the popularity of The French New Wave as many of the productions only used on location shooting instead of sets to add a sense of realism to the final product. This is most notable in the scene where Bonnie runs into the corn field as it’s a prime example of the filmmakers using the locations available to them to create the most effective and realistic scene they could.

The presentation of Bonnie is sexualised and highly contrasting from the presentation of Bergman in Casablanca. This is presented in the opening sequence as Bonnie is nude and wearing bright red lipstick giving sexual connotations. This is later emphasised with phallic imagery as she drinks from the bottle. This is representative of the contexts of which it was produced as throughout this time there was an increase in sexual liberalisation and sexual presentations of women were becoming more common in mainstream media showing it as a product of the times. Additionally, Bonnie and Clyde’s influence from independent cinema may have led to this perception of Bonnie as independent cinema was known for pushing against the grain of Hollywood influencing Bonnie and Clyde to represent a more sexual protagonist than may be present in other Hollywood films.

Unlike Casablanca, Bonnie and Clyde has less of a house style and instead had influence from the French New Wave creating a distinct style throughout the film. Warren Beatty (Clyde) who took the role of producer was interested in the French New Wave and therefore originally approached directors of this movement for the film. This influence would be present throughout the entirety of the production of Bonnie and Clyde and would influence Penn’s conception of the of the film. The film uses techniques from French New Wave for the characteristics of the characters as well as utilising fast cuts and changes in music to spontaneously shift the tone. There are similarities between Bonnie and Clyde and the French New Wave film Jean-Luc Godard’s Breathless as they both feature anti hero protagonist’s who are arrogant and rebellious. Both protagonists are very masculine and have a sexual facades, where their characteristics of confidence and brutality (which attracts the audience) are the very flaws that lead to their downfall. This presents a clear link between Bonnie and Clyde and the contexts in which it was produced as the film took influence from multiple different aspects within other productions.

Bonnie and Clyde has a clear influence from direct cinema as it pushes against the grain offering harder and more edgy stories contrasting with Hollywood’s ‘happy endings.’ Towards the late 1980s Americas industry for independent cinema began to grow in a few ‘major American cities’ and then became a far stronger presence in Americas public culture. Independent films are often distinguishable from films produced by a large production company as their style and their content present the filmmaker’s artistic vision and not the production companies vision. Bonnie and Clyde took influence from the style of independent cinema as it followed the artistic vision of Arthur Penn as well as Warren Beatty showing it as being a product of the context in which it was produced.

Bonnie and Clyde’s inspiration from the French New Wave can be shown through the films biographical genre and humanistic characteristics. This is similar to Francois Truffaut’s first full length film was ‘The 400 Blows’ which was a deep autobiographical film which’s style is recognisable in his later films as humanistic. The inspiration that Bonnie and Clyde took from Truffaut’s style shows it as being a product of the contexts in which it was produced.

Overall, while comparing both Casablanca and Bonnie and Clyde it can be argued that they are clear products of the context in which they were made which is shown by the house style which is prominent in Casablanca, compared to the influence of The French New Wave and independent cinema throughout Bonnie and Clyde. Additionally, the purpose of making the films differ due the contexts that they were made as Bonnie and Clyde was made as a representation of their lives and Casablanca for a political agenda. In this way it can be shown that both films are the products of different goals and ambitions and their stylistic qualities differ because of this showing that the films reflect their different production context.

Unconventional Auteur: Casablanca (Michael Curtiz, 1942)

Research and write about how Casablanca is an example of a product produced by an auteur institution.

During the ‘Golden age of Hollywood’ the production companies became auteurs due to their unique and recognisable styles. This differs from the directors as they had little or no auteurship as they had little creative freedom. Casablanca can be shown as a product produced by an auteur institution because of Warner brother’s house style which is resent throughout the film.

Casablanca’s auteurship is first shown during the opening scene where the Warner brothers logo is shown which is an auteur feature in their films. Jack Warner encouraged projects against European fascism and Nazi Germany and critiqued these heavily, which can be shown as prominent within his films. This is especially shown in Casablanca as Jack Warner produced the film in order to promote America into joining the war showing it as a product of an auteur institution.

Casablanca is an example of a product produced by an auteur institution which is shown through Max Steiner as the composer. Max Steiner was an American theatre, film and music composer. He worked in England, in broadway and then he moved to Hollywood. There he became one of the first music composers for film. He composed films for Warner Brothers from 1937 to 1953 therefore developing Warner Brothers auteur style which is present throughout Casablanca showing it’s a product produced by an auteur institution.

Hal B. Wallis was a film producer in America who produced Casablanca. He also produced many other major films for Warner Bros meaning he was in control of choosing the cast. This therefore shows Casablanca as a product produced by an auteur institution as the producing and the cast would be very similar for many different Warner Brother films.

Casablanca was directed by Michael Curtiz who was recognised as ‘one of the most prolific directors in history.’ He directed many films in the silent era and many others in the Golden Age of Hollywood. Curtiz was initially a ‘well-known director in Europe when Warner Bros invited him to Hollywood in 1926. Over his Hollywood career he directed 102 films (most of them at Warner Studios). This therefore shows that Casablanca is the product of an auteur institution as Curtiz’s directing style has had a huge influence on Warner Brothers as an auteur institution. Curtiz’s auteurship is shown through his visual style that he introduced into Hollywood using a range of ‘artistic lighting, extensive and fluid camera movement, high crane shots, and unusual camera angles’ showing Casablanca as a product of an auteur institution.

Warner Brothers auteurship is shown as many of there films takes place in exotic locations. Audiences prefer to see films that are located in unknown places and therefore they are shown off by Warner Brothers. This can be shown as Rick’s diner is an expansive set which is common in many Warner brothers films. This therefore shows Casablanca as a product of an auteur institution. Additionally, the streets of Casablanca show a stark contrast to life in America with the camera craning down to show the suburban town in the opening sequence showing Warner Brothers using an exotic location to engage the audience and presenting them as part of an auteur institution.

Steiner’s score can be shown to influence the viewer through his compositions. This can be shown during the opening scene of Casablanca as when the man has been pickpocketed the score turns darker and more dramatic in order to influence the audience and to show Casablanca as a dangerous place. Another example of this is towards the end of the film as when the protagonist is victorious the French National Anthem is played showing a patriotic and hopeful aesthetic. This therefore connects the audience to the film resulting in an engaging film. The repeated use of these techniques by Max Steiner in many films shows Casablanca as a product of an auteur institution.

Second version –

You cover all the right material, James, but this feels a bit clunky and formulaic. You mention the name of an individual, give a sentence of explanation, then say “this can be seen in…” and then more or less repeat that for every paragraph. You should be trying to mount a convincing argument that culminates in the conclusion that while individual contributions helped shape the film it is their work together, under the leadership of Jack Warner, that can be considered the “auteur” element. Looks a bit Band 3, right now, but you should be able to whip it into shape…

During the ‘Golden age of Hollywood’ the production companies became auteurs due to their unique and recognisable styles. This differs from the directors as they had little or no auteurship as they had little creative freedom. Casablanca can be shown as a product produced by an auteur institution because of Warner brother’s house style which is present throughout the film.

Casablanca’s auteurship is first shown during the opening scene where the Warner brothers logo is shown which is an auteur feature in their films. Jack Warner encouraged projects against European fascism and Nazi Germany and critiqued these heavily, which can be shown as prominent within his films. This is especially shown in Casablanca as Jack Warner produced the film in order to promote America into joining the war showing it as a product of an auteur institution because of this.

Max Steiner was an American theatre, film and music composer. He worked in England, in broadway and then he moved to Hollywood. There he became one of the first music composers for film. He composed films for Warner Brothers from 1937 to 1953 therefore developing Warner Brothers auteur style which is present throughout Casablanca. Steiner’s involvement in Casablanca creates an aesthetic from the score which suites the film effectively which is shown to be the case in many other Warner Brothers films showing its a product produced by an auteur institution. Steiner’s score can be shown to influence the viewer through his compositions. This is present during the opening scene of Casablanca as when the man has been pickpocketed the score turns darker and more dramatic in order to influence the audience and to show Casablanca as a dangerous place. Another example of this is towards the end of the film as when the protagonist is victorious the French National Anthem is played showing a patriotic and hopeful aesthetic. This therefore connects the audience to the film resulting in an engaging film. The repeated use of these techniques by Max Steiner in many films shows Casablanca as a product of an auteur institution.

Hal B. Wallis was a film producer in America who produced Casablanca. He also produced many other major films for Warner Bros meaning he was in control of choosing the casting. Casablanca can be shown as a product produced by an auteur institution because of this as the cast would be very similar for many different Warner Brother films due to the stable of actors that they have. This stable is recognisable to Warner brother and therefore presents Casablanca as part of an auteur institution.

Casablanca was directed by Michael Curtiz who was recognised as ‘one of the most prolific directors in history.’ He directed many films in the silent era and many others in the Golden Age of Hollywood. Curtiz was initially a ‘well-known director in Europe when Warner Bros invited him to Hollywood in 1926. Over his Hollywood career he directed 102 films (most of them at Warner Studios). Casablanca is represented as a product of an auteur institution as Curtiz’s directing style has had a huge influence on Warner Brothers as an auteur institution. Curtiz’s auteurship is shown through his visual style that he introduced into Hollywood using a range of ‘artistic lighting, extensive and fluid camera movement, high crane shots, and unusual camera angles’ presenting Casablanca as a product of an auteur institution. 

Warner Brothers auteurship is shown as many of there films takes place in exotic locations. Audiences prefer to see films that are located in unknown places and therefore they are shown off by Warner Brothers. This can be shown as Rick’s diner is an expansive set which is common in many Warner brothers films which suggests Casablanca as a product of an auteur institution. Additionally, the streets of Casablanca show a stark contrast to life in America with the camera craning down to show the suburban town in the opening sequence showing Warner Brothers using an exotic location to engage the audience and presenting them as part of an auteur institution. 

Overall, Casablanca is a product produced by an auteur institution which is shown as many of the elements of filmmaking within Casablanca are representative of the general style of WarnerBrothers studios. Casablanca is extremely recognisable as a product of WarnerBrothers Studios because of elements such as cinematography, sound and the general production of the film and the people involved presenting it as a product of an auteur institution.

The Golden Age of Hollywood – Casablanca (Michael Curtiz, 1942)

Research and write about how Casablanca is a product of the contexts in which it was produced.

Warner Brothers started the big-screen realism trend where a large amount of gangster and crime drama films were created. They developed a house style due to the kinds of films that they produced which integrated fast paced scripts and performances, snappy dialogue and urban settings. This was contributed to by Jack Warner who produced films that were based on his personal beliefs. This therefore fuelled a number of production. One of the most notable is Casablanca.

Casablanca can be shown to exhibit qualities of the ‘Golden Age of Hollywood’ style that are often shown in Warner Brothers films. In Casablanca’s first sequence there is narration as the camera moves from the map of Casablanca to the streets showing it’s exotic and tropical location. It was common for studios to use exotic locations as it engaged audiences as in immerses them into a new and unfamiliar world. This is emphasised with the crane down to reveal the bustling Casablanca street showing a range of palm trees and monkeys to immediately immerse the viewer which is the aims of the studios in these large budget films.

After this first sequence the audience is then introduced to the antagonist of the film. As the Nazis exit the plane, lead by Heinrich Strasser (Conrad Veidt), the score turns darker and sinister showing they’re villains. Studios within the Golden age of Cinema often pushed across their personal views and ideals onto the viewers in order to influence their beliefs. Jack Warner, Warner Brothers studios executive producer, had beliefs that the US should evolved in World War 2. The negative representation of the Nazi’s through the score, therefore shows Jack warners agenda towards the Nazi’s.

Throughout the Golden Age of Hollywood, studios displayed a range of stereotypes of different nationalities. Different nationalities are portrayed throughout the opening sequence of Casablanca. Characters nationalities are presented in different ways so they are easily recognised by the audience. This is shown as Captain Louis Renault (Claude Rains) is shown to be clumsy and shabby shown by his hat contrasted to the German’s uniform. This fits into a French stereotype making his nationality easily identifiable which is essential in a films with so many different nationalities in it. This stereotype shows the Americans views on the French, as lacking militaristic skills. Contrastingly Rick Blaine (Humphrey Bogart) is shown to be intelligent and suave showing the American audience’s ideals for the stereotypical ‘perfect man’ at the time. It was very common to make the American protagonist seem vastly superior to the other characters. This appeals to the Western/American audience as the American saves the French from the wrath of the Nazis pushing forward Jack Warner’s agenda of America’s involvement in World War Two.

In the initial scene of Rick’s diner, the shots of Isla Lund (Ingrid Bergman) are lit to present her in the best possible way in order to show her beauty. This links to Laura Mulvey’s theory of the male gaze where flattering and attractive shots are used in order to engage the audience. Burgman is often filmed and lit in order to show a sparkle in her eye which is a typical technique studios use in order to accentuate her beauty. This is similarly shown with Bogart who is lit well in order to exaggerate his good looks which is very typical of Hollywood stars.

Casablanca (Michael Curtiz, 1942)

Casablanca is a romantic drama directed by Michael Curtiz and released in 1942. Casablanca fulfils these genre expectations shown from the relationship between Rick Blaine (Humphrey Bogart), Isla Lund (Ingrid Bergman) and Victor Lazlo (Paul Henreid). The film was released during World War Two and shows the effects of the Nazi’s occupancy on the people living in Casablanca. The contrasted black and white shots are representative of Film Noir and the cinematography can be viewed as modern and technologically advanced. This is presented with the complex sets, most notably shown with Rick’s bar.

Rick is an American emigrant who owns a bar in Casablanca. The audience is introduced to the rest of the cast, many of them as staff in Rick’s bar. The film focuses on the complicated relation ship between Rick and Isla due to their love affair in Paris which ended abruptly causing issues within their future relationship. This is then complicated further when Rick finds out that Isla and Victor were married during the time of their relationship, creating a dynamic and interesting relationship between many of the characters.

The film is extremely highly regarded as many critics view it as one of the most significant and influential films of Hollywood cinema. It was made during the ‘Golden age of Cinema’ and is said to have inspired almost every film produced after it’s release. It’s engaging script, cinematography and cast adds to it’s brilliance.

The film is shown to be extremely iconic due to its amount of quotable lines and unforgettable scenes. Due to this the film is shown to be a ‘pop culture icon.’ The audience can easily relate to the characters due to the true to life story of two lovers having to sacrifice their relationship for the greater cause of the war. It being relatable helps the audience to engage with the film and give a greater emotional response towards it.

The first response for Casablanca was very positive and received generally positive reviews. In just over ten weeks it grossed of 255,000 dollars and made 3.7 million overall in the US market. It won Best Screenplay, Best Director, and Best Picture at the 16th Academy Awards. It was also nominated for a few other awards. These were Best Screenplay, Best Director, and Best Picture. A decade after its initial release the film made over 6.8 million dollars showing it affect for years on ‘movie-goers.’