Hutchinson - Casablanca

It could be said that it is hard to relate to Casablanca, because it takes place overseas in a country unknown to many Americans. However, given the time Casablanca premiered, and the nature of the film itself, it was not hard for many Americans to fully appreciate what it had to offer. It is true that the film takes place in this exotic country in unoccupied France during WWII, but that was not so far fetched for Americans of the time, because America had just entered the war. Throughout the movie, audiences really only see Americans portrayed by the characters of Sam and Rick, both politically uninvolved in struggles and undergrounds of Casablanca. These Americans symbolize an attitude that America itself had possessed only a year earlier – it’s not our war, we’re going to stay out of it. But like the American attitude so drastically shifted after the attack on Pearl Harbor, so did the attitude of Rick change after he was reunited with his long lost love, Ilsa, and no American can resist a good love story. Not only was the movie made with one of Hollywood’s leading men as its star, but it had a distinctly American feel, even in the midst of a French country. Rick’s Café is that element of comfort needed for American audiences. Even when Victor leads the French National Anthem "La Marseillaise," audiences want to stand up and cheer and sing with them. Patriotism is a concept well known and embraced by Americans, especially patriotism for the underdog good guys. In that scene, Victor starts as the central character, being the rebellious hero, leading the people in their national anthem. However, as the shots go back and forth between the Germans and Victor, Victor becomes less central, surrounded by the French citizens joining him. He blends into them, still clearly the leader, but counted among them. The lighting is almost evenly divided over every one in the scene, bringing home that concept of unity. The only people really in shadow or darkness are the band, making the audience focus on the people singing. The shot itself is public, once again adding to the theme of unity. Anyone could picture his or herself just right in there, singing along with his or her fellow citizens, representing the country they love.

McCay Blog Prompt for Blade Runner or Minority Report

Both Blade Runner and MInority Report isolate and either imprison or destroy the other, the android or the possible criminal. Using either film, discuss how each film deals with the outcast, the other--the android, the potential criminal. Please make sure you integrate at least one article that you have read from the articles posted on blackboard.

Griffin, Casablanca

Final Minutes of "Casablanca"

            In the final minutes of “Casablanca,” Rick’s isolationism is broken in the climactic scene where he shoots the senior German military official. If Rick is understood to represent the United States pre-WWII, then the analogy is continued in this scene. Just as Rick could no longer isolate himself in stoicism and denial, so, too, the US could no longer not interfere in the war. This scene extends the nationalist rhetoric of the film because Rick’s ultimate initiation into greater affairs by shooting the German is positively received by the audience, and so, the audience could begin to question America’s isolationist attitude and reexamine the worthy costs for entering the war. Throughout the film, the ideology is neutral but gradually emboldens to a pro-America, anti-isolation stance.

            In the scene in question, the cutting between Rick and the German is quick and jumpy, heightening the intensity and suspense of this dueling moment. Who will back down or shoot first? To increase the suspense, the framing is tight and the shot and camera proxemics are intimate. The dominant figure alternates between Rick and the German. Because of the heavy material of the German’s military costume, his look has a high density. During the stand-off, Rick’s face is in shadows. The camera angle is directly on the faces. Characters are shot from the waist or shoulders up; there is no full—body shot. All of these mise-en-scene elements increase the intensity of the moment, creating uprising action that is broken by the shoot-off. When the German falls, the camera does not go down with him, but maintains a height above him, and the viewer looks down upon him. Rick was successful, and so, too American could defeat the enemy at war. 

 

Kehoe-Casablanca

This is a still from the final scene of Casablanca in which the audience sees Rick and Captain Renault walk of into the fog after shooting Major Strasser. I feel that the political expediency theory is used most heavily and most obviously in this last scene. I feel that when Captain Renault saves Rick from being arrested for the shooting of Strasser. I feel that this action is so out of Renault's character that it makes it a little hard to believe. Though Renaults disposition and nature was friendly and like-able, Renault is the man who calls Strasser with the intent to turn Rick in, Renault is also the one who arrests Ugarte with such glee. It is obvious that the writers had the intent to make Renault into a positive character that American audiences would sympathize with, but his actions are too little too late, and I do not buy him as a one of the protagonists.

Isaacson: Casablanca

The political expediency theory, which was very important at the time of Casablanca's creation due to the USA's recent entrance into WWII, is best demonstrated in the film by Captain Renault's dramatic change of heart at the film's end. He shots and kills his German commanding officer, Major Strasser, to allow Victor and Ilsa to escape to America. This doesn't really make sense in the context of the film, Victor is Czech and going to America so he feels no nationalistic pride for him and he was just betrayed and placed at gunpoint by Rick, but it had to be done to please its audience who were feeling intensely nationalistic. Thus, the film comes to represent America's inevitable triumph over the Germans even with the odds placed squarely against them, something American audiences were hoping for in the still uncertain time of 1942.
The mise-en-scene of this final sequence is interesting and draws a distinct line between the good and evil characters. The dominant in most frames is either Rick or Renault, the two character's whose actions cause the events to unfold. The lighting key is seemingly ambient, but it is also focused to stress the light clothing that all of the "good" characters wear making them seem purer than the darkly dressed Renault and Strasser. The camera proxemic is normally personal or social, only becoming intimate during the talk between Rick and Ilsa. This, combined with the slightly downward angle of most scenes, make the audience feel like they are watching the action unfold from a more 3rd person perspective with the exception of the love triangle subplot which they should be emotionally invested in. Most frames are dense, having at least two or three characters in the frame at all times, which stresses the relationships between the characters. Most frames are also tightly framed, conveying the tension that the characters feel in this life or death situation. Finally, the character proxemics are used to convey ideological similarities and differences. For example, when Strasser arrives at the airport he stands near closer to Renault than Rick does, conveying their similar ideology, but as Strasser acts he move further away from Renault so that Rick is closer, conveying the shift that has occurred in Strasser at that moment.

Gevry, Casblanca

No matter the premise of a film, its plot, character, or overall composition politics often times play a central role int he film. As evident even in Casablanca, politics and most notably World War II, are weaved into every shot of every scene.What Casablanca ideally does is create a world in which politics turn romantic. Rick is the strong and mysterious United States that will, though originally as bystander, take a heroic and successful stand. Americans were constantly bombarded with he images of war so for a film like Casablanca to have such a highly political agenda and yet still come across to the American public as a story of wartime heroics and romance is immensely impressive. Casablanca successfully created an movie that allowed viewers almost an escape into the ideal war. One in which a hero would step forward, love would outweigh all, and an ending was ascertainable.

The scene I believe most connects to the Political Expediency Theory would have to be the closing scene in which Rick and Renault walk off into the fog.

Dominant: The dominate in would have to be Renault and Rick.

Camera Angle: Neutral, yet slightly tilted downwards as if the viewer were watching the scene unfold from higher up,

Lighting: The lightning within this film is dark, almost twilight. This is done perhaps to show that it is always darkest before the dawn and that both Rick and Renault are going to see a bright new day.

Camera Proximic: This is a crucial piece. The camera is situated in a public proximity. As Rick and Renault walk away into the fog the camera does not follow them, it is merely to show that things will get better. In time all of us can, in essence, walk through the fog and move on.

Hales, Casablanca

 

In this scene from Casablanca, Signor Ferrari is trying to buy Sam from Rick for his own club, The Blue Parrot. Rick informs Signor Ferrari that he isn’t in the business of selling human beings. Ferrari believes they should ask Sam himself if he might be up for a change. On their way over to Sam at his piano, Ferrari tells Rick “…In this world today, isolationism is no longer a practical policy,” which Rick ignores. Sam refuses the offer to go over to the Blue Parrot and play piano for Ferrari although his pay would be doubled. He wants to stay right where he is.

            The Political Expediency Theory as applied to film is a balance that is held as to not alienate opposing audiences. Casablanca achieves political expediency rather nicely. Although throughout most of the film Rick could be seen as America and their unwillingness to join in the efforts of WWII, in this scene Sam could be seen as America. He is happy just where he is, and even if better things are offered to him on the other side of things, he doesn’t wish to make the risk.

Dominant: Sam, because he is in the middle and at a lower level  from the other two men.

Angle: The camera is neutral, allowing the viewer to make decisions for themselves.

Compostition: The design is Sam surronded by two very different men. Blaine in front, casual and open. Ferrari behind looking stiff and sneaky.

Form: Closed- The elements of the scene are carefully placed in a proscenium arch.

Framing: Tight, Sam can’t move around at all, being surrounded by the two men and the piano; however, he doesn’t wish to move around anyhow.

Character Placement: Center. Personal. The other characters are very close to Sam, but not in his face.

Iqbal, Casablanca

           The political expediency theory arose because the producers of movies were usually conservatives whereas the actors were liberal. Both had to find a medium ground. The political expediency theory is when a movie cannot alienates its audience. This is very evident in the post WWI movie Casablanca. In this scene, Rick reveals that he wants Isla and Laslo to board the plane. He sacrificed his own happiness to see Isla live her life. His patriotism was evident when he did this. It showed a side of him that even Renault was surprised to see. Towards the end of the scene, Rick also shows his resistance against the Nazi regime when he shoots Major Strasser. I think this point in the scene was very important because Rick does not hesitate whatsoever to shoot the Major. Even Renault realizes what Rick did and sees a self of patriotism in himself as well. Also, one has to understand, America was going through alot during this time. We were fighting not only in WWI but we were fighting the Great Depression as well. This movie impacts Americans in a way to make then gain a sense of patriotism despite what may be going on around them. It is a feel good movie. It takes the worst of situations i.e. a Nazi occupied France and shows that even ordinary people can scrounge up the courage and fight for what is right. The movie leaves the audience feeling that even they can come out of something bad and succeed with just having courage like Rick did. Throughout the whole movie, we get a sense that Rick is doing all that he is doing just so that he and Isla can go back together. But in the end, he shows his sacrifice by letting go of Isla and says the famous lines, "Maybe not today, maybe not tomorrow, but soon and for the rest of your life."

Misc En Scene Analysis:

Dominant: In this scene, Rick is the dominant because of the way his face is angled, we can see that Rick is the dominant figure. Also, there is high key lighting on Rick whereas for the other characters there are shadows.

Lighting: The overall lighting is high key on the characters especially Rick and low key towards the background.

Camera Proxemics: it is personal because we have only four characters in this scene and it is focused on Ricks' conversations with each of them

Frame: The framing in this scene is loose.

Angle: The camera angle seems to be straight on all four characters.

Character proxemics: All the characters look personal but Isla and Laslo seem intimate.

Labbe-Casablanca

The script for Casablanca arrived at Warner Brothers’ studios the day after the December 7, 1941 Japanese attacks on Pearl Harbor in Hawaii. France had been invaded by Nazi Germany in 1940, and other parts of Europe were also under German control. Roosevelt’s government was diplomatic with the Vichy regime from the time it rose to power in 1940 to November 1942.

Casablanca’s general release was on January 23, 1943. There was general public approval of the film’s timing and political message. The Casablanca Conference was happening at the same time from January 14 to 24, which saw the planning of the Allies European Strategy.

The film was set in North Africa during the early days of World War II, and focused on European resistance to Fascism. People trying to escape Nazi persecution plan to leave Europe through Casablanca to go to America.

At the end of the film, Captain Renault (Claude Rains) the Vichy leader and Rick Blaine (Humphrey Bogart) the American club owner, watch as a plane flies off into the fog. The plane carries Victor Lazlo (Paul Henreid) a Czech resistance leader and Ilsa Lund (Ingrid Bergman) his wife and Rick’s former love. Lazlo and Lund went through Casablanca to try to escape to America. German Major Strasser (Conrad Veidt) would have stopped the couple if Renault and Blaine did not work together.

The dominant of this scene is Blaine’s face because he’s placed at the top right corner in the foreground. His eyes look out of the frame to the airplane Lazlo and Ilsa are on. He witnesses their safe escape, the product of his heroic efforts. The camera proxemics are close, there’s a tight frame and there is low density so that the audience focuses on Blaine’s facial expression and proximity to Renault.

Indeed, the background is blurred out in low lighting so that Blaine and Renault are the main focus. Their personal character proximity not only tells of their allied stance against the Vichy regime, but also gives more detail to their relationship and roles in the film.

The character proxemics are almost intimate as Blaine is closer to the camera, standing in front of Renault, overlapping his figure. This tells the audience that even though Renault and Blaine worked together, the American, is the main hero of the story. He sacrificed his personal happiness to preserve American liberty and ensure it spreads throughout Europe.

The film tries to convince the audience to drop the country’s general isolationist attitude and embrace a more active role in World War II.

Himmelberg, Casablanca Blog

Casablanca is an American classic, that has withstood the test of time and is still an important film for all Americans to watch. I think one of the reasons that it has stayed so important for so long is because they don't outwardly portray one political view point or another. I think the scene that really brings the whole message together is the very end. The entire movie Rick has been a neutral party and hasn't gotten involved in the affairs of politics in Casablanca. At the end of the movie he finally gets involved because it effects someone who is imporant to him. When he kills the German and threatens to kill the police chief(who has been his friend this whole time), shows him finally taking real initiative. It is when The police chief has the chance to put Rick in jail or worse and decides to save him that shows a happy ending. Good triumphs over evil in the end and this is what makes this movie such a great movie, even today. The scene that I chose to do the mise en scene is this last scene when the police chief and Rick are together, after the chief has saved him, and Rick's beloved has safely gotten on the plane and is flying away. It is a great portrayal of the political expendency theory because it is not portraying either side to be grandiose or correct. It subtly shows how if you fight for what you believe in and stick to your morals things will work out for the best.

Mise En Scene:

Dominant: Rick is the dominant. He is the largest thing in the scene and is right in the middle. He is wearing a light color jacket which makes him standout and contrasts with the dark color of the police chief and the plane. This shows that he triumphed in the end. He represents good, everything worked out for him, he got the girl on the plane and the police chief didn't betray him, but instead is standing next to him as a friend.

Camera Proxemics: Personal, because the frame is set on just 3 major things, Rick, The police chief and the plane in the upper right hand corner. You can see the background hangers a little bit, but they aren't a main focus.

Character Proxemics: Personal, because the characters are standing side by side, but they are not touching or even looking at eachother.

Lighting: The lighting is sort of a combo or high key and low key. On the left side it seems to be more high key, the lefthand corner is bright and the characters which are on the left side are lite up. The right side seems to be more low key because it is dark the characters arent in it really and the plane is the only thing dominating that side, and the plane is a dark black shadow.

Subsidary Contrasts: The plane and the police chief are subsidary contrasts in the scene. They are the two things that the eye goes to after Rick who is the dominant.

Staging Positions: The characters have their back to the camera and are looking off into the distance thinking about the events that just went on and the future.

Frame: Tight. It only includes the two characters and the shadow of the plane. It doesn't show the whole area. They did this to zero in on the characters because this is the very end and they are contemplating everything that has just happened.

Penland: Casablanca

The political message of Casablanca is revealed through the quintessential love story of Rick and Isla. The political scenes standing alone would have made a boring film. The movie needed the love story to make the political statements of the filmmakers.

Many of the political scenes revolve around Rick working out agreements with the military, or Victor secretly meeting with some of his allies. Victor’s freedom depends on the outcome of the conflict between Isla and Rick. Because Rick still loves Isla, and does not want to let her go, Victor could have potentially been caught by the military and sent back to a concentration camp. However, Rick finally learns the truth about his romance with Isla in Paris; that she found out her husband had not really died and she had to return to him, leaving Rick. This causes Rick to be the heroic one, finally giving up Isla and moving on with his life. Most people who think of the film Casablanca, believe it to be a love story, when in fact it really is a political statement about World War II. Overall, this movie did an excellent job of both entertaining the audience and focusing on the ideology of the war.

Mise En Scene: In this scene, Rick and Isla are in Paris, a flashback to their romance, looking down at the street where German troops are invading.

Dominant: The dominant in this scene is Isla. Rick has his hand placed on her shoulder, leading the audience's eye to her. Her clothes are also brighter than Rick's, and his face has several shadows cast upon it, while hers appears completely white and flawless.

Frame: The framing of this scene is tight, focusing in Rick and Isla. This draws the audience's attention to both of them, focusing on where they are looking.

Character Proxemics: The two characters are very close to each other. Neither of them are looking at each other, however, they are obviously close emotionally, as Rick as his hand on Isla. Both looked concerned about what is going to happen, so they have drawn closer to each other.

Camera Proxemics: The camera proxemics in this scene is focused on half of their bodies. The audience can see their facial expressions as well as their body movements.

Lighting: The lighting in this scene is focused on Isla and Rick. The two of them stand out over the background, which is slightly darker.

This scene in Casablanca shows how much Rick and Isla loved each other, and also how Rick was heroic, working out the best possible solution for everyone.

Slan-Casablanca

The political expediency theory allows films not to alienate an audience. Casablanca is a film that allows all people to witness a love story among political turmoil. The three main characters are Rick, Ilsa, and Victor. The setting is Casablanca, which is located in Northern Africa under Nazi rule. These three are trapped in a love triangle. The audience can see the love story unfold and more dangers present themselves as the story develops. Some people of the people of Casablanca want to move America to escape the political turmoil. In my scene, you get a balance of the love story and a balance of the political turmoil. In this scene you get to see the pride of the French in Casablanca out roar German Soldiers. The scene starts off with Victor and Rick standing on the balcony watching the Germans sing their national anthem in Rick's Bar. Victor rushes down the stairs and go directly to the band in the bar and demands them to start playing the French national anthem. As the band starts to play, people in the bar start to arise and singing their hearts out. The camera does several close-ups while they sing the national anthem. It closes up on Rick when he gives the band the okay to play the anthem. You can see the seriousness in his face when he gives the answer. It closes up on Ilsa when she glares at Victor with love struck eyes, as he directs the band and sings the anthem along with the others.
You can see the passion in her eyes during this close-up. It closes up on Victor singing the anthem with pride in his eyes. In this scene, you feel the national pride being shown and you get to feel the passion Ilsa feels for Victor in the scene as well. Rather you were watching the film for the love story or seeing how you can make Nazis sit down (SING YOUR NATIONAL ANTHEM LOUD AND PROUD), the camera proximity goes from social, to personal, and intimate as it goes throughout the room in the scene.

Follow this link to view the scene: http://www.youtube.com/watch?v=Yt1vQ81jNWw

Westerfield - Casablanca

The final scene of Michael Curtiz's Casablanca differs from all the other scenes of the film in that it utilizes heavy fog instead of an actual backdrop so that we are unable to get a sense of depth from the shot. Realistically speaking this makes more very poor flying conditions but thematically it works to create a sense of unknown and uncertainty, as well as forcing the characters in to the position of the dominant because there is simply little else to look at. For the character of Rick this scene is a sort of jumping-off point, as he makes a decision to abandon his neutrality and joint in the conflict by helping Ilsa and Laszlo escape from Casablanca. The majority of this scene is shot in either with personal or, as is the case with Rick's final conversation with Ilsa, intimate camera proxemics. The characters are positioned relatively close together almost forming a line from left to right with a gradual change in color value from the darks of Captain Renault to the near ethereal lightness of Ilsa and Laszlo.
As the representative American the beginning of Rick's involvement with the war also works to signify that of the US as well. Rick's speech works to highlight the propaganda being used to recruit American involvement, "The troubles of a few people don't amount to a hill of peanuts in this crazy world." Rick's friendship with Captain Renault speaks of the possibility of allying with French, and indeed both of them exit into the fog in a manner similar to how a cowboy might ride off into the sunset, something typically considered American.

Harper Casablanca

Casablanca related to its' audience at that time. It was released in January 23, 1943, in the mist of WWII. The film made sure not to alienate their audience by using underlined messages through out the film that related to the War and America's position in it.

This photo is from the last scene of the movie when Rick is saying his goodbyes to Ilsa.

Dominant: The dominant in this scene is the shape of Rick and Ilsa's body. It shows their closeness without having them being too close.

Lighting Key: It seems that the lighting in this scene is low key because it's night time of course.

Camera Proxemics: The shot is very open. It still shows the caption in the scene and the planes in the background.

Angle: The angle seems to be straight and on the main subjects in the scene.

Subsidiary Contrast: The main eye stops, after the dominant, are the plane in the back and the caption in the eft corner.

Density: The scene is detailed. It has a lot of things that the eyes capture when looking at it.

Form: The form is very open as you can see everything is being shown in this scene.

Framing: The Frame is loose.

Character Placement: The character's occupy the right side of this shot.

Character Proxemics: The characters look personal, but also intimate because the way their heads are positioned seems as if they're about to kiss.

Becnel Casablanca

The Political Expediency Theory is when the film tries to create a balance not to alienate the audience. They try to hide their message under a neutral veil. This is what Casablanca does. Casablanca's screenplay arrived at Warner Brothers on December 8, 1941 (one day after Pearl Harbor). Soon after America was involved in WWII. Rick (Humphrey Bogart) portrays a kind of American reasoning before the war. He "won't stick his neck out for nobody." Before committing to the war effort, America had an isolationist stand. We had broken out of it for WWI, but returned to it after. We find out that Rick did fight against the Fascists in Spain, but after secluded himself. As the film progresses, Rick softens and puts himself behind the war effort. He allows Laszlo to start singing La Marseillaises (the French Anthem) when the Germans are singing their song about the Reich. Risky move considering he is in Vichy France. He puts his neck on the line for the cause by helping Laszlo ( Paul Heinreid), a Free French activist, and Isla ( Ingrid Bergman), his love, escape from Casablanca. In the scene where Laszlo and the clients at Rick's sing their moving rendition of La Marseillaises (1:12: 40- 1:13:50) , the audience can get a feel of how important their heritage and way of life before the Nazi invasion is to them. This scene is very dramatic and emotional. According to Roger Ebert, most of the extras in the film where European refugees from the war, and the emotion that they showed while singing was real. They knew that they had to keep the memory and faith alive. It may just come across to some as just an opportunity to belittle the German oppressors, but to others it is a moving show of patriotism and the fight for what is right and cherished: a life where man can be himself and in charge of his own destiny, not a life where he is oppressed by a evil totalitarian regime. When watching this scene, you realize that your "problems don't amount to a hill of beans", and that you need to unslefishly put yourself behind the effort. You are not just fighting for yourself, but for all of those who have lost so much already and still keep the flame of hope lit in their hearts.

Mis En Scene:

1. Dominant: Laszlo
2. Lighting: high key on Laszlo, but low key in the foreground where the band is; in the background it is high key also
   
3. Shot and Camera Proxemics: the camera is personal to social distance in the beginning, but moves in closer to intimate to personal distance as the scene progresses to create more of an emotional tie to the singers of the Marseillaise and Laszlo, their leader in song and spirit
   
4. Angle: eye level; we look at the characters head on, and the camera is sometimes stationed behind people so we get more of a feel that we are there
   
5. Density: this scene is very dense; there are alot of people and instruments in the scene; the scene feels cramped
   
6. Depth: does not seem 3D
   
7. Compostiton: the foreground, middleground, and background work together to give the audience that we are there and we are apart of the action


8. Form: open; seems very natural
   
9. Frame: tight; closed in; allows minimal movement; the characters stand up and move their arms; they do not walk about freely
   
10. Filter: some kind of filter/ guase was used in the close-up shots to create a softer look
    
11. Color value: the film is in black and white
    
12. Subsidiary: after Laszlo, our eyes are drawn to the band and the clients at Rick's
    
13. Staging positions: the characters look at each other
    
14. Character proxemics: the characters arein intimate to personal distance from one another to create a sense of comradery
    
15. Character placement: the characters are standing near the tables and band in Rick's

Mathey, Political Expediency in Casablanca

Casablanca was a really good movie with very deep meanings that would have an impact on its audience. My favorite scene was probably the one when everyone in the bar sings aloud the Marseillaise in order to be overheard against the germans. It was very emotional to me because I am French and it made me felt patriotic. My grandfather fought in World War II and was in the Free French Forces. That might explain why I lovedthis movie so much. However, this movie does not portray France in this case but the choice that the United States made to get involved in the war. The director showed us this through the character of Rick Blaine who can be described as a lone wolf living in isolation from a world that once deceived him. Rick has everything he desires. He owns one of the nicest clubs of Casablanca however, Rick is confused all along the movie and has to choose between getting involved with the problems of his long lost love Ilsa or staying away from it and go back to his normal boring life. I chose to this picture because it has lot of elements that explains the movie's point of view towards the main character. During the entire movie, Rick is always dressed very nicely in white which can only portray him as important. However his confusion can be noticed very well in this scene. He is surrounded by shadows representing doubts. He is also drinking proving the fact that he does not know what to do. Notice that there is an empty glass next to the bottle, which also demonstrates Rick's lonelyness We feel bad for him which is what political expediency tries induce, feelings for the main character such as empathy in order to relate to him. The director wants us to get to know Rick better and at the end of the movie, to like him because of the choice he makes even though he seems indifferent at the beginning of the movie. There is another aspect of the movie shown in this scene. Sam, the piano player and friend of Rick is wearing a black suit explaining us that he is less important but his face is lit while Rick's is half in the shadow. This can be interpreted such as the opinion of Sam are important and have an impact on Rick.

Mise en scene Analysis:

Dominant: Our eye is first attracted to Rick because his white suit is the only thing bright in this whole shady environment. The director wanted to put Rick in evidence, he wants us to pay close attention to him.

Camera proxemic: It is a medium shot because half the body of Rick is fi
tted in the screen and some of the surrounding space is noticeable. This could be called an exposition scene.

Angle: We are looking at Rick directly from eye level which means that the director wants us to be sympathetic instead of judging him. Notice how we are looking up to Sam however, showing his importance in this scene once again.

Subsidiary contrast: The second thing our eye is attracted to is Sam's face because it is brightened by some light and we are always looking for the brightest element on a screen.

Framing: The framing is somewhat pretty loose. Rick would be able to move freely without impediments. This suggests that it is up to him to make a choice. He still has a chance to get involved.

Character placement: The characters are placed on the edge while the bottle of alcohol is in the center of the screen. The director wanted us to notice this detail so he used the two actors to highlight it so one is on the right and the other is on the left.

Staging position: Rick is looking away from the camera. He would like to be alone and our presence is annoying to him. He does not want to show his confusion because he doesn't want to seem weak in front of others.

Character proxemic: This a personal proxemic, Rick and Sam are about four feet away letting us know that the two characters are somehow friends or know each others pretty well.

Nolley- Casablanca (the right one)

The political expediency theory in Casablanca influences the audience’s feelings toward America’s involvement in World War II. The audience becomes sympathetic toward Rick and he is the focus of the film, character wise. He represents America and its transition through World War II. In the beginning of the film, he is indifferent to the events going on around him and he is focused on running his business. But when Ilsa enters the picture, his idea on the issues going on changes and by the end of the movie he does what’s best for everyone. This illustrates how America’s entrance into World War II was a necessity and how in the end it was the noblest thing to do. This change is a commentary on how America was determined not to enter the war, but realized if they did not it would hurt more people in the end. Ilsa was the motivation for Rick to do the right thing, just as Pearl Harbor was the last straw before the U.S. entered the war. The events surrounding Ilsa and Victor showed Rick that he needed to act in a selfless way in order to help the bigger picture. This film is used to justify America fighting in World War II. It showed the viewers that sometimes fighting is okay if one is fighting for what is right. Casablanca allows the audience to feel comfortable with such a huge event in history. It creates confidence in America and shows that with the support of its citizens, things will turn out okay. The political expediency theory gives Casablanca the underlying political message needed for that time in American history.

Kozaites, WWII Politics in Casablanca

The last scene of ‘Casablanca’ is perhaps the most often quoted ending in cinematic history, with “Here’s looking at you, kid”, “We’ll always have Paris”, “Round up the usual suspects”, and “Louis, I think this is the beginning of a beautiful friendship” just to name a few. The reason the ending is so memorable is because of Rick’s selflessness and heroic actions. The use of political expediency in the film further justifies the need to enter into the Second World War and displayed the necessity of it at the time. If Rick represents the American government, then Ilsa became a representation of American lives. However hard it is for Rick to send Ilsa away, it is necessary because Lazlo needs her in order to fight the Nazis. This would suggest that Lazlo represented the Allies in Europe fighting before the Americans entered.
The scene pictured shows everybody looking to Rick, suggesting that he has the power and command. However, Rick is looking at Ilsa, which show that ultimately he cares about her above everything else. They are separated in the scene by Lazlo and Renault implying that the war will, has, and must interfere with the lives of Rick and Ilsa.
The lighting in the film goes from bright and lively to dark and gray hinting that Rick, along with America, would know be entering into a dark uncertain time of war. However this ominous setting is counteracted by Ricks optimistic line concerning the impending friendship between him and Captain Renault. This would suggest that although times would be difficult the American people must persevere in order to win the war.

Cascioppo - Casablanca

Through political expediency, Casablanca influences the audience to sympathize with the pro-war faction of pre-involvement America. The filmmakers establish a tone of light versus dark, where Rick is often cast in both hues in a way of suggesting his personal confusion over whether to abandon his neutral stance and take a side in a conflict that has begun to personally affect his life. Furthermore the filmmakers want the audience to see themselves in Rick. They effectively express the idea that sacrifice for the greater good is sometimes in order. In the film this sacrifice is expressed through Rick losing Ilsa, in America at the time the reality was that if someone you loved went to war you could very likely lose them.
The scene displayed offers a good representation of the overarching good v. evil theme of Casablanca. Rick, on the far right, is being spoken to by Renault, a police-man who, at this point in the film, has shown support for Nazi Germany. Renault is in all black - a henchmen for the Evil Empire. Behind Renault on the far left stand Victor and Ilsa who are costumed in lighter colors and also stand in front of a lamp which gives off an air of white, of hope, of good, of resisting the darkness of Naziism.
Rick transforms through the film from neutral to pro-Allies. The studio transforms the mass-audience. By beating the war drum in order to make a profit, Warner Bros. manages to influence an international conflict.
-"In politics nothing happens by accident. If it happens, you can bet it was planned that way."- FDR

Johnson: Casablanca

 
The most important scene in Michael Curtiz's Casablanca is the scene when Rick (Humphrey Bogart) pulls the gun on the Vichy General Renault (Claude Rains). We see Rick defiant to the general and the Nazi regime for the first time in the film. Rick risks his life to help fight for the cause by allowing his love Ilsa (Ingrid Bergman) to escape Casablanca with her husband Victor Lazlo (Paul Henreid) for the United States.

     Up to this point in the film, Rick came off as a very neutral character who seemed to care about no one except himself. It is in this scene that the audience realizes Rick does have a soul. He comes out as the American hero who defeats the Nazi cause. At the time of this film, that is exactly what Warner Brothers wanted to depict.

     Warner Brothers was not afraid of producing politically motivated films, and liked the pro-American, anti-Nazi theme to this one. The script was sent to the studio less than a month after the events at Pearl Harbor, and it was released just a year later in the heart of the United States' war with the Japanese and Nazis.

     Casablanca was very much a propaganda film, but comes across much more elegant than your typical propaganda film at that time. Michael Curtiz was very discrete with his message of favoring the United State's role in the war because it was the right thing to do. People must always help out their fellow brothers and sisters when they are in need is the main idea (Director) gets across in Casablanca.

Political Expediancy in Casablanca

The Casablanca script was brought about in the midst of World War II, and the movie is largly a propaganda film. Rick Blaine is representative of America at the time of WWII. He is a neutral in his politics and is very private about his affairs.
The filmmakers made Humphrey Bogart an ideal American. His development follows a path from uninvolvement to involvement, which the United States government used as a way to create an implicit ideology behind the movie. The movie suggests that even if a person likes to keep to himself/herself, sometimes there is a greater calling for the individual to step up and do the right thing.
In this scene, the filmmakers throw in a very wealthy entrepenuer (Sydney Greenstreet) to ask Humphrey for his Restaurant. Of course, Humphrey says no because in this part it is established that he is not going to get involved with anyone. Sydney says, "In this world today, Isolation is no longer a practical policy." Taken out of context, this exact line applies to someone urging America to go into World War II. The political expediance comes in the filmmakers ability to put all American values into this one character of Rick. After Rick gets involved, the public percieves it as America's duty to get involved. The American agenda is make more accessible through this Hollywood-style, romantic plot.

Barkley, Casablanca

The scene at the end where Rick helps Victor and Ilsa escape is a great representation of the Political Expediency Theory that is depicted throughout Casablanca. At the beginning of the film Rick is viewed as neutral in terms of the war. As the film progresses, Rick begins to change his political views as he begins to play a more active role in the events that surround him. Then, at the end Rick's views have completely changed against the Germans as he now believes that they are the bad guys. So we see Rick take a character arc throughout the film as his political views slowly change as the film progresses.

As Rick's political views change, so does Casablanca's lighting. The film begins with Rick seen as neutral in terms of the war. While Rick's views are neutral, everything in Casablanca is very bright, almost too bright, and everything is white. However as the film progresses, Rick slowly changes his political views and as this happens the lighting becomes darker and by the end of the film he see's the German's as the enemy. At the very end of the film, Rick proceeds to shoot a German officer to ensure Victor and Ilsa's getaway.

The scene at the end where Rick helps Victor and Ilsa escape is very dark and all there is to see in the background is fog. This represents the ominous ending in the film.

Villacreces, Casablanca

The movie Casablanca by the director Michael Curtis was released in 1942, two years after the attack on Perl Harbor during World War II. The movie takes place in Casablanca, and a secondary story line in Paris. The movie presents Political Expediency , which means that the director presents a political message in the plot without choosing a side. It means that the director presents a sense of neutrality, instead of alienating himself to a side.

In the movie, a character that stays neutral throughout the movie is Rick. Rick is the owner of a bar in Casablanca. People that are from high class and members of the military go to this bar. The bar is one of the major setting in the movie, and through scenes in this bar we understand what businesses are going on. Rick had a strict "no drinks with customers", which makes him not get involved or not pick sides and stay neutral. This all changes one Ilsa comes back to Rick's life. He gets involved.

In this scene, we see the plane in which Laslo and Ilsa are on, Rick and Captain Renault. This scene represents how Rick let Ilsa leave with Laslo, while he stays in Casablanca in danger of being arrested because he just killed Major Strasser. It represents that Rick stopped being neutral in the war, and chose the side in which Laslo was because he loved Ilsa and wanted her to be safe instead of in danger in Casablanca.

Mise en Scene:

• Dominant: the dominant in this scene is Rick and Captain Renault looking and the plane that is taking off. This represents how they are still in Casablanca during the war and they cannot leave like everyone else is.
  
• The subsidiary contrast: is the plane taking off, you see this object just after you see Rick and Renault staring at the sky.
  
• Angle: The angle of the camera is looking up, as if what Renault and Rick wanted to be in that plane and leave Casablaca. Also it represents how Rick is seeing Ilsa leave with another man even though he loves her. The angle represents what Rick and Renault want but cannot have by not being in that plane.
• Form: the form is open. It represents how the plane is leaving with not problems. It represents that Ilsa and Laslo can leave with no issues, that everything was take care by Rick.
• Character placement: Both Captain Renault and Rick are place in the bottom of the frame while the plane is on top.

Casablanca is a great movie. It is a beautiful representation of a love story during a rough time in history. Rick and Ilsa cannot be together due to the issues around them. It also represents how love can conquer anything and makes people do crazy things. Rick came out of his bubble of comfort and neutrality for Ilsa. I would recommend anyone to watch this movie. It is a movie that was released in the perfect time during World War II.

Phillpott--Casablanca

The movie Casablanca does a great job in quietly pushing its political message. The movie opens with Rick being "neutral" in his view of the war. As the movie slowly progresses, he takes a more active role in the things going on around him. He chooses to help Victor and Ilsa escape from Casablanca to America. This shows a deliberate decision he has chosen about the war. Somewhere along the way, he decided that America and the allies were the "good guys" and that the Germans needed to be stopped. In fact, he has to shoot the German officer to stop him from catching the couple when they are making their escape. Rick makes the decision of letting the good of the world outnumber his own happiness. He would be happier running away with Ilsa, but he knows that Victor is very important to the war and Victor needs Ilsa.

I have chosen the scene where Rick helps them escape. The lighting in this scene is dull and the background is lost in the fog. The fog is used here to show that what happens in this particular scene will effect what happens in the world. The war will be influenced by whether or not Victor gets away from Casablanca. The characters in this scene are positioned in a very thoughtful way. Rick is situated in the middle of the frame because he is representative of America, and this film was trying to push that America had to take a stand against the Germans. Victor and Ilsa flank either side of Rick because they will be affected by what he does. Their characters represent the allies because they needed America's help. The space in the frame for the three characters is cut-off by the police chief and the airport employee. These two characters represent the enemy because they are the forces in the film that could stop the escape from happening.

Everything in this movie has been meticulously staged to push the political message to join the war. Casablanca does not use political expediency like most movies do. It does not remain neutral; in fact it promotes a direct political decision. I think this movie pushes its own agenda in an intelligent and affective way.

Falanga, Casablanca

The political expedience theory allows for the audience to understand a certain political message without being alienated. Through sympathy and the love story that unfolds in Casablanca, the theory holds up in that Ricks actions can be interpreted as helping the Ilsa, the woman he loves, or for doing the morally right thing in fighting against the Nazis. The scene in which the Vichy general is on the phone while Rick pulls out his gun to shoot him illustrates this point. The frame is tight as the general's back is the entire left half of the screen and the car and Rick are far away on the right. The general is the dominant because he takes up half the screen, then we see Rick who is holding the gun as the subsidiary. So we see the scene from the general's perspective as opposed to Rick's. The lighting is actually quite dark, as there is fog and a night sky background. The low key is on Rick. The proximity's of the camera is on eye level, Rick is about 10 feet away whilst the general is directly in front of the camera on the left. It is a tight shot because there is no room to room for these characters as they are in a gun battle and this shot perfectly illustrates that from the feeling of tightness and immobility. The shot is in black and white. It is a social shot because we see all of Rick's body but only the chest up for the general. There was no filter added as Rick looks ragged and detailed as opposed the smooth shots of Ilsa. The composition is 3d as we clearly see the depth of field in front of the general to show how far Rick is from him. It is closed form to show the intense gun fight as inescapable. The characters are about 10 feet away from each other. There are no other actors on screen but the car is right behind Rick as a prop. This shot illustrates the political expediency theory because not only do we see things from Rick's perspective camera-wise but also the General's, and we see how Rick cant escape and must make a decision immediately if he is to survive and save Ilsa, allowing for his actions to be sympathetic and understandable.

Rickert, Casablanca

The film Casablanca, is clearly a love story between the two characters Ilsa and Rick. Although, World War II is noted throughout the film, the main focus is between the conflict of Ilsa and Rick. The continual focus of their relationship takes the audiences focus off World War II. Since the moment that Ilsa is brought into the film the love story is the focus of the film. The war is also utilized in the film and can be seen as a tool to engage the audience by creating a more dynamic plot. Instead of the one dimensional love story plot with conflict of Rick and Ilsa, the war brings out another side of conflict. Casablanca is a classic and amazing film that utilizes simple techniques such as interweaving of the plot to create a true master piece of cinema. I really enjoyed this film and the techniques that the director incorporated. I usually do not find older classic movie to be very interesting at all. Casablanca definitely changed my perception on classic films and I hope to find some more that spark my interest. I actually felt compassion for these characters in Casablanca, and genuinely cared that they had a positive outcome.

Coulter, The Social Network

The social network could be said to be a movie made in order to make friends. This film presented a social image of "cool" through the fall step performances of "cool actors" depicting real life makers of social normative, and how it was made into marketing magic. The film was based on the real lives of Mark Zuckerberg and founding partner Eduardo Saverin. On paper this story would hold little to no interest to those not fully interested in long drawn out legal battles over copyright infringement and intellectual property rights, or maybe those interested in algorithmic math uses in fluctuating proxy servers to initiate a static IP. But on film everyone is interested in how to make friends and how to be cool. By presenting Mark as a completely flippant icon of brain power in constant combat with those insinuated to be his social better through character revelation, the audience was able to connect with this real life billionaire. Even though Mark is constantly presented as a complete ass hole throughout the entire movie, who even turns on his only friend in lay of a more socially cool Sean Parker, he is none-the-less the hero of this film. This transformation of character is accomplished in a few ways. While the court battles were boring in real life, to be sure, they were flashed back and forth to throughout the film in a light and playful way to provide plot elements and display the absolute brilliance, disregard of authority, and remorse at atrocities the character of Mark finds himself in. The character is almost always dressed in a very lackadaisical fashion to indicate his moral superiority to those that are judging him and of corse to be "cool." Mark also breaks up with his girlfriend at the beginning of the film in an exceptionally horrible way by broadcasting her vile traits to the net at large, which throughout the film he shows remorse for. By the end of the film you are left with a person who as an audience member you just want to be your very cool friend.