By Robert W. Sullivan IV
Have you puzzled why 007 is James Bond's numerical designation? Or the place the identify Luke Skywalker comes from? How approximately all these mammoth faces that go judgment on basic Zod and his lieutenants in the beginning of 1978's Superman? What's in the back of the symbolism of all these mirrors in Black Swan?
Cinema Symbolism: A consultant to Esoteric Imagery in renowned video clips solutions those questions; it's approximately occult, numerological, astrological, mythological, alchemical, Tarot, and kabbalistic iconography and symbolism contained inside well known video clips. motion pictures analyzed comprise The Exorcist, again to the longer term, megastar Wars (Episodes I-VI), The Lord of the earrings, The Wizard of ounces, Black Swan, Monty Python and the Holy Grail, the James Bond videos, and The Matrix between many others.
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Additional resources for Cinema Symbolism: A Guide to Esoteric Imagery in Popular Movies
Shimizu Hiroshi, 1936) depicts the bus driver protagonist rescuing a country girl en route to Tokyo; Wife! Be like a Rose! (Tsuma yo bara no yoni, dir. 35 Even in recent times, the hugely popular Tora-san fi lm series (from 1969 to 1997) by Yamada Yoji has evoked hometown, the space of nostalgia, as the central figure, Kuruma Torajiro, is depicted in a comical mismatch with the social formations of late capitalism. In this case, the hometown is not simply located in the country, where urban cultural standards have long since become prevalent, but rather the series presents shitamachi (the urban downtown neighborhood) as a symbolic locale of a preserved “good old days” and the warm community signified by Torajiro himself.
The fi lm’s omission of such public spaces is an intriguing point in comparison with the tendencies of contemporary national cinema. In contrast, many recent world cinemas deploy particular public spaces to highlight their ethnic and cultural differences from the West. The Wedding Banquet (Taiwan and United States, dir. Ang Lee, 1993) and My Big Fat Greek Wedding (United States and Canada, dir. Joel Zwick, 2002) depict the strength of ethnic family ties over American individualism through the wedding narrative; Yellow Earth (China, dir.
20 In contrast, the city space in interwar popular culture reveals a markedly different discourse of Tokyo, with the figure of an increasingly ubiquitous middle class at the center of the city. My focus on the intertextual links between the city of Tokyo, which became the center of Japanese modernity, and the urban spaces created in the cinema aims to uncover how historical subjects produced a modern space fi lled with the experiences and desires of a new urban middle class. indb 19 11/6/07 3:45:00 PM 20 Nippon Modern flect transformations of the period, such as the development of the modern city, but that it was rather an active agent in modernity’s envelopment of other spaces and temporalities, imagined within urban everyday life.