Gladiator (2000 film) - Wikipedia
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Film Analysis: THe Gladiator Essay - 614 Words | Cram
Commodus's entrance and identification with the "Maximus" chants recalls a previous scene where Maximus succeeds in the arena as a gladiator and is able to reveal his identity to the emperor. The combination of these two key scenes is a distinct re-writing of the famous scene in Ben Hur where Judah walks out from an obscuring darkness. Both films generate this turning point to reveal to the antagonist that his friend-turned-enemy is alive and seeking vengeance. Maximus picks up an arrow tip in the sand as Commodus first approaches him, subtly alluding to Judah's presentation of a knife to Messala.
That’s how James Petersen’s book describes 1950s America and the false, repressed world from which Sandy must escape. There were three distinct cultures in America during the 1950s – mainstream middle-America, New York City (including the Beat writers), and teenagers – and they rarely intersected each other, so none of them spoke the others’ languages or shared their morality. Most of mainstream adult America lived a life of complete ignorance, happily watching safely artificial television sitcoms and carefully censored studio films, having little or no idea what was going on in teen America, in teen music, movies, magazines, social life, and most significantly, teen sexuality.
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But this song also works on a second level, as a cultural commentary on the power of drive-in movies in teen culture in the 50s. Cars had been changing sex since the 1920s, but by the 50s, more teenagers had access to cars than ever before, giving them the privacy they craved on a regular basis. Drive-in movies had been created as family entertainment, and between 1943 and 1953, more than 2,900 drive-in theatres opened in America, the total reaching nearly 5,000 by 1958. And once television stole the family audience, drive-in owners targeted their marketing exclusively at teens, while small, low-budget studios started cranking out material specifically for this new niche market, creating "teen exploitation" films that drastically changed and radicalized teenagers’ perception of themselves and each other. Drive-ins became a place to cruise for girls, hang with the "wrong crowd," get drunk and get laid (awkwardly, in the back seat). These films opened teenaged eyes to sex, violence, and other various vices like never before, inadvertently creating a new, more sophisticated, more cynical teen market. The fake movie dialogue in the scene leading up to "Alone at the Drive-In Movie" lampoons the two most prevalent genres of drive-in films: horror movies (a comic mix of and those paranoid 1950s "science run amok" flicks, like 1954’s ) and drag racing movies. Strangely enough, television had also come close to killing radio, in ratings and advertising revenue, until radio did what the drive-ins did by targeting teenagers.