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Before young Hendrix chooses the Pepsi over the Coke, the only sound heard is the honking of passing cars. Once the Pepsi is open and the guitar is shown, the Hendrix song begins to play. When he looks to the Coke machine, the irritating sound of the accordion begins to play. The relationship of the clip's image and sound makes the message loud and easy to understand. Anytime that Pepsi is in the scene, cool music plays. Anytime that Coke is seen, unpleasant sounds are played. While Pepsi's message of superiority is obvious, there is another subtle message provided by sound. Because the scenes before choosing Pepsi used only car horns as sounds, it is possible that Pepsi is indicating that life is a blank canvas before choosing a soft drink. It's hinted that if Coke is chosen, life will be boring and old fashioned, but if Pepsi is chosen,…
William Friedkin's 1971 film The French connection is a masterpiece of cinematography. Several scenes can demonstrate a clever yet subtle use of camera angles, sound, and editing. Unique to The French Connection is the deft use of diegetic street noises in place of pit music, conveying the stark realism that characterizes Friedkin's production. The scene with the sniper atop an apartment building is a prime example of how cinematography works in The French Connection. In this scene, Popeye Doyle (Gene Hackman) casually strolls through a residential neighborhood in New York City. He is about to be targeted by a sniper who waits for him atop a residential apartment building. Instead of using music to impart a sense of suspense, the director instead relies only on the ordinary sounds of life: muted traffic noise, the sound of footsteps on pavement, and the cries of little children. Hackman is framed…
Close up shots are also used in this sequence to depict the soldiers that are flying in the helicopters during the attack. By using close up shots, the camera implies that the soldiers are being seen from the point-of-view of someone that would be flying alongside the men. Additionally, when the beach is being bombed by jets -- during which Lt. Col. Kilgore gives his infamous napalm speech -- the camera tracks the jets, following them as they approach the beach and drop their bombs.
There is also great use of skewed shots during this sequence however, their use may be incidental. Because the cameras that are being used to showcase the soldiers in the helicopters, and to follow the helicopters in motion, are not stationary, the skewed aspects of the shots help to emphasize the action and movements of a helicopter. The skewed shots also help to make the…
Apocalypse Now. Dir. Francis Ford Coppola. United States: Paramount Pictures, 1979. Film.
"Heart of Darkness." SparkNotes. Web. 20 April 2012.
"Part 3: Cinematography." Yale University. Web. 20 April 2012
Blue Velvet, directed by David Lynch [...] mise-en-scene and cinematography in the film. David Lynch is a master of the film noir, dark and brooding types of films that disturb, disquiet, and titillate all at the same time, and "Blue Velvet" is no exception. The film is part blue porn flick, part girl-next-door love story, and part sadistic kidnapping, and yet the elements all blend together to form a cohesive whole because of Lynch's masterful use of mise-en-scene staging and cinematography. "Blue Velvet," even with its' happy ending, leaves the viewer wanting more somehow, and that too, seems to be just what Lynch intended.
Mise-en-scene is a French term describing the "director's text" or staging of a film, and in "Blue Velvet," David Lynch's intricate and often surreal staging is an integral part of the film. He arranges space and time in the film with such dark and…
Blue Velvet. Dir. David Lynch. Perf. Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, and Laura Dern. De Laurentiis Entertainment Group, 1986.
Psycho is a 1960 horror-thriller film directed by Alfred Hitchcock that follows the demise of Marion Crane, played by Janet Leigh, at the hands of Norman Bates, played by Anthony Perkins, after she embezzles $40,000 and attempts to leave her former life behind (Psycho). Through the unique use of editing techniques and ominous cinematography, Hitchcock is able to create a film that is visually alluring and draws its audience into the intrigue and mystery that surrounds the Bates Motel.
The film opens with a very intimate scene in which Marion and her boyfriend, Samuel, are discussing their future plans. In this scene, intimacy is created by focusing on the couple and maintaining a tight frame shot on them as they kiss. Additionally, low angle shots help to establish the essence of the relationship between Marion and Samuel and seemingly implies that their relationship is not acceptable. The low angles create…
IMDB. "Psycho (1960): Did You Know?" Web. 19 June 2012.
Psycho. Dir. Alfred Hitchcock. USA: Paramount Pictures, 1960. DVD.
Cinematography and Film
In the movie industry there is some very important roles in making a film from the head honcho, the executive producer, his directors, and his cinematographer, and there has to be organization and everyone doing their job in order for a movie to be considered first rate. The director has two main people under him, the art director and his cinematographer, whose main job is to operate the camera, and the camera has to be continuously ready for different shots that are taken in the different sets in the movie because the camera is the one that makes and shapes the lightening of a scene to make it match what is going on during that moment. What people see when they watch every scene in the movie is the cinematography, also known as the visual look of the movie ( ).
Furthermore just like a…
House of Mirth
The film revolves around the early years of the 20th Century and the changing faces of the economy hence the social response to such changes. It is predominantly a depiction of the lifestyle that most ladies opted for with the increase in urbanization and amassing of wealth by a few individuals.
Lily Bart, the chief character in the movie, is depicted as one who is highly influenced by the change in the social aspect of life due to urbanization. She is a pretty, intelligent young woman who sets out on a primary mission of getting a man who is wealthy and prominent for a husband. The young lady sets out in pursuit of her dreams regardless of the measures she takes.
Lily is swallowed by the social hypocrisy that is predominant at that time in New York. She takes advantage of her age and beauty to attract…
Fandago, (2013). The House of Mirth: Cast and crew. Retrieved February 27, 2012 from http://www.fandango.com/thehouseofmirth_v212189/castandcrew
Urban Cinefile, (2013). The House of Mirth. Retrieved February 27, 2012 from http://www.urbancinefile.com.au/home/view.asp?a=4928&s=video_files
crime dramas of cinematic history, Arthur Penn's 1967 Bonnie and Clyde exhibits many hallmarks of accomplished filmmaking. Mainstay elements like character development, pacing, and screenwriting combine with the subtler aspects of moviemaking like mis-en-scene, cinematography, and sound editing. Faye Dunaway as Bonnie Parker and Warren Beatty as Clyde Barrow fulfill their most iconic roles. The film is based on the outlandish but true story of a heterosexual bank robber couple, and holds nothing back when it comes to violence or immorality. As such, the film is perfectly situated and representative of the historical and cultural context of 1960s America. Because of its moral ambiguity, Bonnie and Clyde remains one of the most classic and enduring films in Hollywood history.
Sexual tension between the two titular protagonists is well developed in Bonnie and Clyde. The tension is achieved by the actors' performances, writing, and direction. Bonnie is scripted as a strong,…
ob einer's 1987 film The Princess Bride enjoyed only moderate box office revenues, but developed popular underground appeal and has become a cult classic. The enduring respect for einer's quirky romantic comedy is immediately apparent: it is far from formulaic, and does not truly fit in either to the "rom com" designation or that of a fantasy. The Princess Bride also includes a cast filled with luminaries like Peter Falk, Andre the Giant, and Christopher Guest. Its cast and celebrity director therefore enhances the credibility of The Princess Bride. Ultimately, though, the script and the overall tone of the film make The Princess Bride classically compelling. William Goldman's eponymous novel, upon which the film is based, transforms seamlessly into a film that capitalizes on the clever story-within-a-story concept. Peter Falk reads The Princess Bride to his grandson, who is staying home sick from school. At first, the grandson balks at…
Berardinelli, J. (2003). The Princess Bride. Retrieved online: http://www.reelviews.net/movies/p/princess_bride.html
Ebert, R. (1987). The Princess Bride. Retrieved online: http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19871009/REVIEWS/710090301/1023
Ecroyd, C.S. (1991). Motivating students through reading aloud. The English Journal 80(6).
Henry, R. And Rossen-Knill, D.F. The Princess Bride and the parodic impulse: The seduction of Cinderella. International Journal of Humor Research 11 (1): 43 -- 64, ISSN (Online) 1613-3722, ISSN (Print) 0933-1719, DOI: 10.1515/humr.19188.8.131.52, / / 1998
sound technologies and sound design in Film
Sound in films
Experiments in Early Age
Commercialization of sound cinema: U.S., Europe, and Japan
Unified sound in film production
Sound designers in Cinematography
Sound Recording Technologies
History of Sound Recording Technology
Film sound technology
Modern Digital Technology
History of sound in films
Sound Recording Technologies
The film industry is a significant beneficiary of performing arts. The liberal arts combined with latest techniques and advancements experienced a number of stages. The introduction of films and sound in films was a significant development of its times. The introduction of first film along with sound was a unique event and it revolutionized the industry in such a way that it influenced every individual related to the industry to start thinking on creative and innovative grounds for improvements. The stages of films can be identified as silent films…
Alten, SR 2008, Audio In Media, Thomson Wadsworth, USA.
Altman, R 2004, Silent Film Sound, Columbia University Press, USA.
Ballou, G 2008, Handbook for sound engineers, Focal Press, USA.
Beck, J & Grajeda, T 2008, Lowering the boom: critical studies in film sound, University of Illinois Press.
It is hard to deny that Sophie's Choice indeed has the trifecta of what I believe good movie-making needs: superb acting, sound, and cinematography, as it was nominated excellence in acting (won by Meryl Streep), cinematography, and music by the Academy of Motion Picture Arts and Sciences' annual Academy Awards. hile I have seen many movies, few have touched me the way Sophie's Choice has. I can remember the seamless acting, the haunting music, and the visual beauty of the film itself. In viewing Sophie's Choice, it's easy to see that a great film is so much more than commercial success or box office revenue; a great film is compelling. It grabs hold of you and doesn't let go. In looking for movies that resonate with the viewer, one cannot come any closer to perfection than Sophie's Choice, one of the most compelling films of all time, a gripping…
Adler, Stella and Kissel, Howard. The Art of Acting. 2000. New York, NY: Applause
Theater and Cinema Books. Print.
Barsam, Richard and Monahan, Dave. Looking at Movies: 3rd Edition. 2009. New
York, NY: W.W. Norton and Company, Inc. Print.
In his 1940 romantic comedy adaptation of Philip Barry's Broadway play, director George Cukor allows Katherine Hepburn, James Stewart and Cary Grant to light up the screen and carry the movie without confusing the audience with camera tricks and editing.
By using subtle camera techniques, Cukor introduces the main characters through action and relies on his star ensemble to paint the picture of their respective characters. The editing is fluid as well as the cinematography. Using such devices as off-screen dialogue, and cues, we follow Hepburn, a Philadelphia socialite as she attempts to marry another man, and avoid a tabloid hound.
Cinematically, this is typical of the movies Hollywood was making in the 1940s. This particular film went on to win a string of Oscars, including Best Picture, and Best Director. Cukor interplays the style of writing within his camera directions so as to allow for an enjoyable…
Dominik's Killing Them Softly
Andrew Dominik's 2012 American film Killing Them Softly is a screen-adaptation of George Higgins' 1974 crime novel Cogan's Trade. Dominik's screenplay sets the action in modern America during the 2008 election campaign, which serves as a backdrop to the action of the film and allows both director/screenwriter Dominik and his cast of characters to ironically and wittily juxtapose their own agendas, ends and pursuits with those of the political world. Indeed, the film's subtext or undertone is really as pronounced as the main drama, paralleling the narrative in the final race to the showdown: the execution of the robbers of the card game and the election of a new ring leader (aka President of the United States). This paper will show how Dominik uses the underground world of organized crime to parallel and criticize the state of American politics and economics.
Storytelling, Editing, Style and Directing…
Bradshaw, P. (2012). Killing Them Softly -- review. Guardian. Retrieved from http://www.guardian.co.uk/film/2012/sep/20/killing-them-softly-review
Ebert, R. (2012). Killing Them Softly. Chicago Sun-Times. Retrieved from http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20121128/REVIEWS/121129985
Kirk, J. (2012). Review: Dominik's 'Killing Them Softly' Drives Message Hard and Well. First Showing. Retrieved from http://www.firstshowing.net/2012/review-dominiks-killing-them-softly-drives-message-hard-and-well/
Pezzotta, E. (2010). Film Analysis: A Comparison Among Criticism, Interpretation,
Otherwise, it is a bit abrupt that there is no mention of this film until the second half. Each paragraph is relevant to your proposition. Great choice to include quotes from other crew members that expressed how excited they were to work with Hitchcock. You also offer interesting perspective by choosing a director who was successful among his peers, fans, and critics, who made the shift from mainstream into academia.
It is a great choice to include how others who worked with Hitchcock felt about working with him. It was actually a great move to not quote Hitchcock directly, but to describe his character through his actions and through the quotations from others. This was a great strategy in presenting your argument. Overall, there was a very clear logic in the paper and you sustained your reasoning from start to close. I also found it good that you began…
As Gerald Mast states, "Details develop the film's emotional dynamics" (138), and these details are everywhere in the mise-en-scene. The most important aspect of the mise-en-scene, of course, is the acting. Actors are the most obvious props -- and Oh Dae-su provides ample instances of buffoonery that keeps Oldboy from sinking into the mire of its own violence. Despite all the gore, the film harbors a gentleness and affection, thanks to the acting from Oh Dae-su and Mido. Even the villain provides a handsome face and charming smile -- and an affable voice; even he is hard not to like, as he plays cat and mouse with Oh Dae-su.
The low-key lighting also helps provide the audience with the emotional connection necessary for the kind of mystery the film attempts to be. Scenes are shrouded in darkness -- such as when the heroes find themselves working in the Internet…
Axmaker, Sean. "Oldboy story of revenge is beaten down by its own brutality." Seattle
Pi. 2005. Web. 30 Dec 2011.
Berardinelli, James. "Oldboy." Reel Views. 2005. Web. 30 Dec 2011.
Ebert, Roger. "Oldboy." Chicago Sun-Times. 2005. Web. 30 Dec 2011.
Man Loves a Woman is a romantic movie written by Al Franken and onald Bass. It was produced in the year 1994. It starred Andy Garcia who acted as Michael green, Meg yan who acted as Alice green, Tina Majorino who acted as Jessica Green and Mae Whitman who acted as Casey green among others. Meg yan was nominated for screen actors' guild award for the best female in a leading role. The movie was well received by the audience and was rated among the best movies at the time.
The movie is a story of a woman Alice Green who is an alcohol addict and the challenges she faces in her quest to recover from the addiction. Alice, ironically, is a high school counselor but an alcoholic. She is good at counseling the students, hence does not lose her job. Her husband Michael Green is…
David J. (May 16, 1994). The Crow' Takes Off at Box Office Movies: The opening is the biggest ever for Miramax. In second place is 'When a Man Loves a Woman,' with 'Crooklyn' third.." The Los Angeles Times. Retrieved December 28, 2010.
Julie M. (2007). Psychological Review of the Movie When a Man Loves a Woman. Retrieved from: http://voices.yahoo.com/psychological-review-movie-man-loves-703291.html?cat=38
Neill, J. (2010). Movie director. Ann Arbor, Mich.: Cherry Lake Pub.
1934 film The Goddess directed by Wu Yonggang, uses the film elements mis en scene and cinematography in order to compose and deliver a moving and dramatic narrative. This short clip tells the story of a woman who suddenly discovers that her savings are missing. Upon learning this she exits rapidly to find the culprit, but not before comforting her young son. The main elements used in mis en scene are the following: setting, props, costume, performance, lighting and composition. The main elements used in cinematography are: framing, shot distance, length of take, camera movement, camera angle and depth of film.
During the beginning of the clip the first element that stands out is the setting. This element is carefully chosen in order to give the audience specific information about the characters. The setting is the interior of a humble and simple home. This tells the audience about the characters…
Sound of Music released in 1965, became an Academy Award winning icon in American movie musicals. As an historical account of the singing von Trapp family, the film is highly inaccurate and has several other strongly negative characteristics. However, the film's positive characteristics, chiefly its music and scenery/cinematography, override the negatives to make film a well-loved classic.
The Sound of Music: What the Movie is about; Which Parts are Historically Accurate and Inaccurate; a Review
"The Sound of Music" is about the singing von Trapp Family of Austria, who escaped Nazi control during Hitler's rule. The movie is historically accurate in some respects. Maria, an Austrian postulant with a religious order of nuns, was sent to the Salzburg home of widower Georg von Trapp, a military officer, and his 7 children. Maria and Georg eventually married. Also, the family was singing family and did win an Austrian musical competition. Finally,…
Televised violence can in some cases be harmless, mainly because film directors overstress it to the point where it becomes obvious that it cannot possibly take place in real life. hen it is presented in a way that makes it even more real violence can be very harmful. "Reviews of the effects literature have concluded that exposure to television violence portrayed with particular contextual characteristics can lead to such negative effects as fear, desensitization, and disinhibition" (Potter, and Smith 301). The negative effect of televised violence is apparently highlighted by graphicness, as people are influenced to a larger degree if what they see on television is explicit. Images of blood and gore can be much more harmful when presented in a high-detail vivid nature (Potter, and Smith 301). As the level of realness increases, the level of shock also increases, making it possible for viewers to feel as if they…
Gunter, Barrie and Harrison, Jackie. Violence on Television: An Analysis of Amount, Nature, Location, and Origin of Violence in British Programmes (London: Routledge, 1998).
Gunter, Barrie; Harrison, Jackie and Wykes, Maggie. Violence on Television: Distribution, Form, Context, and Themes (Mahwah, NJ: Lawrence Erlbaum Associates, 2003).
Potter, W. James and Smith, Stacy. "The Context of Graphic Portrayals of Television Violence," Journal of Broadcasting & Electronic Media 44.2 (2000): 301.
Krcmar, Marina. "The Contribution of Family Communication Patterns to Children's Interpretations of Television Violence," Journal of Broadcasting & Electronic Media 42.2 (1998).
As with any film, what is captured by the eye of the camera in this film is done with skill, expertise, and a high level of perfection in direction. The locations are captured by the camera in a way that supports and adds to the film's satire. For instance, in the gypsy camp, where Turkish and Tommy have gone to purchase a caravan to serve as an office for Turkish to work out for the fight he has to fix, the pair must walk around what appears to be large pile of excrement - and it doesn't appear to be animal in nature. Gross, yes, but it works with the conveyance of the stereotypical image that the director is attempting to convey.
Much the same holds true when Brick Top is giving Turkish and Tommy a tour of the pig pens. It is a harsh looking environment that successfully…
Ritchie, G. (dir), 2000, Snatch, Columbia Pictures and SKA Films, UK.
The film celebrates motion and freedom in its visual images, exemplified in the frenetic pace of the American automobile. Pop is a good man, but his horse and buggy are slow, and of another era. Although some suspicion of progress might be seen in the way that it imperils the protagonist with machines and how the city officials strive to cheat Jane's 'Pop,' even Pop knows that he can no longer survive driving a horse and buggy and it is time to retire. The lighting of the film is also bright and most of the scenes are bathed in light. Of course, as one of the last silent films, "Speedy" is in black and white, but it is more 'white' than black, in its tones. Coney Island, when the couple goes to see the Yankees is positively awash with light. Even when Jane and Speedy are encased within various shiny…
Speedy." Starring Harold Lloyd. 1928.
John Woo's Face/Off
John Woo's 1997 Face/Off was only the Hong Kong filmmaker's third American feature, preceded by Hard Target (1993) starring Jean-Claude van Damme and Broken Arrow (1996) starring Christian Slater and John Travolta. Travolta would star again in Woo's third Hollywood effort alongside Nicholas Cage. The film's solid success with critics and at the box-office would move Tom Cruise to hire Woo to helm the second installment of the Mission: Impossible franchise. But that film would prove to be the apex of Woo's success in America: his next two films would draw scant positive reviews and box office receipts. By that time, Woo had traded his inimical style for more overtly transcendent themes of sacrifice and spirituality: Windtalkers heavily embraced both Christian and Native American spirituality and Paycheck (based on a Philip K. Dick story) was more psychologically driven than action-oriented (like his more popular films before that).…
Ebert, R. (1997). Face/Off. Retrieved from http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970627/REVIEWS/706270301/1023
Li, Siu Leung. 2001, 'Kung Fu: Negotiating Nationalism and Modernity' Cultural
Studies, vol. 15, no. ae, pp. 515-542.
Mast, G. (2006). A Short History of the Movies. NY: Pearson Longman.
John Woo (1997)
In 1997, John Woo directed Face/Off movie that is action thriller movie. The report studies the roles played by actors and the plot of the movie critically. It sorts out the quality of sounds used in the movie and the styles adopted by actors and directors. The movie uses concept of face changing faces which are not new yet the movie makes an effort towards elaborating the concept. The movie is based on blood-shed genre with thrilling adventure that goes on as the characters fight to get to the bomb ticking in L.A. Movie is not only about the story but it is also about the cinema experience that is based on quality of acting, style, direction, sounds, lights, timing and use of technology. The report covers different technical aspects as used in the movie Face/Off by John Woo.
Dargis, M., (2009). "Action! The New York Times." Retrieved from http://www.nytimes.com
Face/Off, (2012), Retrieved from:
Maslin, J., (2003), "Face/Off (1997); Review Summary," Retrieved from:
For Private Witt, the idea is found in another world. For Sgt. Welsh, no idea exists -- and he tries to get Private Witt to see as much.
Yet, Malick's point is that such a world does exist. In fact, he begins the film with the prayerful chants of the islanders, and rolls credits to the same chant. At one point, one of the soldiers (Dale) sits in the pouring rain, clinging to himself before hurling his collection of Japanese molars away. Malick plays the hauntingly beautiful score by Charles Ives, "The Unanswered Question," to underscore the sense of spiritual desolation in Dale's horrific hobby.
The acting in the film is another point of interest. Malick's characters are not so much scripted as they are caught on film: each actor essentially is playing himself. Jim Caviezel is Private Witt. Sean Penn is Sgt. Welsh. What Malick undertook to do with…
The birds flying away in the end are representative of the freedom to love each other that Allie and Noah now have with each other. No physical bounds can restrain them. These elements became apparent on the fourth viewing. I then went back through the scenes to see if bird imagery was hiding in other scenes. Birds were found throughout the story, such as Noah providing bread for Allie to feed the birds, a mockingbird on the porch after they make love, etc. Upon closer examination, this emerged as a central tool for conveying the theme that Noah and Allie's love was as wild and free as the birds.
An analysis of "The Notebook" is a prime example of how the technique of viewing the film several times until the layers emerge can reveal deeper meanings with each viewing. In order to understand how the various elements of the film…
Boggs, J., and Petrie, D. (2008). The Art of Watching Films (Ashford Custom 7th ed.).
Mountain View, CA Mayfield.
Dirks, T. (n.d.). Tips on Film Viewing. Part 2. Filmsite. Retrieved August 9, 2010 from http://www.filmsite.org/filmview2.html
Goudreau, K. (2006). American Beauty: The Seduction of the Visual Image in the Culture of Technology. Bulletin of Science, Technology & Society. 26 (1): 23-30.
" (p. 78)
This leads us to the very question that the achowskis struggle with in their work, casting figures such as Neo and Trinity, or Violet and Corky, into a struggle for individualism against a culture defined by demands for uniformity and male-driven values of violence and domination. here Bound relies on highly grounded visual effects to express this idea, the Matrix explores the very same themes using innovative and ground-breaking special effects. It is in this way that in the Matrix, as we become more aware of the fake things that once were presented as reality, that ripples begin to appear on the screen. hen Neo-is 'located' in the Matrix, the scene begins with his being absorbed into a mirror. The mirror ripples unnaturally and in a way that jars with the physical rules of the real world. This is a visual effect that is repeated throughout the…
Bordwell, D. (2002). Intensified Continuity: Visual Style in Contemporary Hollywood
Film. Film Quarterly.
Bordwell, D. & Thomp, L. son. (1996). Film Art: An Introduction. McGraw-Hill
Companies; 5th edition (August 5, 1996).
His characters were generally exploited to show what directors wanted them to show instead of showing what Robeson wanted them to.
Scenes like that from the beginning of The Emperor Jones when he sings in front of the mirrors and shows his amazing smile have had a huge impact on the audiences that mostly considered black people to be untalented. In spite of the fact that directors did all that they could to use his character as they wished, Robeson's acting abilities captivated audiences and made them believe that the actor had had a strong character which rendered him unfit for playing weak roles.
The Emperor Jones presents Robeson as he plays the role of Brutus Jones, a black man taking advantage of every circumstance to better his social position. Even when people try to fool him, Brutus demonstrates that he is smarter and turns the situation in his favor.…
The Emperor Jones. (1933). Dir. Dudley Murphey.
In both the conflicts, the strong will of the athletes help them to overcome the obstacles or conflicts that they faced.
The aesthetic appeal was the main characters Lidell played by Ian Charleson and Abrahams played by Ben Cross. Both the actors had execute their role well and make a big impact on the viewers. The screenplay is also realistic and the story line is strong and powerful. This makes it an all-time great classic for viewers.
1. In this review, the critics felt that the movie was much slower than it should have been. But, they still liked the strong concepts and its underlying themes. http://www.rottentomatoes.com/m/chariots_of_fire/
2. The critics in this review rate it as one of the best movies that is ideal for children aged ten and up. They critic it as a good family movie that can lay the foundation for kids to understand…
Koster, Olinka. (26 October 2007). Modern Day Hero runs away with Chariots of Fire Chellnge. Daily Mail. Retrieved from: http://www.dailymail.co.uk/news/article-490027/Modern-day-hero-runs-away-Chariots-Fire-challenge.html
Mosher, Stephen David. (February 1982). Sport Movies Grow Up. Journal of Physical Education, Recreation and Dance. Pp35-36.
The scene between Jules, Vincent and Brett is one that clearly defines Hollywood's obsession with depicting the classic struggle between good vs. evil, but with a humorous twist that makes the scene appealing to a variety of audiences.
Violence is definitely evident in the words, deeds and actions of all the characters portrayed in the film. It is so available and accepted in fact, that an outsider looking in might presume that violence was the 'norm' rather than an extreme aspect of pop culture within the United States.
The filmmaker successfully depicts the paradoxical nature of violence in this movie, and attempts to incorporate the struggle of good vs. evil into the every day actions of many of the characters, in particular the lead character Jules. No where is this more evident than when Jules quotes "Ezekiel" noting that righteous men will always be beset on all sides by the…
Massing, Michael. "Movie Violence, Still Playing." Washington Post, Sunday July 4, 1999. p. B01, Retrieved March 8, 2005: http://www.lionlamb.org/movie_violence_still_playing.htm
Olinger, O.J. "Liberal Hollywood?" JDHauser.com, 2003. Retrieved March 8, 2005: http://www.jdhauser.com/Olinger/olinger_072203
Schneider, J. (2004). "New Hollywood Violence." Manchester: Manchester University
Press; as reviewed by Tom Gordon, 2003. Retrieved March 8, 2005: http://members.bellatlantic.net/~sschneid/NHV.htm
" (Vaziri T.) www.vfxhq.com/1998/armageddon_review.html"
On the other had there is also praise for the ways in which some of the special effects in the film are achieved. This applies to the sequence in which Shanghai is destroyed when the impact of the asteroid creates a sense of depth. This effect is created by a combination of matte paintings, miniature buildings and computer regenerated items. (Vaziri T.)
The critique of the films in terms of the special effects centers on the fast cutting style of ay's direction. The critics state that the lightning changes and fast shots, similar to musical videos, leave the audience wanting more. The director is continually cutting away to different scenes and sequences. This is a critique that is put forward time and again. There are also criticisms of the way in which the special effects are manipulated and directed. Again this refers to the pace and…
Curtis, Bryan. The Bad Boy of Summer: Michael Bay vs. his critics. 2005. Accessed October 23, 2005.
JAMES, CARYN. REVIEW; Take Action and Blood; Sprinkle With Laughs
1995. NY Times. Accessed October 24, 2005. http://query.nytimes.com/gst/fullpage.html?res=990CEEDF1F3AF934A35757C0A963958260
Miller Prairie. ARMAGEDDON: INTERVIEW WITH MICHAEL BAY. 1998. Star Interviews
In the fifth place, some English language cinemas compete directly with Hollywood within its own playing field. The sixth and seventh cinema types are interesting, since they attempt to retain a singular identity without external influence. One of these is the cinema that exists entirely within a state-controlled industry, which is often subsidized by the same state. Finally, there are those national cinemas that hold such a specific identity that they distance themselves, in terms of language or culture, from the nation-states within which they exist.
Having identified these categories, Crofts also points out the importance of recognizing their permeability. The author uses the example of French, Australian, and Indian films to demonstrate this point. The French, for example, would operate in the fields of differing from Hollywood, not competing directly with it, but occasionally delivering critique on its films and practices. On exceptional occasions, French cinema would also venture…
Abbas, a. (2007). Hong Kong. The Cinema of Small Nations. Edited by Hjort and Petrie. Edinburgh: Edinburgh University Press.
Altman, R. (2012). Film/Genre. London: Palgrave Macmillan
Bergfelder, T. (2000). The Nation Vanishes: European co-productions and popular genre formula in the 1950s and 1960s. Cinema and Nation. Edited by Hjort and MacKenzie. London and New York: Routledge.
Crofts, S. (2008). Reconceptualising National Cinema/s. Theorising National Cinema. Edited by Vitali and Willemen. London: Palgrave Macmillan.
Touki Bouki & Black Girl are experimental films from the late 20th century. The paper aims to offer a comparative analysis of the films in regards to many aspects, including the politics within each film and the aesthetics of each film. The films were released within ten years of each other and illustrate two distinct yet related styles of filmmaking and narrative structure. Both films pursue issues of freedom and bondage; the urban vs. The rural; and differences among gender roles. The paper describes and explores the content of the narratives as well as filmmaking aspects such as editing, cinematography, soundtrack, and message(s) to the viewer.
There exists a primary dichotomy in both films where Africa is on one end of a spectrum and France, specifically Paris, is on the opposite end of the spectrum, serving as a dreamland or wonderland. Both films explore the dreams of young…
Internet Movie Database. (2012) Touki Bouki & Black Girl. Available from www.imdb.com. 2012 March 26.
E.T. The Extra-Terrestrial
"E.T., the Extra-Terrestrial" has entered the pantheon of American pop culture in such a way that any film critic approaching it has to declare his or her bias up front: it is as hard to be objective about "E.T." As it is about "The izard of Oz" or the original "Toy Story." It seems embarrassing to use the tools of serious film criticism on something like "E.T." simply because most people have an instinctive sense that children are actually fairly tough critics, and that anything that is so universally acclaimed as children's entertainment as Steven Spielberg's 1982 science fiction masterpiece can't really be a serious movie, simply because it happens to be slick and professional. But revisiting "E.T." is also a useful way for anyone with an interest in serious film criticism to watch a film that actually works. "E.T." is actually a remarkably effective film, in…
Ebert, Roger. Review of "E.T." (20th anniversary re-release), Chicago Sun-Times, March 22, 2002. Accessed on February 2, 2011 at: http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20020322/REVIEWS/203220304/1023
Kael, Pauline. 5001 Nights at the Movies. New York: Holt Rineheart and Winston, 1991.
Lane, Anthony. "Endless Love" [review of "E.T." 20th anniversary re-release, The New Yorker, March 25, 2002. Accessed on February 2, 2011 at: http://www.newyorker.com/archive/2002/03/25/020325crat_atlarge
McKellar, Don. "His Life As A Dog" (review of "E.T." 20th anniversary re-release), The Village Voice, March 19, 2002. Accessed on February 2, 2011 at:
The Conformist, which was directed by the noteworthy Italian filmmaker Bernardo Bertolucci, is a notable film on two fairly exceptional accounts. Not only does it manage to combine a meaningful plot with elements of psychology, politics, and social issues, but it also is visually entrancing and features astute cinematography and sumptuous scenes. At the heart of the issue that the film evaluates is the need and actual effect of conforming. The conclusion hints that there is a degree of futility in human lives, and that regardless of how much one chooses to conform or to not conform, he or she only has limited influence on the world around him or her.
Set during the turbulent years preceding and encompassing the Second World War, The Conformist depicts the journey of its protagonist, Marcello Clerici, through the various stages of his life in a series of flashbacks that regularly…
Those two instances music was used to tell the story vs. simply dialog.
The film is filled with Capra quips, parts of business, and artistic tropes such as the invisible baseball game Willoughby performs when discussing fixing up his arm. Norton constantly cleaning his glasses and a duet between John and his fellow tramp the Colonel with the harmonica and ocarina are just some of the memorable and charming scenes Capra became well-known for. Capra also did, much like Welles, an assortment of montages and self-parody. Meaning, Capra had vertically challenged people signifying the "little people" in promotional photos for Doe.
The setting and set design of "Citizen Kane" was quite lush and grandiose. Everything from the animals in the zoo and the fake octopus puppet were larger than life. Music seemed narrate the movie just as much if not more than the dialog. Even when in the newspaper setting,…
Welles, O. (Director). (1941). Citizen Kane [Motion picture]. United States: Warner Home Video.
Hawks, H. (Director). (1940). His girl Friday [Motion picture]. United States: Columbia TriStar Home Video.
Capra, F. (Director). (1941). Meet John Doe [Motion picture]. United States: Alpha Video Distributors.
These powers are unique to Keaton, who has been widely considered superior to Charlie Chaplin for his "gentle coolness" and "deadpan bewilderment," (MacDonald 6). Both in the General and Sherlock Jr., Keaton is at his best. However, the General is a deeper and more memorable movie from the point of cinematography, direction, editing, and acting.
Buster Keaton is one of Hollywood's shining stars of the silent era. After the advent of "talkies," Keaton's career nosedived for obvious reasons. It was easier to transition from live performances in vaudeville to silent motion pictures, but the new talkies meant whole new business models in Hollywood. The dynamics had changed. Keaton's work, as was the case with most film stars of his era, remained literally silenced until they were revived and re-appreciated. Serious students of film and filmmakers today hearken to Keaton's work. He was been described as the "best comedy director in…
Bermel, Albert. Farce: A History from Aristophanes to Woody Allen. Southern Illinois University Press, 1990.
"Buster Keaton." PBS. Retrieved online: http://www.pbs.org/wnet/americanmasters/episodes/buster-keaton/about-buster-keaton/644/
Carroll, Noel. "Buster Keaton: The General, and Visible Intelligibility." Chapter 7 in Close Viewings: An Anthology of New Film Criticism. Ed. Peter Lehrman. University Press of Florida.
Carroll, Noel. Comedy Incarnate. Malden, MA: Blackwell, 2007.
There is a direct correlation with, say, Henry Hill's cocaine abuse and the increasingly rapid cuts between shots. Faster-paced narrative parallels quicker-moving shots. When viewers finally see the film in the theater, the finished product reads like a cohesive narrative when in fact the filmmakers strung together disparate shots and cuts and combined them later after thousands of hours of painstaking labor. Analyzing a movie must therefore include respect for the editorial prowess of the post-production crew.
Editors must be intimately familiar with the screenplay they work with, especially in films that do not have a linear narrative. For instance, Christopher Nolan's 2000 film Memento describes one man's struggle with memory degradation. elying on a non-linear plot, the filmmaker depended on the post-production crew to adequately convey the disjointedness of amnesia. Other elements like dramatic irony, in which the audience is privy to information that protagonists do not have access…
Bellour, R. (2000). The Analysis of Film. Bloomington: Indiana University Press.
Bertolucci, B. (1993). Little Buddha. Feature film.
Brown, B. (2002). Cinematography: Theory and Practice. USA: Elsevier Science.
Cameron, J. (2009). Avatar. Feature film.
Director John McTiernan's 1999 film, The 13th arrior, is a competent movie, made entertaining by its tight storyline, moody tone, masterful cinematography, realistic and often graphic fight scenes, and the strength of its supporting cast. A great deal of the movie's success comes from the cinematography of Peter Menzies, who creates an almost supernatural mood through his shooting of well-choreographed battle scenes in a dark, silent mist. Overall, the movie could never be described as Oscar-worthy material, yet its many strengths make it a watchable and enjoyable film.
The movie's main storyline is tightly plotted and concise. This is not a movie with a preponderance of plot twists and turns, and the storyline is largely self-evident and linear. There are a couple of exceptions, as in a short love interest between Banderas' character and a Norse princess, but they are short and do not distract from the main plot. As…
The 13th Warrior. 1999. Director: John McTiernan. Starring: Antonio Banderas, Diane Venora, Omar Sharif, Vladimir Kulich, Dennis Storhoi, Maria Bonnevie, Mischa Hausserman, Sven Wollter, John DeSantis, Asbjorn Riis. Touchstone Pictures.
Director Danny Boyle's 2003 movie, 28 Days Later, is an insightful reflection of societal fears of bioterrorism, terrorism and catastrophic warfare. In the movie, Boyle uses a variety of techniques, including plot, cinematography, theme, and characters in order to reveal society's uneasiness.
In recent years, the world has been rocked by the growth of fears over a diverse set of growing threats to global political and economic stability and world health. The tragedy of September 11th brought the world into a new era of fear over terrorist acts. Since then, public uneasiness has only been heightened by the train bombings in Madrid, the Bali bombings, and continued governmental appeals for constant vigilance against terrorism. The fear of bioterrorism has also grown in recent years, with the release of sarin nerve gas on a Tokyo subway, and the presence of anthrax in the U.S. mail. Adding to this climate of fear…
28 Days Later. 2003. Director: Danny Boyle. Starring: Cillian Murphy, Naomie Harris, Noah Huntley, Brendan Gleeson, Megan Burns, Christopher Eccleston. Cinematography: Anthony Dod Mantle. Music: John Murphy. Fox Searchlight.
BBC News. U.S. warns against travel to Israel. Last Updated: Thursday, 29 April, 2004, 01:12 GMT 02:12 UK.
29 April 2004. http://news.bbc.co.uk/1/hi/world/middle_east/3668565.stm
CBC News. More than 100 dead in Thai violence. Last Updated Wed, 29 Apr 2004 20:14:48. 28 April 2004. http://www.cbc.ca/stories/2004/04/28/world/thailand040428
Cinema as art serves several functions, not least of which is visual impact. Yet because motion pictures are inherently multimedia, soundscape, theater, and writing converge with the elements of visual cinematography and mis-en-scene. Film is often dichotomized, placed into an artificial binary of art films versus films made for a popular audience and designed for entertainment. However, many movies in the history of cinema prove that the line between art and entertainment is at its blurriest with filmmaking. Some films have also reached the level of being considered "classics," either in their specific genre or in the gamut of filmmaking. One of those films is the original 1922 version of Nosferatu. Directed by F.. Murnau, the 1922 film Nosferatu exemplifies surreal and haunting cinematography, deft use of timing, pacing, and editing, as well as integration of sonic elements.
Murnau's Nosferatu has been called the "best and most artistically-realized" film about…
Ebert, Roger. "Nosferatu." Retrieved online: http://www.ebertfest.com/three/3nosferatu_rev.htm
Leavy, Bill. "Nosferatu: Murnau's use of expressionism in his film. SUNY Albany. 24 April 1985. Retrieved online: http://www.academia.edu/2205991/NOSFERATU_Murnaus_Use_of_Expressionism_in_his_Film
Murnau, F.W. Nosferatu. [Film]. Available: https://archive.org/details/Phantasmagoriatheater-Nosferatu1922909
Vacche, Angela Dalle. Cinema and Painting. University of Texas Press.
Clearly, the films Shadows, Cleo from 5 to 7 and Memories of Underdevelopment; highlights a shift that would occur in film making from: the late 1950's to the late 1960's. Where, a variety of cinematographers have begun to focus on a new type of genre that would be radically different, from the traditional films that were produced by Hollywood. As these kinds of features would discuss various social issues, that could be affecting society and the individual. This would have an impact upon film making in the future, as it would highlight vast disparities that were occurring through the use a different characters and subtle themes. This is important, because the use of these techniques, along with small hand held cameras would create a new way of entertaining a host of audiences. As it would give them the actual feelings of the main character and how the various events being…
Bradshaw, Peter.: Cleo from 5 to 7." Guardian. 29 Apr. 2010. Web. 31 Oct. 2010
Burton, Julia. "Film and Revolution in Cuba." N.d.123- 142. Print.
Carney, Ray. "The Searcher." Guardian. 21 Feb. 2004. Web. 31 Oct. 2010 .
James, David. "Underground Film: Leapfrogging from the Grave." Allgories of Cinema: American Film in the 1960's. Princeton NJ: Princeton UP, 1989. 85 -- 110. Print.
Butch Cassidy and the Sundance Kid (1969) came in a time when the public became fond of funny westerns. The editors carefully made the movie's beginning and its end in order for it to have an exceptional result consequent to the audience viewing it. The silent beginning and the freeze-frame ending gave the movie an exceptional character, showing the public something that they had never seen before.
In times when the whole world filmed in color, a number of directors reached the conclusion that it had not been the color that made the difference between a good movie and a bad one, as it had been the script and the movie crew. Peter Bogdanovich, the director of the Last Picture Show (1971), had been influenced to film the movie in black and white because of a conversation that he had with Orson elles. The two concluded that it had been…
1. Annie Hall. Dir. Woody Allen. United Artists.
2. Butch Cassidy and the Sundance Kid. Dir. John Foreman. 20th Century Fox.
3. Friedrichsen Mike, Vorderer Peter, Wulff Hans J. (1996). "Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations." Lawrence Erlbaum Associates.
4. Lock, Stock, and Two Smoking Barrels. Dir. Guy Ritchie. Universal Pictures.
Films as Expressions of a Society's Values
Criminals are glamorous and so are the people who follow them.
The countries to be compared are the United States and Italy.
Each American film has an Italian counterpart that is similar in premise, characters, and sometimes time period.
The films that will be referenced are: Angel of Evil (Italy) -- Blow (USA); Giallo (Italy) -- Se7en (USA); The Girl with the Pistol (Italy) -- I Shot Andy Warhol. (USA)
How is the criminal lifestyle glamorized? How is the criminal lifestyle glorified? The paper will locate and explain examples as well as counterexamples.
The comparison will elucidate which culture glorifies criminals as well as the people who follow them, such as detectives, the media, or people who are fans of their work.
Narrative & Production
A. There must be some initial exposition and/or summary of the plot of each film (brief), as…
Abrams, Nathan, Bell, Ian, & Udris, Jan. Studying Film. New York, NY: Oxford University Press, 2001. Print.
Bellantoni, Patti. If It's Purple, Someone's Gonna Die -- The Power of Color in Visual Storytelling. Oxford, UK: Focal Press, 2005. Print.
Benyahia, Sarah Casey, Gaffney, Freddie, & White, John. AS Film Studies -- The Essential Introduction. New York, NY: Routledge, 2006. Print.
Bordwell, David, & Thompson, Kristin. Film Art -- An Introduction. New York, NY: McGraw-Hill, 2008. Print.
movies Gladiator and Braveheart both focus on the highly popular and time-honored, classic theme of humankind's unending struggle for freedom. Braveheart and Gladiator share numerous similarities, but are very different movies, in several important ways. In both movies, the average man becomes a true hero, after he is horribly wronged, and is thereafter forced to fight for freedom for both himself and others, against what seem to be almost hopeless odds.
In these movies, the average man becomes a hero, both through circumstance, and the strength of his individual character. The average, unassuming man who evolves into a classic, but tragic hero is charismatic. It is this charisma that allows him to attract loyal followers, against their common and powerful opponents.
In both Braveheart and Gladiator, the tragic and unassuming hero ultimately suffers a horrible and dramatic death, as a result of his struggle for freedom and justice.
Bradley, K.R. Slavery and Rebellion in the Roman World. Bloomington, Indiana: Indiana University Press, 1989.
Braveheart. Director: Mel Gibson. VHS, 1995.
Gladiator. Director: Ridley Scott. VHS, 2000.
Goldstein, R.J. The matter of Scotland: Historical narrative in medieval Scotland. Lincoln, Nebraska: University of Nebraska Press, 1993.
film Lone Star discussing various aspects of the movie.
Lone Star" is John Sayles' best movie yet, a richly textured, multi-racial, multi-generational examination of a Texas town. The writer/director Sayles brilliantly combines drama, romance, mystery, and social observation into a one third love story with a twisted one-third-murder mystery. Exploring the lives of half a dozen people in a Texas border town (i.e. border) Sayles ties them all together in his script with discovery of a skeleton in the desert that brings the skeleton out if every closet in the sleepy little berg. Two off-duty sergeants from an Army post near the town of Frontera find skeleton remains and a rusty Sheriff's badge. The current sheriff of Frontera Sam Deeds, son of late legendary lawman uddy Deeds, begins an investigation. Sam quickly learns that the remains are those of the corrupt sheriff Charley Wade, his father reputed to have run…
Lone Star" Director: John Sayles, Producer: R. Paul Miller, Maggie Renzi, Screenwriter: John Sayles, Year of Release: 1996
shoes a filmmaker decide philosophy filmmaking choose: realism formalism? The filmmaker reading readings 've reading. He finds Bazin's Arnheim's theories compelling, sees opposed respects.
Formalism v. Realism
There is much controversy with regard to the contrast between formalism and realism in the world of cinema, with film enthusiasts promoting either concept as a means for film makers to interact with viewers and to put across the exact messages they want to. hile both schools of thought are intriguing and are responsible for having contributed to some of the most beautiful films history has to offer, it is really difficult for someone not to express more appreciation toward one of them in particular circumstances.
Films such as Vittorio De Sica's 1948 "Bicycle Thieves" played an important role in shaping the world of cinema and made it possible for people to comprehend the degree to which realism can influence their perspective while…
Arnheim, "Film and Reality"
Arnheim, "The Complete Film"
Bazin, A., Gray, H. "The Ontology of the Photographic Image." Film Quarterly, Vol. 13, No. 4. (Summer, 1960), pp. 4-9.
Bazin, "DE SICA: METTEUR EN SCENE"
Camera angles that focus on wretched faces, of young boys in red coated uniforms begging for mercy, and of the arrogance of the British officer corps, not just towards Americans, but towards their own enlisted men, are shown with filming skill. As might be expected for this type of film, John Williams' score was masterful and very much in line with the generation of epics from the 1950s and 1960s -- painting a realistic picture of the film without dialog. Similarly, the audience is set up between the idyllic farm and hard work of a widower in the opening scene to the juxtaposition and hoped for return to normalcy in the final moments -- however, knowing that things will never be as they were (See: http://www.tcm.com/tcmdb/title.jsp?stid=336714&contentTypeId=130&category=trailer). The scene, however, that most stays with the audience is not one of the grander battles, but a one-on-one battle between Benjamin and Tavington,…
REFERENCES and WORKS CONSULTED
Bittarello, M.B. (2008). "Re-Crafting the Past: The Complex Relationship
Between Myth and Ritual." Pomegranate: The International Journal of Pagan Studies. 10(2): 214.
TRAILERS and PREVIEWS
Brown, Todd. (2007). "Footage from Taras Bulba." Twitch. Cited in:
Even if it successfully brings back to life a story forgotten by the public and distinguishes itself from today's typical films, Disturbia is no match for Rear indow.
It is not certain if Disturbia is homage or a remake to Rear indow, since the two movies are not exactly the same, but they are not very different either. hile some might consider Disturbia to be a rip-off to Rear indow (ilonsky 66), it is not the case here, since copying an idea as long as one does not copy its expression is not illegal. The reaction of the masses to Disturbia regarding the plagiarism involved in it is most probably owed to the film's success, since it is very probable for this condition to have been inexistent if the film were to make little to no money.
Caruso was right in bringing back the story present in Rear indow, considering…
1. Fawell, John Hitchcock's Rear Window: The Well-Made Film (Carbondale, IL: Southern Illinois University Press, 2001).
2. Verevis, Constantine Film Remakes (Edinburgh: Edinburgh University Press, 2006).
3. Wilonsky, Robert "Peeping Bomb," The Village Voice 11 Apr. 2007: 66.
4. Disturbia. Dir D.J. Caruso. With Shia Leboeuf and David Morse. DreamWorks, 2007.
As the film unfolds the couple flirts with other people at a party given by a billionaire. Both are aware of the other's flirtations. When they hear of the death of their friend Tommaso the woman tells her husband that she no longer loves him. But Giovanni reassures her that they are in love and can make their marriage work. La Notte ends with Lydia reading out a love letter that Giovanni wrote to her just before they got married. However, she cannot remember it.
This film leaves one with a feeling of emptiness and a sense of a journey that has led nowhere. There is a strong feeling of existential crises and the breakdown of communications and relationships in the film. This film can perhaps best be understood in terms of mood structure and in the creation of a certain atmosphere, rather than in looking for a conventional narrative…
The existence of people such as the Selenites, who burst whenever they are hit, is such an example, as is the fact that the capsule falls into the water to the bottom of the ocean and is rescued from there (although, in broad lines, this is indeed how things happen nowadays as well, although, at the beginning of the 19th century, this must have certainly belonged to the science fiction genre).
Finally, it is worth pointing out that the movie also involved nature laws that, at that point, belonged to the science fiction. The main such nature law was the law of gravity: at the moment of the movie, there was no perception that gravity could be in fact surpassed and that la launch in space was a possible endeavor for the human race.
Melies work was certainly fundamental for the future evolution of the science fiction genre in cinematography.…
By selecting a liberal sampling of films that may be distinguished for their use of special effects and their relative critical and commercial irrelevance, the research will create an extensive sampling for qualitative evaluation.
The research project will report the sequence of steps leading to the selection of films for consideration, including preliminary selection, viewing selection and selection for analysis. This last category will result in a report on the impact of special effects use both on the film and on a broader industry level. Outcomes will be integrated into an overarching set of findings and conclusions concerning the relationship between special effects in the selected films and the goal of filmmakers as a whole to achieve as close a proximity to their respective visions as possible.
Schedule/Timetable for Carrying out of Project (my time frame is 8 weeks)
This research will occur over eight weeks. This duration will be…
Fielding, R. (1985). Techniques of Special Effects of Cinematography. Focal Press.
Mitchell, M. (2004). Visual Effects for Film and Television. Focal Press.
Perkins, M. (2006). Digital Camera Tricks and Special Effects 101: Creative Techniques for Shooting and Image Editing. Portal.acm.org.
Pierson, M. (2002). Special Effects. Columbia University Press.
Taking Jeanine Basinger at her word would leave us with far fewer war films than we think we have. Basinger is a 'strict constructionist,' accepting as war films only those that have actual scenes of warfare (Curley and etta, 1992. p. 8; Kinney, 2001, p. 21). That means that the four films that will be considered here, and especially the two orld ar II films, are not war films. By Basinger's yardstick, neither Casablanca nor Notorious, neither Born on the Fourth of July nor Coming Home would qualify as war films.
On the other hand, films such as hite Christmas, a lightweight Bing Crosby-Danny Kaye-Rosemary Clooney-Vera Ellen comedy about the aftermath of war for an old soldier might well be a 'war' movie. The opening scene is one in which the old soldier, Dean Jagger, is reviewing his troops when, somewhere in Italy during the Christmas lull, bombs…
Canby, Vincent. Review/Film; How an All-American Boy Went to War and Lost His Faith. (1989, December 20). Online.
http://movies2.nytimes.com/mem/movies/review.html?title1=& ; title2=BORN%20ON%20THE%20FOURTH%20OF%20JULY%20%28MOVIE%29& reviewer=Vincent%20Canby& pdate=19891220& v_id=6747& oref=login
Coming Home (1978). Online. http://www.imdb.com/title/tt0077362/
Dirks, Tim. Casablanca, 2005. Online. www.filmsite.org and www.greatestfilms.org)
archive proposal, introducing the selected work of art, which is the film called It's a Wonderful Life. The author offers a well-written and brief summary, which helps the reader. Saying that It's a Wonderful Life is "significant and unique because it was produced sixty-six years ago and is still a popular film today," also helps to show why the writer chose this particular topic for the research. The author also does a very good job explaining why the movie remains significant after so long, and why it remains an important cultural artifact. It is because it "constructs and performs timeless principles that Americans admire and strive to execute." This becomes an ideal segue way into the background and context section, addressing the rhetorical components of the film.
As the author points out, "It's A Wonderful Life focused on actual events as they occurred." Therefore, one of the reasons why the…
casting and directing style of three directors for the film Madame Bovary. It has sources in MLA format.
Gusteve Flaubert's 1856 novel, Madame Bovary has been a masterpiece in literature during the 19th and 20th century. Flaubert's motive for writing the novel has been to address the pretentious middle class and how the society has created the central character and heroine Emma Bovary. Her sexual escapades and the dull country life with her doctor husband depict the kind of life people live without much aspiration for real happiness. The novel not only inspired theatrical performances but also films. From the beginning of the 20th century to the end of the century, Madame Bovary underwent several change and interpretation. Each romanticized the story line through intricate costume designs, background stage design and mostly the choice of the actress who would be Bovary [ey, 1992].
Madame Bovary is the story of…
Author not available, Madame Bovary., Magill's Survey of Cinema, 06-15-1995.
Esnault, Phillipe. "Le Jeu de la verite'." L'avant Scene Du Cinema, No. 52 (1965), p. 11.
Author not available, La Femme Infidele; The Unfaithful Wife., Magill's Survey of Cinema, 06-15-1995.
Corliss, Richard. CINEMA: Shades of Gray., Time, 01-15-1990, pp 52.
Production: Gaumont-British; Producer: Michael Balcon; Screenplay and Adaptation: Charles Bennett and Alma Reville from the novel by John Buchan; Principal Actors: Madeleine Carroll, Robert Donat, Lucie Mannheim and Godfrey Tearle
The 39 Steps was based on the John Buchan novel, written in 1915. Hitchcock freely adapted and changed the premise of the novel that very little of the original plot remained. Buchan, who was also the British Governor General in Canada at that time, was initially upset; but, after he saw the final product, he admitted that the film was much better than his novel.
This was the first time that Hitchcock used the now often-repeated theme of sympathy for the man unjustly framed and on the run, all the while attempting to clear his besmirched name and find the real culprit. Hitchcock also used the techniques of combining two scenes unrelated visually but by sound. The director relied more…
Sexual Harassment Vignette
We often made jokes about the cinematography teacher, who was among the younger, better looking female staff at the high school. She had long dark hair, dressed stylishly, and subtly showed off her nice body. However, she was an excellent instructor who truly engendered in her students a love for film and filmmaking. We spent a significant portion of our in-class time watching movies, which made for a perfect opportunity for the teacher to leave the room or do her own thing in class.
One day while the class watched a film and Ms. X sat behind her desk reading or grading papers, one of the assistant principles came in for a visit. He was a familiar face around campus and was known to be stern yet funny. I had run into him several times in the hallway and noticed that he has a certain kind of…
Hao Ning's 2006 film Crazy Stone is part action thriller, and part comedy crime caper. It has a polished look and feel due to excellent cinematography and good use of multiple camera angles. Because of the direction, cinematography, sounds, and editing prowess of Hao Ning, Crazy Stone looks almost like a Hollywood big budget movie. The film does not necessarily have a wide array of special effects, but those that are used judiciously and within the appropriateness of the tone of the movie. Humor is a huge part of what makes Crazy Stone as effective as it is. The combination of action/suspense elements with the multiple levels of humor is what makes Crazy Stone an instant success. The director understands what film pacing is about, in the way that the serious scenes draw in the viewer for just enough time before inserting another joke or prank. Some of…
Hao Ning. Crazy Stone. [Feature Film]. 2006.
Stanley Kubrick’s 1968 film 2001: A Space Odyssey is a masterpiece in the science fiction genre. Based on a story by Arthur C. Clarke, the film epitomizes the features of science fiction, including an overarching theme questioning the role of humanity in the universe. The film could just as well be classified as an epic, given its length and breath, as it begins with the origin of human beings through a depiction of evolution from primates, through the story of a space mission occurring millions of years later. Plot practically takes a back seat to cinematography and design in 2001: A Space Odyssey, in which Kubrick employs multiple cinematographic tools including music, mise-en-scene, editing, lighting, design, and script elements.
The mise-en-scene in 2001: A Space Odyssey is simply extraordinary, because each image captures the tension and existential angst that pervades the movie. Because the bulk of the film takes place…
A Documentary Filmmaking Experience
Aim and Accomplishment
Renov (1993) states that there are four fundamental purposes of a documentary: “1) to record, reveal, or preserve; 2) to persuade or promote; 3) to analyze or interrogate; and 4) to express” (p. 21). In my documentary, Palestine, her story, my aim was to observe—i.e., to record, reveal and preserve—the stories of the Palestinian women who served as the subject of my film. The film is therefore an observational documentary.
Looking back on my original proposal, I can say that I have completed at least a portion of my original project. The focus of my 20-minute film is on the three Palestinian women who live a successful life in London. Each woman is of a different generation and thus each one has a different experience to share, a different story to tell. Yet they also have one thing in common, which is Palestine.…
Eventually, prior commitments elsewhere forced Almendros himself to leave and Haskell exler completed the film. exler, a veteran of the studio system and in particular a disciple of pioneering cinematographer Conrad Hall, took a more pragmatic approach to the project. Although he was reluctant to betray Almendros' vision of the way Days of Heaven should look, he was willing to explore alternative methods for achieving that look, and so filled out the gorgeous but fragmentary existing footage with more conventional shots filtered to match.
In doing so, exler followed in the studio tradition that allowed generations of filmmakers to portray the little world of the sound stage in such a way that it not only resembles the outside world but also appears to surpass it in scale or grandeur. Almendros had shifted the responsibility (and the budget) of the filmic project to the staging of authentic situations that could then…
Glassman, a., & Samuels, S. (Producers), & Glassman, a., McCarthy, T., & Samuels, S. (Directors). (1992). Visions of light [Motion picture]. United States/Japan: American Film Institute/NHK.