Mise En Scene Essays (Examples)

Alien Chestburster Scene Analysis

Analysis of the Chestburster Sequence in Alien

idley Scott's Alien (1979) is one of the most riveting and horrifying sci-fi film of the 20th century. While the film's title points to an unknown alien creature, the audience is not introduced to this threat until approximately 52-minutes into the narrative during the infamous, and one of the most recognizable sci-fi scenes of the film -- the chestburster scene. Despite lasting less than two-minutes, this scene is one of the most terrifyingly recognizable scenes in Alien (1979) due to its mise-en-scene, composition, editing, sound, and action.

The chestburster scene takes place in the Nostromo's canteen -- the spaceship's dining hall -- where the crew, is enjoying one last meal together before being put into hypersleep in order to return to Earth. The ship's crew is limited in size and is made up of Lambert, the Nostromo's navigator; Ash,…

References

Alien. (1979). Directed by Ridley Scott. United States/United Kingdom: 20th Century Fox. DVD.

Kill Bill Scene Analysis

Quentin Tarantino's approach to cinema is unique and refreshing. In Kill Bill, Vol. 1 (2003), Tarantino tells the story of a woman, The Bride, hell-bent on seeking revenge on the elite group of assassins, the Deadly Viper Assassination Squad, and their leader, Bill, after they attacked and killed her wedding party and left her for dead. Tarantino's use of mise-en-scene and scene composition helps to establish an atmosphere in which the Bride is able to carry out her vendetta successfully in an artistic manner that does not distract the audience from the narrative.

Kill Bill, Vol. 1 (2003) is the first film of two in the Kill Bill series to date. Tarantino wrote and directed the film and was the film's executive soundtrack producer as well. The director is "the driving artistic source behind the filming process, and communicates to actors the way that he/she would…

References

Kill Bill, Vol. 1. (2003). Dir. Quentin Tarantino. USA/Japan: Miramax Films.

Kill Bill, Vol. 1. (2003). IMDB. Retrieved 8 July 2012, from  http://www.imdb.com/title/tt0266697/ 

Movie Terminology Glossary. (2012). IMDB. Retrieved 8 July 2012, from  http://www.imdb.com/glossary/A 

The Crazy 88s. (2003). MovieClips.com. Retrieved 8 July 2012, from  http://movieclips.com/QWmt-kill-bill-vol-1-movie-the-crazy-88s/

Double Indemnity Scene Analysis

Double Indemnity (1944) can be considered to be one of the films most representative of American film noir. Double Indemnity (1944) is the story of a woman, Phyllis Dietrichson, who has manipulated her way into marriage with a wealthy man, Mr. Dietrichson, and subsequently conspires with an insurance salesman, Walter Neff, to help kill her husband. Under the premise of being concerned for her husband's safety, Phyllis takes out an accident insurance policy, which is guaranteed to pay her at least $50,000 in the event of Mr. Dietrichson's untimely death. When Walter informs Phyllis that she can get $100,000 from the insurance policy if her husband dies in a rare accident, such as an accident involving a train, because of a double indemnity clause in the policy, the nefarious duo decide to concoct a plan that will make it appear as though Mr. Dietrichson fell to…

References

"The End of the Line." (1944). Double Indemnity. Dir. Billy Wilder. United States: Paramount

Pictures. MovieClips.com. Accessed 7 November 2012, from  http://movieclips.com/rU9mD-double-indemnity-movie-the-end-of-the-line/ 

Full Cast and Crew for Double Indemnity. (n.d.). IMDB.com. Accessed 7 November 2012,

 http://www.imdb.com/title/tt0036775/fullcredits#cast

Tarantino's Inglourious Basterds

An analysis of Quentin Tarantino's Inglourious Basterds

Inglourious Basterds, written and directed by Quentin Tarantino and released in 2009, is a continuation of Tarantino's postmodern approach to cinema and may be considered to be of greater cultural significance due to its subject matter and how it is developed through the narrative. Inglourious Basterds features an all-star cast that includes Brad Pitt, Eli Roth, Michael Fassbender, Christoph altz, Melanie Laurent, and Diane Kruger, among other greats and frequent collaborators. Set during orld ar II in Nazi-occupied France, Tarantino creates an alternative and fictional re-interpretation of Adolph Hitler's plan for the eradication of the Jewish race and the days leading up to his death. In Inglourious Basterds, Tarantino creates a world of catharsis, one where Hitler's victims and intended victims are able to seek revenge and ultimately destroy the Nazi regime on their own. Through the film's narrative, cinematography,…

Works Cited

"Chronology of Jewish Persecution: 1933." Jewish Virtual Library. Web. 18 May 2013.

Inglourious Basterds. Directed by Quentin Tarantino. United States: The Weinstein Company,

2009. DVD.

"Inglourious Basterds Trivia." Internet Movie Database. Web. 9 May 2011.

Bonnie and Clyde

Through its film design, Bonnie and Clyde is able to capture a relatively truthful dramatization of Bonnie and Clyde's final journey together. Despite its many historical inaccuracies, the film is able to capture the essence of the Great Depression through the narrative and mise-en-scene. Bonnie and Clyde focuses mostly on the fictionalized relationship that develops between the titular characters and the various ups-and-downs that the couple underwent during their romantic relationship and criminal career. Despite the historical inaccuracies that arise during the course of the film, the film's concluding scene is the most jarring and violent scene. hile the purpose of the final scene is to provide closure to the film, the combination of a simple set design and rapid composition culminates to depict the sudden and brutal take down of the infamous couple.

hile the film focuses on the titular characters, the crime spree that they…

Works Cited

Barsam, Richard and Dave Monahan. "Chapter 5: Mise-en-Scene." Looking at Movies an Introduction to Film. 3rd Ed. New York: W.W. Norton and Company, 2009. Print.

Bonnie and Clyde. Dir. Arthur Penn. United States: Warner Brothers, 1967. Film.

"Did You Know? Bonnie and Clyde (1967)" IMDB.com. Accessed 21 March 2012. Web.

Geringer, Joseph. "Bonnie and Clyde: Romeo and Juliet in a Getaway Car." TruTv. Web.

Film Clip Analysis of Inglourious Basterds

Quentin Tarantino is best known for his ultraviolent and bloody films. Through his unique writing, directing, and editing style, Tarantino has been able to create a cinematic canon that is distinguishable from his cinematic peers. In Inglourious Basterds (2009), Tarantino uses a mixture of modern music and historical events to give a fictional account of a group of vigilantes who are on a quest to take down the Nazis during World War II; these vigilantes range from Shosanna Dreyfus, who escaped being executed by SS Col. Hans Landa, to the Inglourious Basterds, a rogue band of soldiers hell bent on killing as many Nazis as they can. Tarantino's use of mise-en-scene and composition help to establish the mood and setting without detracting from the narrative.

Inglourious Basterds (2009) is Tarantino's most recent film. He not only directed the film, but also wrote the film…

References

"Business is A'Boomin." (2009). from Inglourious Basterds. Movieclips.com. Accessed 15 May

2012, from  http://movieclips.com/gVWFR-inglourious-basterds-movie-business-is-a-boomin/ 

David Wasco. (n.d.). IMDB.com. Accessed 15 May 2012, from  http://www.imdb.com/name/nm0913300/ 

Full Cast and Crew for Inglourious Basterds. (n.d.). IMDB.com. Accessed 15 May 2012,

It is after Ana views the film, that she becomes more active at night, running away in order to try and find the mysterious spirit or ghost that Isabel has told her about. As Ana becomes more entranced with the darkness around her, she begins to explore her surroundings by herself. She is later shown to be playing by herself near an abandoned sheepfold, whereupon she later encounters a fugitive. Much like the relationship between the monster in Frankenstein and the little girl, Ana innocently tries to take care of the soldier only to unknowingly contribute to his demise. Ana, wracked with guilt, blames herself for the execution of the fugitive and subsequently runs away. While in the forest, Ana comes upon a stream, and while gazing into her reflection in the water, she imagines that she is the monster and that the monster has materialized both within her and…

Memento Film Analysis

Christopher Nolan's Academy Award nominated film Memento provided a new perspective on film noir and helped to redefine how a narrative was presented in cinema. Memento stars Guy Pierce as Leonard Shelby, Carrie-Anne Moss as Natalie, and Joe Pantoliano as Teddy/John Edward Gammell. Through Leonard's psyche, the film's narrative structure, and its mise-en-scene, Nolan is able to demonstrate the perpetual conflict that arises in the film between good and evil, fact and fiction, and instinct and knowledge.

Memento is the story of Leonard Shelby, a former insurance investigator, who is suffering from anterograde amnesia. In the film, Leonard is trying to find the person that raped and killed his wife, but has trouble retaining any information long enough for him to make any progress in his investigation. However, through a series of techniques designed to jog his memory, including tattoo, Polaroid pictures, and extensive note taking, Leonard…

Works Cited

Borde, Raymond and Etienne Chaumeton. A Panorama of American Film Noir: 1941-1953.

Trans. Paul Hammond. San Francisco: City Lights Books, 2002. Print.

Memento. Dir. Christopher Nolan. USA: Summit Entertainment, 2000. Hulu. 20 July 2012.

Naremore, James. "American Film Noir: The History of an Idea." Film Quarterly 49.2 (1995-

It also says a lot about our society that so many people went to see the film and endorsed the film. It is not because this film is about heroes or heroism. It is because the film's ultimate message is to never forget the people who died in the September 11, 2001 terrorist attacks. It was a time when the people of the country came together in support and grief, and a time that made the country and its people just a bit closer to one another. It was an epic time in history and this film makes everyone remember, ultimately so they will never forget.

In conclusion, this is an important and emotional film. It is certainly not easy to watch, and it is easy to demonize the terrorists and fault the military because of their scrambled messages and inaction. However, the director does not demonize the terrorists or…

References

Fortuna, Michael. "Bingham Feels 'United 93' Does Son's Memory Justice." Villages Daily Sun. 2006. 1 Dec. 2008. http://www.thevillagesdailysun.com/articles/2006/04/28/lifestyles/lifestyles01.txt.

Roberts, Sheila. "United 93 Movie Review." Movies-Online.ca. 2006. 1 Dec. 2008. http://www.moviesonline.ca/movie_review_detail.php?id=1769.

United 93. Dir. Paul Greengrass. Perf..J. Johnson, Gary Commock, Polly Adams, and Opal Alladin. Universal Pictures, 2006.

Wilson, Tyler. "United 93' a Powerful Re-Enactment of Tragedy." University of Idaho. 2006. 1 Dec. 2008.  http://www.uiargonaut.com/content/view/1839/47/ .

A perfect example of this is located in Chapter three. Chapter three opens with the camera zooming steadily in on a window. The shot then cuts to a shot of streetlights, establishing the time of day as early morning. Even though simply not enough of the room is exhibited to demonstrate what exactly exists within it, the shot following the streetlight is of a woman in bed, strongly suggesting it was her bedroom that the camera was stealthily creeping up to in order to peep through the lace curtains unbeknownst to the sleeping woman.

This voyeurism keeps going even as the aforementioned woman gets up, washes and dresses in various sequences interspersed in chapter three. Vertov's camera cuts from the sleeping woman to the painting on the wall of an old man, located and leering as if he too were watching her sleep.

This voyeurism is further emphasized by the…

Bibliography

Barnouw, Erik (1993) Documentary: A History of the Non-Fiction Film. 2nd ed. New York: Oxford University Press.

Barsam, Richard M (1973) Nonfiction Film: A Critical History. Bloomington: Indiana University Press.

Beller, Jonathan L (1999) Dziga Vertov and the Film of Money, Boundary 2: An International Journal of Literature and Culture. 26 (3). Duke University Press.

Guynn, William (1990) A Cinema of Nonfiction. Rutherford: Fairleigh Dickinson University Press.

Limitless is a film that was released by elativity Media and Virgin Produced in 2011. The film's primary cast consists of Bradley Cooper, who plays the protagonist, Eddie Morra, Abbie Cornish, who plays Eddie's girlfriend Lindy, and obert DeNiro, who plays Carl Van Loon, a finance and energy tycoon. The premise of the film is that Eddie, a struggling professional writer, comes across the brother of his ex-wife, Vernon, on the streets of New York City by chance. Vernon, a former drug dealer, and now shady pharmaceutical consultant, offers Eddie a drug that allows him complete access to the full capacity of his brain. Vernon is murdered by criminal rivals and Eddie takes Vernon's remaining cash and stash of the fictional wonder-drug to propel his life in a new, much better direction. The conflicts of the film include the unknown and potentially fatal side effects of the drug that Eddie…

References:

Campbell, D. (2002). Technical Film and TV for Nontechnical People. Allsworth Press: New York.

Internet Movie Database. (2012). Limitless -- Full Cast and Crew. Web, Available from:  http://www.imdb.com/title/tt1219289/fullcredits#cast . 2012 November 15.

Smith, G.M. (2003). Film Structure and the Emotion System. Cambridge University Press: Cambridge, UK.

Watch movie clip: The Departed (2/5) Movie CLIP I Want Some Pills (2006) HD http://www.youtube./watch?v=NEwspgySg5s&list=PL31DE65690EE474 Elements Design During process envisioning designing a film, director, production designer, art director ( collaboration cinematographer) concerned major spatial temporal elements.

The Departed -- scene analysis

The director, the production designer, and the art director

The Departed is a 2006 motion picture directed by Martin Scorsese, with Kristi Zea as the production designer and Teresa Carriker-Thayer as the art director.

Martin Scorsese was meant to put the script into play by controlling the motion picture's artwork and the dramatic character it was meant to put across. y guiding the film crew and the actors in producing the best results possible the film director is thus meant to have authority over most of the motion picture's production. One can even go as far as to say that the film director is responsible for interpreting the script…

Bibliography:

Dir. Martin Scorsese. The Departed. Warner Bros. 2006

Films

Cinema is a cyclical phenomenon of images, themes, stories, and visions yet each interpretation presented to viewers is unique and connects with them in a different manner. By studying the foundations of cinema, one can trace the influences of directors in modern cinema. Quentin Tarantino's most recent film, Django Unchained, is not only a postmodern film that draws influences from Fritz Lang's Die Nibelungen: Siegfried, an Expressionist film, and seamlessly intertwines the German legend with the estern genre. Through the film's narrative, structure, and mise-en-scene, one can see how early films and directors like Lang and Die Nibelungen: Siegfried have influenced contemporary directors like Tarantino and his film, Django Unchained.

Die Nibelungen: Siegfried is a 1924 silent fantasy film of the German Expressionist era. The film is based on the German legend of Siegfried who risks his life to help win Brunhilde's hand in marriage. Lang's film traces Siegfried's…

Works Cited

Ahearn, William. "Die Nibelungen, Part I: Siegfried and Part II: Kriemhild's Revenge (1924)."

2012. Web. 6 May 2013.

Die Nibelungen: Siegfried. Directed by Fritz Lang. Germany: UFA, 1924. Netflix Instant

Streaming. 6 May 2013.

Unlike other court depictions, the questioning of the witnesses and Robinson occur in the center of the room, creating a more intense feeling of interrogation.

The editing of the film helps to further drive the story. Shooting the film in black and white helps to exasperate the tension between social classes while commenting on the fact that the morality is not as simple as black and white and that there are many grey areas. The passage of time is marked by transitions in which a preceding scene fades into the next. Long shots are utilized to show the freedom that the children have within their neighborhood as they travel down the street and throughout town. The use of medium and medium close-up shots is best represented during the closing arguments of Robinson's trial in which Atticus tries to convince the jury to find his client innocent of the charges brought…

Works Cited

Mulligan, Robert, dir. To Kill a Mockingbird. Universal Pictures, 1962. Film.

" (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…

Works Cited:

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).

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…

Works Cited

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 only connection between the two worlds of Tesla and Robert, electricity and old-fashioned staged magic, is the sense of hyper-reality: of magic and stagecraft in one realm, and electricity and the 'real world' of science that makes the depiction of magic on film possible. Tesla's mad scientist hair, the bags beneath his eyes, make him look more mentally unbalanced than a rationalist -- a mad inventor of film, not a trusted authority to the eye. The viewer's apprehensiveness is dependent upon this awareness of cinematic conventions, just like the audience of a magical illusion is dependant upon their awareness that it is, in fact, an illusion.

Further unsettling the viewer's sense of Tesla's trustworthiness are the buzzing electric generators that hum like tiny bees in the background, sparking with fire. Tesla seems purely a creation of the cinema, of electricity itself. Electricity unlike staged magic is real but close-ups…

Works Cited

The Prestige. Directed by Christopher Nolan. 2007.

action-packed sequel to the Expendables (2010), The Expendables 2 expands on Stallone's action-packed script and introduces even more action stars of the 80s and 90s. The Expendables 2 brings back Stallone, Jason Statham, Dolph Lundgren, Jet Li, Terry Crews, and andy Couture, with expanded roles played by Bruce Willis and Arnold Schwarzenegger. In addition to this impressive cast, The Expendables 2 also features performances by Chuck Norris and Jean-Claude Van Damme. Through The Expendables 2's mise-en-scene, the audience is exposed to a non-stop, action-packed, adrenaline fueled adventure.

While Stallone directed the first film, Stallone passed the directorial torch to Simon West for the sequel. As a director, West was charged with guiding "the actors in performance, [determining] the staging of the action, [supervising] all aspects of shooting, and [working] with the producer, writer, and designer before production and with the film and sound editors after production to ensure consistency and…

References

"You've Been Back Enough." (2012). The Expendables 2. Directed by Simon West. United States: Lionsgate. Accessed 17 September 2012, from  http://movieclips.com/pPZwy-the-expendables-2-movie-youve-been-back-enough/

Story/Plot

The king died then the queen died. After the death of the king, the queen died from grief.

The first sentence refers to the story while the second sentence is the plot. A plot basically refers to a story being told by a third party. It may be inaccurate and biased, but certainly more interesting. Most of the works of fiction are based on the actual events or the same basic stories (Krane, 2007).

The Objective of the Research

This research aims at describing aesthetic aspects found in the Lord of the Rings: The Fellowship of the rings by J.R.R. To help him fulfil the information required, the researcher employs numerous tactics, including spending time in the library reading bibliographies. The collected data is then analysed using phenomenological approaches to help discover the aesthetic aspects of the novel.

Story Summary

One of the ancient rings believed to have been…

Ethics, Hypocrisy, and Transformation in the Film Jerry Maguire

Jerry Maguire is a film set in the 1990's which shows the clear differences between idealism and ethical thinking and the hypocrisy of the workplace, where lip service is paid to doing the right thing, but actions contradict the rhetoric. A clear theme in this film is therefore hypocrisy, with the feel good factor of redemption through transformation (Gayules & Bird, 2005). This romantic comedy -- drama is set in the 1990s, starring Tom Cruise as the title character who evolves though the film, who has difficult in adopting ethical perspectives as they undermine his business position, making tis film an interesting anthropological study of the world of the sports agent (Gayles & Bird, 2005).

Jerry is a sports agent, in the movie he is portrayed as being at the top of his game, he is making a lot of money…

Mise-en-scene

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…

Works Cited

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.

Il doit tuer par programmation des etres proches ou qu'il aime. He must be killed by relatives or loved programming he loves. Redevenu autonome, il tuera de sa propre main son beau-pere puis sa mere.Again become independent, he will kill his own hand and then his father-his mother. Enfin, il sera accule au suicide par desespoir, victime touchante de toute cette manipulation. Finally, it will be driven to suicide by despair, touching victim of all this manipulation.

The Manchurian Candidate se revelera de surcroit etre une oeuvre prophetique don't l'avenir verra se realiser beaucoup des hypotheses qu'avait imagine Richard Condon dans son roman et auxquelles Axelrod et Frankenheimer ont su donner une illustration cinematographique qui nous laisse souvent pantois. The Manchurian Candidate addition will prove to be a prophetic work whose future will be realized many assumptions had imagined Richard Condon's novel and that Axelrod and Frankenheimer were able to…

By allowing his children to address him by hist first name, Atticus is dismantling one of the many traditions that serve to reinforce and perpetuate traditions that ultimately only serve to delegitimize the experience and perspective of certain people. This forces the viewer to take Scout's recollections and narration more seriously, because although they are the memories of a relatively young child, the viewer cannot help but treat them with a little more respect in recognition of the respect that Atticus, as the most idealized character in the entire film, grants them.

Thus, taking a cue from Atticus, Scout and Jem are respectful and relatively well-behaved, but are never hesitant to question or challenge attitudes and behaviors that they perceive as unjust or unjustified, and particularly in the case of Scout, are especially sensitive to behaviors that hypocritically contradict the ostensible moral standards of society. hile is worth noting that…

Works Cited

Edgerton, Gary. "A Visit to the Imaginary Landscape of Harrison, Texas: Sketching the Film

Career of Horton Foote." Literature/Film Quarterly 17.1 (1989): 2-12.

Foote, Horton. To kill a mockingbird, the screenplay: and related readings. Boston: McDougal

Littell, 1997.

Through the humanization of the stockbroker, Chandor allows the audience to view them as human and someone that the audience can relate to.

The realism of Margin Call (2011) extends beyond the depictions of its characters and into its portrayal of the financial industry. J.S. (2011) writes, "Margin Call…depicts the many banalities that make for a financial meltdown, and the near-silent panic that sets in. Finance is depicted as slippery and amorphous, a creation of not just the banks, but of a whole society oriented toward easy consumption." In this respect, Margin Call (2011) strips away the mystical facade that often is attributed to Wall Street and allows the viewer to see how they influence the financial market as much as they are influenced by it. Furthermore, the dialogue and financial terminology used by Chandor in the film is accurate investment banking jargon, which Chandor was familiar with because his…

References

Clover, J. (2012, Spring). Play by numbers. Film Quarterly, Vol. 65, No. 3, pp. 7-9. Accessed

14 April 2013, from http://www.jstor.org/stable/10.1525/FQ.2012.65.3.07.

J.S. (2011, Dec. 2). Finally a realistic portrayal of Wall Street. Prospero. The Economist.

Accessed 14 April 2013, from  http://www.economist.com/blogs/prospero/2011/12/new-film-margin-call

Alphaville

Analysis of Godard's Alphaville

French New ave cinema emerged during the 1950s and was inspired by the criticism of Andre Bazin and Jacques Donial-Valcroze who helped to found Cahiers du Cinema. The Cahiers du Cinema helped to establish two filmmaking philosophies that would help to guide New ave auteurs in the creation of their films. Additionally, New ave directors would also establish a set of guidelines that would help to classify their films as part of the New ave movement. Among the founders of the New ave movement was Jean-Luc Godard whose films not only adhere to the guidelines of the movement, but also push the boundaries and allow him to use his films to explore politics, genres, and cinematic styles. Alphaville, released in 1965, not only follows the guidelines that were established by the New ave movement, but also brings together the genres of film noir and science…

Works Cited

Alphaville. Dir. Jean-Luc Godard. France: Athos Films, 1965. Motion Picture.

Phillips, Craig. "French New Wave." Green Cine. 2005. Web. Accessed 8 April 2012.

"Retrofuturism." 25 March 2007. Web. Accessed 8 April 2012.

Spicer, Andrew. Film Noir. New York: Pearson Education, 2002. Print.

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…

French New Wave/Auteur Theory and Tarantino

Quentin Tarantino: An Auteur

French New Wave cinema is a cinematic movement of the 1950s and 1960s established by French filmmakers and film critics who founded the Cahiers du Cinema that felt cinema had become too commercialized, formulaic, and unoriginal. This critical contention eventually led to the development of the auteur theory. Throughout various essays and critiques, Cahiers du Cinema critics sought to revolutionize cinema and analyze the function of writer in relationship to director. Cahiers du Cinema critics further argued that directors should be the driving vehicle behind a film and not writers. The criterion for an auteur, as defined by film critics in France and the United States, is still evident to this day. Through his unique writing and directing style, and through the use of mise-en-scene in his most recent film Inglourious asterds,[footnoteRef:1] Quentin Tarantino has demonstrated he is a contemporary…

Bibliography

Astruc, Alexandre. "The Birth of a New Avant-Garde: Le Camera-Stylo." L'Ecran Francais, No.

144, (March 30, 1948). transl. In "The New Wave: Critical Landmarks," by Peter Graham (Secker & Waurburg, 1968). pp. 17-23.

"Creator: Quentin Tarantino." TV Tropes.

 http://tvtropes.org/pmwiki/pmwiki.php/Creator/QuentinTarantino?from=Main.QuentinTarantino .

Man ho Shot Liberty Valance and the Brilliance of John Ford

John Ford's The Man ho Shot Liberty Valance (1962), a classic western with a few film noir elements included, is elegiac in the sense that its narrative strategy is that of eulogistic remembrance by now-Senator Ransom Stoddard, of horse rancher Tom Doniphan, who once saved Stoddard's life and changed it much for the better, and who was the real man who shot Liberty Valance. According to Robert Horton, "This may be the saddest estern ever made, closer to an elegy than an action movie, and as cleanly beautiful as its central symbol, the cactus rose" ("Editorial Reviews"). Upon Tom Doniphan's death in the small fictional town of Shinbone (state unknown) Ransom and Hallie Stoddard arrive back in town to pay their final respects to Doniphan who sacrificed so much of himself, and so much of his own future happiness,…

Works Cited.

Berardinelli, James. "Dances with Wolves: A Film Review." Top 10 of the 90's.

Retrieved May 28, 2005, from: .

Ford, John. (Dir.). The Man Who Shot Liberty Valance. With John Wayne and Vera Miles.

Paramount, 1962.

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,…

References

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.

Star Wars and The Lord of the Rings

Star Wars (1977) directed by George Lucas and The Lord of the Rings (2001) directed by Peter Jackson are two films of the fantasy genre. Star Wars is one of the AFI’s top picks for greatest classic films. Lord of the Rings, on the other hand, is a modern popular fantasy film. This paper will provide a narrative analysis, cultural and historical analysis, and close film analysis of these two films by comparing and contrasting them.

Narrative Analysis

Star Wars was released in 1977, produced by Lucasfilm and distributed by 20th Century Fox. The Lord of the Rings was released in 2001, produced by WingNut Films and the Saul Zaentz Company and distributed by New Line Cinema. George Lucas directed the former, Peter Jackson the latter. Mark Hamill, Harrison Ford, Carrie Fisher and Alec Guinness stared in Star Wars. Elijah Wood, Ian…

French New Wave cinema was established by film critics, who founded the Cahiers du Cinema, whom felt cinema had become too commercialized, formulaic, and unoriginal. This group of critics would come to identify two major characteristics of the New Wave movement, which included the manner in which mise-en-scene was utilized in the film and how their auteur theory could be applied to work of art created. A contemporary film that incorporates French New Wave cinema elements into its production and design is the 2009 film District 9.

Among the major elements used in French New Wave film are loose story plots; improvised dialogue; erratic character behavior; unique use of jump cuts; and the use of natural lighting, location, and direct sound recording. District 9's unique documentary style and editing allows Neill Blomkamp to successfully incorporate these elements into the film's narrative while maintaining a cohesive feel.

Additionally, District 9 is…

Cinema

The emergence of cinema as a medium at the fin de siecle was the result of technological innovations resulted from the Industrial evolution, but it was also in response to a growing demand from entertainment consumers who were desperate for more exciting alternatives. Developing quickly from its early silent forms with accompanying piano and on-screen narration to increasingly sophisticated "talkies" that changed the way people thought about things, the cinema provided this alternative for millions during the early years of the 20th century by engaging them in ways that previous theatrical productions were incapable of achieving. To identify how early cinema developed during its formative years, this paper provides a review of the relevant literature concerning the development of early cinema, as well as its technology, industry and cultural context. An examination of the concept of the "cinema of attractions" in relation to a perceived need to address the…

References

Barlow, M. (2007). Toward a feminist 'Coney Island of the Avant-Garde': Janie Geiser recasts the cinema of attractions. Afterimage, 34(4), 21-23.

Blyn, R. (2004). Imitating the siren: West's the Day of the Locust and the subject of sound.

Literature/Film Quarterly, 32(1), 51-53.

Braudy, L. & Cohen, M. (2004). Film theory and criticism: Introductory readings. New York:

Film Analysis orksheet Karmen Gei / ednesday October 14, 2015

Karmen Gei

Director, Year

Joseph Gai Ramaka, 2001

Mode (for instance, adaptation)

Adopted from novel; influenced by Carmen.

Approximate time code (beg. -- end.) of selected scene

Title or brief description of sequence

Opening dance scene

Number of shots in selected sequence

hat happens, at the level of plot or narration, in this sequence?

As a musical sequence, it sets the tone for the film and introduces the audience to the main character and the overarching themes including sexuality and the cultural constraints upon women of color. The dancer seduces a female prison guard into dancing, and when that happens, the entire group of women express their joy through their bodies.

hat role does this sequence play within the larger action of the film (e.g. rising action, climax, turning point, exposition, character development, motifs, patterns, etc.)?

This scene is critical…

Works cited. Think about and list some specific types of outside sources that may be helpful in your analysis (i.e., historical information, other literary texts, etc.)

Sources include references to the role of women in Senegalese society, including articles that show that Senegalese women are often asserting their identities and power:  http://www.cnn.com/2015/04/08/africa/gallery/yz-yseult-the-women-warriors-of-senegal/ 

Similarly, this United Nations website discusses the role of women in Senegalese society:  http://www.ohchr.org/EN/NewsEvents/Pages/DisplayNews.aspx?NewsID=15857&LangID=E 

16b) Which specific outside sources will you use (based on the information above)? Do you have specific quotations, paraphrases, etc. already identified? What are they?

The CNN article offers messages of hope and empowerment like those given in the film, whereas the United Nations website is more realistic in detailing the daily lives of women in Senegal, where "strong socio-cultural and legal constraints continue to stand in the way of the achievement of gender equality."

Biographical Background
Born Mel Colm-Cille Gerard Gibson in January of 1956, Mel Gibson is one of the most controversial but well-known actors and filmmakers in America. When Gibson was a teenager, his parents moved the family—including Mel and his ten siblings—to Australia, ostensibly to prevent their children from being drafted into the Vietnam War (“Mel Gibson Biography”). Mel Gibson completed his high school and university education in the Sydney area, where he also became involved in theater. His forays into acting eventually earned him a role in Mad Max, his first major acting role. The first Mad Max movie came out in 1979; by the third sequel Mad Max: Beyond Thunderdome in 1985, Gibson was earning over a million dollars for his acting performances (“Mel Gibson Biography”). In 1987, Gibson starred alongside Danny Glover in the buddy action movie Lethal Weapon.
Gibson made his directorial debut with The Man Without…

Searchers

John Ford's The Searchers is based on a very simple straightforward story of a man's search for his niece, who has been abducted by Indians. Yet, what makes the film an undoubtedly great masterpiece is that it succeeds in exploring the conflicting emotions within a human being that result in moral dilemmas and a personality full of contradictions, within the ambit of such a simple plot. The film accomplishes this through unraveling the character of Ethan Edwards, its central protagonist, as its story progresses. Thus, The Searchers, through the vehicle of its hero, makes a strong statement about the fact that the potential for tragedy lies in "...a pulling apart within the personality, a disturbance...of integration. The character is not 'one' but divided...the tragic experience, whether in art or in life...." (Heilman, 7)

Ford's intention behind The Searchers is, in fact, made pretty clear at the very start of…

Works Cited

Heilman, R. "Tragedy and Melodrama." 1968.

Idiots" (n Indian Movie)

"3 Idiots" is an Indian movie with a strong message for its viewers. Two friends (immersed in their own career of choosing, that a third had helped them pursue) go on a quest to find their long lost close friend, from whom they have not heard since completing their education. They are reminded of a long forgotten bet, along with a wedding that they crashed and a funeral. lso, they are loaded with their memories of the friend, Rancho, on their way to find him. They remember him as free-thinker and special in his own way. He was unique, passionate, and touched their lives, changing their destiny forever.

What Happens in the Passage?

The passage selected for the purpose of this paper is about an approximately 4-minute scene when Raju is summoned to the college principal's (a strict authoritarian) office for transgression of rules, and following…

According to the family stress model, the economic hardships of the families have unpleasant effects on their relationships[footnoteRef:10]. The parents tend to fight more, which creates an emotional imbalance among their children. In due course, this leads to behavioral problems, poor cognitive functioning, and academic failures. The origins of this model lie in 1930s' Great Depression era when families were negatively affected by difficult economic conditions. An appropriate family functioning was nonexistent which undermined their social interactions as well. In addition to that, the emotional distress and problems in familial relations affected parenting strategies. The children experienced adjustment difficulties due to the economic constraints of their families and their deteriorating relationships. The results were anti-socialism, depression, and anxiety. It should be noted the 'economic tribulation' is the central point of this model and Raju experienced the same situation in the film. [10: The effects of poverty and economic hardship across generations. Retrieved from  https://www.researchgate.net/profile/Rand_Conger/publication/237307304_The_Effects_of_Poverty_and_Economic_Hardship_across_Generations/links/55a7caf708ae5aa1579da403.pdf  ]

Conclusion

Hence, the scene selected for the purpose of this paper is highly significant in the overall movie and its theme. The movie is a lesson for the parents and the children that they should not force themselves into a situation or feel compelled to make a decision that might be detrimental to their mental health. It would not be wrong to say that financial well-being of the family is conducive to its long-term developmental success. Since, children are the pillars of a family's future; they should be nurtured and given opportunities to find their paths that are suitable for them so that they are able to find new ideas for making money. If a child pursues his interests, then he would be able to make more money as he would be willing to put in his time and effort. Moreover, the family's financial stability is a factor of paramount importance regarding a child's better future as he might otherwise force himself into a decision that would adversely affect his family for the rest of his life, similar to Raju's condition and dilemma.

Female character answers the door.

Shots of the conversation between the main character and the female character discussing the parcel.

Shot of the female character showing she has the parcel.

Close up of the parcel with the film title.

Master shot/establishing shot of the murder-taking place.

Two shots used for the murder scene as well as an introduction to the conversation between the main male and female characters.

Close up shot / reverse shot between main character and female character while in conversation.

Close up shots of the main character as introductory shot to show the star of the film.

Cut away shots were used in the murder or of the conversation dialogue between the main character and female character.

Sound effects of a voiceover, conversation with the extra diegetic music/sound.

Narrative disruption/event:

Showing the parcel at the end of the sequence although the audience does not see what is…

Orson elles' Film Citizen Kane (1941) on Expression in Film; the Film Industry; and on the Theory of Director as "Auteur"

The expressive meaning of the cinematic masterpiece Citizen Kane, directed by Orson elles in 1941, cannot be summed up succinctly. ithin Citizen Kane, everything is significant; not a single frame is wasted or extraneous. Each separate portion of the film contributes to its overall impact as one of the greatest cinematic achievements, if not the greatest, ever. The film is, quite simply, a tour de force of film directing; cinematography; mise-en-scene; editing; sound (it is considered the best sound film ever made (Mast and Kawin; Giannetti); acting; "aesthetic realism" (Bazin, p. 43) and an amazing (even to this day) synthesis of all these elements and more. Therefore, analyzing one line, or one key scene, or even a long series of scenes from Citizen Kane and declaring any of these…

Works Cited

Bazin, Andre. What is Cinema, Vol. II. Berkeley and Los Angeles, California:

University of California Press, 1971. 40-45.

Giannetti, Louis. Understanding Movies. Englewood Cliffs, New Jersey: Prentice-Hall,

1993. 445-480.

Representations of War in the Longest Day and Saving Private Ryan

Hollywood's depictions and interpretations of the events that transpired on D-Day have long captured the attention of audiences worldwide. Though Hollywood depictions of the events that occurred prior, during, and after the invasion of Normandy may vary, they still aim to convey a similar message, one that assures the evil forces in the world will be overthrown and the world will be a much safer place. The Longest Day and Saving Private Ryan aim to present the events that lead up to the invasion of Normandy on D-Day in an artistic and creative fashion while attempting to maintain an air of realism. The approaches taken to depict the invasion of Normandy in The Longest Day and Saving Private Ryan are a positive contribution to the combat film genre. Though creative licenses were taken in each film, the manner in…

Bibliography

Beevor, Anthony. D-Day: The Battle for Normandy. New York: Viking Penguin, 2009.

Churchill, Ron. "Saving Private Ryan" a real life drama." UB Reporter 30, no. 2 (September

1998).

D-Day: June 6, 1944.  http://www.army.mil/d-day  / (accessed May 23, 2011).

More specifically, one new resident is a rebellious young man who objects to having to pick a single memory; meanwhile, another resident is an elderly man who cannot decide what memory to pick from the 72 years of his life. All of the employees are also deceased individuals; they remain employed at the facility because they were unable or unready to move on to eternity. This element gives rise to the drama that unfolds when one of the caseworkers realizes that one of the new residents was married to his former fiance prior to his own death as a very young man.

Mise-en-Scene

One of the most interesting aspects of the film is the way that it is shot as a dramatic movie in some respects but as a documentary in others. In the first respect, the director uses traditional framing and camera positioning; in the second respect, he uses…

Silent Period -- I was impressed by how this chapter explains the development of film and the innovations people like Porter and Griffith made that would help to define the techniques that evolved into modern cinema.

Early Sound -- One of the things I liked about this chapter is how it explains the purpose of synced sound in film; sound enhances an image by sonically creating meaning.

Imaginative Documentary -- This chapter succeeds in demonstrating how propaganda, or politically charged film, can influence individuals. However, this chapter could use more examples of how documentary and propaganda come together.

The Influence of the Documentary -- This chapter succeeds at providing good parallels between film and real world events, and it makes good use of images to further support the examples presented. On the downside, the chapter contains too much filler information to the point that the conclusion best summarizes the chapter.…

The action in Bicycle Thieves is set in postwar Rome, but the fact that people are generally experiencing difficulties in earning enough money to provide for their families makes it easier for viewers to relate to the economic situation present in prewar Italy. One can also consider that the overall soviet montage film theory school emerged as a result of the Bolshevik revolution whereas Italian realism was generated by the Great Depression.

The Soviet Montage film theory school at times is inclined to put across subjectivity, given that it emerged in a period when communism thrived and virtually everything related to the old tsarist regime was criticized. Eisenstein himself was obviously interested in reproducing the terror installed by Russia's imperial administration through having his viewers compare the masses with the factory workers in Strike while the royal family is likened to the shareholders in charge of handling the rebellion.

Even…

Royal Tenenbaums/Nosferatu

The Royal Tenenbaums is a 2001 film directed by Wes Anderson that explores the factors that drove the Tenenbaum family apart and the factors that lead to a reconciliation between the family members. As The Royal Tenenbaums centers on the issues of the Tenenbaum family, it is important to understand the relationship that each member has with each other and how their individual personalities affect their relationships. In The Royal Tenenbaums, these characters, the film's structure, and various turning points contribute to the film's narrative construction and development.

The Royal Tenenbaums revolves around the Tenenbaum family. At the head of the family is Royal Tenenbaum.[footnoteRef:1] Royal is a former attorney whose disbarment was influenced by his son Chas. Throughout much of the film, Royal demonstrates that he has been less than an ideal father and husband. For instance, not only did Royal steal bonds from Chas's safety deposit…

Bibliography

"German Expressionism in Film." PDF. University of Washington,

 http://courses.washington.edu/crmscns/FilmExpressionismHandout.pdf 

Mast, Gerald and Bruce F. Kawin. A Short History of the Movies. 8th Edition. New York: AB

Longman, 2003.

Fix Me Jesus

Describe how each relevant element is used.

Dance: The dancers move in rigid positions, as if they are not yet human and somehow incomplete. There are two performers on stage for the majority of the time.

Position: They two dancers, one male and one female are constantly in each other's arms. Their positions create stiff angles with their bodies and the floor. As the number progresses, the body positions become less rigid and more natural.

Movement: The movements of the two dancers seem to mimic prayer. They are reminiscent of classical ballet but at the same time there is a rigidity rather than a fluidity.

Mise-en-scene: For the majority of the time, the two dancers stand in the center of the stage. Only when they separate from one another does the scene extend past this center stage.

Music: The music of the dance is operatic. There is…

The news footage is also used to present the ordeal that followed after Wilson's op-ed piece was published in the New York Times and helps to demonstrate the media, political, and public backlash that ensued. The use of news footage helps to present the story from an unbiased view and leaves little room for Limon to convey his political agenda, if any. The film succeeds in bringing attention to the Wilson/Plame plight for justice and their quest to clear their name. The film also succeeds in demonstrating the corruption within the Bush administration and how power was abused in order to justify their actions, as well as their attempt to cover-up the truth at any expense. The editing helps to support Plame's story as it follows her through her job duties, both in Washington, DC and in the Middle East. The editing follows a linear narrative and lays out the…

Warner Brothers and Sound

Warner Brothers, name normally pertains to Warner Bros. Pictures, Inc., which is an American motion-picture production company, and was the first to use series of synchronized sound in a silent feature film. Four American brothers namely Harry Morris Warner, Albert Warner, Samuel Lewis Warner, and Jack Leonard Warner were the founders. (Warner Brothers: Encyclopedia Article from Encarta) Harry, Albert, Sam and Jack turned jointly to any commercial activities that came their way till they got into the nickelodeon business. Currently Jack is the only brother who is still regularly recognized with Warner's in its halcyon days. However the studio would have never attained the big position without Harry and Sam's unusual and paired talents. They did it by risking on a new technology: synchronized sound for motion pictures. Harry's cautious but enthused business management made the company in a position to benefit from Sam's big idea.…

References

Eyman, Scott. The speed of sound: Hollywood and the talkie revolution, 1926-1930. Johns Hopkins University Press, 1999. Retrieved from  http://www.latrobe.edu.au/screeningthepast/reviews/rev0600/bybr10a.htm  Accessed on 17 June, 2005

Gabler, Neal. Movies Meet New Technology: The Sequel to the Sequel. The New York Times. September 20, 2000. Retrieved from  http://partners.nytimes.com/library/tech/00/09/biztech/technology/20gabler.html  Accessed on 18 June, 2005

Herman, Bruce. The Warner Sound: Film Scores Par Excellence. Film Score. 17 January, 2001. Retrieved from http://www.filmscoremonthly.com/articles/2001/17_Jan- -- The_Warner_Sound.asp Accessed on 18 June, 2005

Sam Warner - Now you has jazz. Retrieved from  http://www.bfi.org.uk/sightandsound/archive/innovators/warner.html  Accessed on 18 June, 2005

Girl, Interrupted (1999) is a film by James Mangold based on the eponymous 1993 memoir by Susanna Kaysen. The film recounts Kaysen's experiences in a mental institution during the late 1960s. The film stars Winona yder as Susanna Kaysen, Angelina Jolie as Lisa owe -- a role for which she won an Academy Award -- Brittany Murphy as Daisy andone, Clea DuVall as Georgina Tuskin, and Elizabeth Moss as Polly "Torch" Clark, all of whom portray patients at the Claymoore Hospital during Kaysen's her institutionalization. Through the film's mise-en-scene, point-of-view, and narrative, Mangold is able to create a dramatic, yet sympathetic, portrayal of not only Kaysen's experiences, but also of the mental health system during this time.

Through the film's composition, costuming, and setting, Kaysen's experiences at Claymoore Hospital are made more realistic. The film does not use crisp, saturated colors, but rather relies on muted, washed out colors that…

References

Girl, Interrupted. (1999). Directed by James Mangold. United States: Columbia Pictures.

IMDB. (n.d.). Did you know? Girl, Interrupted (1999). Retrieved 1 April 2013, from  http://www.imdb.com/title/tt0172493/trivia-ref_=tt_trv_trv

Horror

What is Horror?

According to Sigmund Freud, das unheimliche -- or the uncanny -- can be defined as something that is familiar and unfamiliar at the same time. In horror films, the uncanny can be achieved through the depiction of a series of events that will lead a character into a dangerous situation without the implicit description or portrayal of what the danger is. Horror is much more effective if danger and violence is left to the viewer's imagination because it is then influenced by an individual's personal fears. If a director explicitly shows danger or violence, the individual is then forced to accept the director's depiction without psychologically engaging in the suspense as much as they could have done if danger or violence was only implied.

In terms of horror as a genre, the true masters of horror are the writers of Gothic literature who helped to define…

Alfred Hitchcock's fascination with psychology and the manipulation of the human mind greatly influenced early spy-thriller masterpieces. During his British sound film period, Hitchcock explored the effect of being unwillingly pulled into a psychologically complex environment has on an individual and the consequences that he or she must deal with. These concepts can be found in The 39 Steps (1935) and in The Lady Vanishes (1938), both spy-thrillers that highlight the dangers of espionage and serve as a warning of the impending social and political threat posed by spies. Hitchcock's infusion of psychoanalytic concepts, and the influence thereof, emerge through The 39 Steps's and The Lady Vanishes's narratives, characters, and film structure and style.

Thriller films aim to "promote intense excitement, suspense, a high level of anticipation, ultra-heightened expectation, uncertainty, anxiety, and nerve wracking tension" (Dirks). The 39 Steps, a tale of an innocent man, Richard Hanney (Robert Donat), is…

Works Cited

The 39 Steps. Dir. Alfred Hitchcock. United Kingdom: Gaumont British, 1935. DVD.

Dirks, Tim. "Thriller-Suspense Films." AMC Filmsite. Web. 24 September 2012.

"Hitchcock and Psychoanalysis, 1." Catholic University of America. Web. 24 September 2012.

The Lady Vanishes. Dir. Alfred Hitchcock. United Kingdom: United Artists, 1938. DVD.

hitman, Harper, Alcott

American literature in the nineteenth century is necessarily concerned with democracy: by the time of the U.S. Civil ar the American democratic experiment was not even a century old, and as a result writers remained extremely sensitive until the end of the century toward questions of whether America was capable of living up to the high ideals that it had set for itself in its founding documents. An examination of some representative nineteenth century American works -- hitman's "Crossing Brooklyn Ferry," Harper's "A Double Standard" and "The Deliverance," and Louisa May Alcott's story "ork" -- will demonstrate that the failings of American democracy were a subject all these writers had in common.

hitman is commonly thought of as the poet who champions American democracy, but "Crossing Brooklyn Ferry" is a poem that contains grave doubts. e note this most obviously as hitman's long flowing stanzas suddenly dry…

Works Cited

Alcott, Louisa May. "Work: A Story of Experience." 1873. Project Gutenberg, 2003. 29 March 2014.  http://www.gutenberg.org/ebooks/4770 

Walt Whitman. "Crossing Brooklyn Ferry." Leaves of Grass. 1867. Electronic Text Center. University of Virginia Library, 2000. 29 March 2014. .

Psycho

Alfred Hitchcok's Psycho was released in 1960, and encapsulates the social, psychological, and political tensions of the Cold ar era. As Raubicheck and Serebnick point out, Psycho could have been a bridge to the 1960s but the film is "less linked to and reflective of the so-called radical sixties than they are of the more controlled fifties and possess more cultural texture of this earlier era," (17). The issues related to gender, sexuality, and sexual repression in the film are likewise reflective of the interest in Freudian psychoanalysis that prevailed during the 1950s. Rebello points out that the popularity of Freudian psychology and theories like the Oedipus complex are played out on the screen in Psycho. Anthony Perkins's character Norman Bates is "connected with a much larger discussion, in the early Cold ar, of political and sexual deviance," (Genter 134). In Psycho, Bates becomes the archetype of the psychopath,…

Works Cited

Genter, Robert. "We All Go a Little Mad Sometimes': Alfred Hitchcock, American Psychoanalysis, and the Construction of the Cold War Psychopath." Canadian Review of American Studies. Vol 40, No. 2, 2010.

Hitchcock, Alfred. Psycho. Feature Film.1960.

Raubicheck, Walter and Srebnick, Walter. Scripting Hitchcock. University of Illinois Press.

Rebello, Stephen. Alfred Hitchcock and the Making of Psycho. Open Road Media.

Factory Girl

Fatat el Masna (Factory Girl) by Mohamed Khan depicts a misunderstood segment of society: female Muslim factory workers in Egypt. he contemporary setting of the story allows the viewer to make real-life comparisons with their own notions of race, class, gender, ethnicity, and power. Social stratification is a core theme, but gender is a far more salient one in Khan's movie. Fatat el Masna is about individual women taking personal risks to alter gender norms. Yet ironically, Hiyam (Yasmin Raeis) operates within a stereotypically chauvinistic framework. She fantasizes about her boss in ways that are the antithesis of female self-empowerment, as if the film suggests that women in Egyptian society can only liberate themselves in their own minds. heir actual liberation remains a pipe dream. Seeds of hope are planted, however, as Hiyam remains true to her word and values. She does fall in love with her boss…

The blending and confluence of identities is the quintessential story of the modern world. It is also the quintessential story of the Jews. Modern citizens of the world for whom geographic boundaries are meaningless will relate to this film, which has a universal appeal. A primary target audience would be Jews in the diaspora and also Lebanese people as well. However, Return to the Valley of the Jews is about the search for personal identity and a homeland. No external forces can come in the way of personal and collective identity formation. The Jews depicted in this film have strong national identities and call themselves Lebanese. Things did change after the 1967 wars, when Arabs started to persecute Jews even in areas once characterized by peace and tolerance like the Wadi. Ironically, Lebanon tore itself apart, in a civil war pitting Muslims against Christians. Jews were in the crossfire, showing that the tensions in the Middle East are not between Arab and Jew. They are unnecessary tensions, but have almost nothing at all to do with religion or even the creation of Israel. This film corrects a lot of misinformation about the root causes of problems in the Middle East, and shows how propaganda and politics can create animosity.

Return to the Valley of the Jews is about destruction and rebirth, too. There is hope for the future even though there is much despair permeating the film. Lebanon is a good case study for paving the way toward tolerance and respect. The government of Lebanon has been relatively tolerant and has enabled the reconstruction of the synagogue at the heart of this film. Returning to the "valley of the Jews" is a spiritual metaphor. The people depicted in the film maintain their community identity whether or not they are in Lebanon. Language and a shared nostalgia for the geographic beauty and history of Lebanon are their social and cultural glue. Religion is not as central as people think, and this film is necessary in dispelling the myth that religion is a source of trouble in the Middle East. Land and civil rights are central issues, but not religion. Furthermore, Lebanon needs to be seen on its own rather than being lumped in with other Arab nations. Israel has had ambivalent relations with Lebanon. Not as friendly as Jordan, but friendlier than other nations, Lebanon may come to play a critical role in the development and evolution fo future peace processes in the Middle East.

It may be idealistic to believe that films can change the world. In this case, the film may at least shed light on a critical issue. The film may open hearts and change minds. It might help viewers reconnect with their own cultural roots, and help people to see that all the people of the world seek belonging within a community. That community may be defined by nationality or geography, language or religion. What matters most is that love and compassion define social relations.

" Emphasizing the phrase "the Third Reich" underscores the sinister tone of the scene. Strasser himself notices Renault's repetition and states, "You repeat Third Reich as if you expected there to be others." Renault replies, "I will take what comes," and his words echo his intention to choose his alliances for selfish reasons. Renault does "blow with the wind," and has loyalty to no one but himself. In many ways, Rick is the same except his love for Ilsa does affect his moral decisions in the movie.

While Strasser grills Rick, he scoops out caviar in the foreground but Rick is in focus. The camera cuts back and forth between the two men and occasionally to Herr Heinz, who asks about the Third Reich, "Can you imagine us in London?" The two Nazis are evidently trying to intimidate Rick. Rick, however, remains as cool as the music playing in his…

Sunset Boulevard is a classic film noir produced in 1950 and directed by Billy Wilder. The film begins with the murder of Joe Gillis, a floundering screenwriter who ends up dead in a swimming pool. "Poor dope," the voice over says. "He'd always wanted a pool. Well, in the end he got himself a pool, only the price turned out to be a little high." The voice over, delivered in classic film noir style, turns out to be none other than Gillis himself. Far from being an unreliable narrator, though, Gillis promises "the facts" and delivers. The entire film Sunset Boulevard is the retelling of "the facts" from Gillis's perspective. Wilder's choice of narration is dutifully ironic, as a failed filmmaker becomes famous. The theme of the movie is reminiscent of the Great Gatsby, with its peek at American decadence and lost dreams. Because it offers rich social commentary, Sunset…

References

Armstrong, R. (2000). Billy Wilder: American Film Realist. NC: McFarland & Co.

Gibson, A. (2001). And the Wind Wheezing Through That Organ Once in a While": Voice, Narrative, Film. Retrieved online:  http://muse.jhu.edu/journals/nlh/summary/v032/32.3gibson01.html 

Smoodin, E. (1983). The image and the voice in the film with spoken narration. Quarterly Review of Film Studies 8(4): 19-32.

Wilder, B. (1950). Sunset Boulevard. Feature film.

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…

ALFRED HITCHCOCK: A Master of Duality

For many, the name Alfred Hitchcock conjures hazy and disconnected memories of Cary Grant and Ingrid Bergman in Rio, Tippi Hedren being chased by killer birds, or Jimmy Stewart in a wheelchair; but for others -- those that are somewhat more experienced with the work of Hitchcock -- the utterance of his moniker means much more. Indeed, many consider Hitchcock to be not only one of the most prolific and entertaining filmmakers, but also one of the most profound. A recurring -- and certainly intriguing -- motif that holds together his body of work is his incessant interest and portrayal of duality: the conflicting, yet in some ways similar, nature of life. That is to say, Hitchcock (and no other, on as prestigious a level) was able to brilliantly compare, reduce, and then reevaluate polar opposites that every human encounters. Love or hate, man…

Malone dies just as he finally does away with the alternate identities of his storytelling, such that he can be seen as 'becoming Malone' at the same moment of Malone's death, so that his death forces the reader to recall the beginning of the story and the Malone already in existence there, restarting the narrative loop.

In effect, Malone's storytelling creates an infinitely looping continuity that diminishes the finality of his death, because 'although the physical body will eventually die, we cannot be sure that consciousness discontinues,' and in fact, the novel seems to suggest that Malone's consciousness never ultimately discontinues, but rather briefly goes dark before being reactivated once again at the beginning of the novel (hite, 2009, 45). The tragedy, of course, is that Malone is entirely unequipped to deal with this kind of torturous immortality, so his mind is frayed and confused, with different characters and moments…

Works Cited

Ashwood, Barbara (2003), "Sexuality and its significance in Malone Dies," Undergraduate Review, 15:1.3, p. 10.

Barrett, William (1956), "Real Love Abides," The New York Times, Sec.7.

Barry, Elizabeth (2006), Beckett and Authority, London: Palgrave Macmillan.

Beckett, Samuel [1947-1958] (1991), Three Novels: Molly Malone Dies the Unnamable. New York, NY: Grove Press.