It means that camera is pen and the director is the author of the film. Film itself is an expression. Film is not just entertainments; it is the thoughts of director, although it is abstract. The films are unique and there are significant and character in the films. Moreover, Francois Truffaut emphasized on mise-en-scene of a film.
Film’s multimodal capacity to assert, describe and depict 1. Introduction 1.1 Overview It is the intention of this paper to illustrate how film’s multi-modal affordances allow some capacity to assert as well as depict. If the language of cinema is acknowledged then the issue becomes one of enquiring into the differing nature of description and assertion within film and the novel. Therefore, the paper will argue the case for the centrality of text and sound within cinema. In the analysis, examples will be drawn from a range of sources to contrast the inferential requirements of portrayals in each medium.
Firstly, the analysis will focus on the dramaturgical composition of the film and how the participants (the ‘bunkers’) have been perceived in theory and practice. Secondly, the interview techniques will be examined and how they are used, illustrated and perceived in the film, as well as how visual effects and other techniques are used in the film. Thirdly, the moving picture’s composition will be discussed, and the way the film presents a picture and is edited to present its message to the viewers is also analyzed. Finally, a summary of the findings will be presented. 2.
Kuleshov’s statement, as it appears in the title for this essay, clearly attempts to define what cinematography is through the means of ‘montage’. These two facets, montage and cinematography, are huge driving forces behind film, its message, and how it affects any given audience. It is, therefore, important to explore this powerful declaration from such a notable mind in the world of film and image making in general. Andrew (1976, p. 5) suggests: Film theorists make and verify propositions about film or some aspect of film. They do so for both practical
As Cohen, Salazar, and Barkat state, there is an inherent difficulty in categorising documentaries “stiffly”, as each will tend to employ aspects of Nichols’ six groups (2009, 288, 292). However, Forbidden Lie$ can be categorised most accurately into the expository and reflexive models, with attributes of two others. The film shares traits with performative documentary film making, such as “employing the dramatisation and reconstruction of events and personal experiences” (Cohen, Salazar, and Barkat 2009, 300). As Martin describes the reenactment scenes, Broinowski uses “‘dramatic reconstruction’ of Dalia’s tale, [which is] delivered in the juiciest and most sensationalist TV style” (2009). ‘Sensationalist’ is the operative word, as it describes each of the reenactment scenes of Dalia’s murder by her family perfectly.
Related Text Essay – Accepted The film Accepted, directed by Steve Pink explores a number of notions of belonging though the use of both film and narrative techniques. One of these said notions is the idea that the perceptions of society influence how an individual’s sense of belonging is formed. The other major notion brought across within the film is the idea that conformity does not equate to belonging. Firstly, the idea that the perceptions of society influence how an individual’s sense of belonging is formed is clearly shown in the sub-plot of the film concerning Sherman Schrader. The film makes use of a long shot of the character to capture the humiliating fact that the character is wearing a hot dog suit in the middle of his college’s campus.
Road to Perdition What brings the audience into any film is the film and production elements, its what structures and takes the audience to suspense of disbelief, a whole new world. In the film Road to Perdition, it takes these elements in ways to both emphasize and respond to the characters and also to analyze and see them grow throughout the film. The opening sequence demonstrates and suggests the narrative possibilities or direction the film will take. The sound, lighting, props and motifs are used throughout the film to bring personality to the characters and in Road to Perdition. The opening sequence is basically what gives an audience an idea or what is known as a narrative possibility to what the film is going to be about, where its set, what period of time is this movie based upon.
The purpose of this essay is to provide definitions for the terms agency and structure. This essay will also outline and discuss the key themes and ideas of the film ‘Super Size Me’. I will personally evaluate the film; identify the key points and comment on how well I believe they presented their concerns to the audience. Finally, a critical evaluation of the key themes and ideas behind the film ‘Super Size Me’ will be made in relation to the agency/ structure debate. Carillo (2000) defines agency as “the ability to make decisions with respect to what an individual does, with respect to controlling their own life”.
Film Theory Münsterberg and Arnheim: Theoretical Interpretations of Sound in Cinema Separated by an entire generation, the cinematic premises of Hugo Münsterberg and Rudolf Arnheim lay the primary structural foundation for understanding how and why film affects the human mind so profoundly and differently from all preceding art forms. Although these theoreticians have made their own respective contributions to the core assumptions of film theory, their analyses converge in the particular lens through which they choose to assess the phenomenon: the psychoanalytic paradigm. From this perspective, Münsterberg and Arnheim are able to fully dissect film’s facets and explain their construction as well as their consequences on the viewer. How these aspects combine with one another forms the crux of film’s effect on the human brain, thus expanding the ontology of the medium beyond the sum of its immediate parts and into the realm of its perceptual impact. It is from this vantage point that one needs to assess all characteristics of film, including the development of sound.
Lars Von Trier Lars Von Trier, an important and prominent Danish Auteur director once said in an interview that “for (him), stealing from the cinema is like using letters of the alphabet when you write”. The films of Lars von Trier show that he has had many influences in crafting and producing his films. The given quote helps to understand his approach to film and how he adapts film language, and even creates his own, in order to delivery an intended message to the audience. To be able to understand what is impressive able von Trier’s approach to films and what makes him an Autuer director, we need to be able to understand his influences, which are wide and extensive, so as to be able to comprehend their impact on his style of directing and the structural, technological and thematic explorations in his films. Von Trier was known to be more consistent as a director than he was with his visual style.