There are also establishing shots in the two films. In Bourne Identity there is an establishing shot right at the start of the film to show the boat as sea but also when the CIA call in agents each in different locations. In Raiders establishing shots are used to show the university and Cairo. Both films also seem to follow the generic explosions in action movies stereotype where in Bourne a car is blown up in the “we always work alone” scene. While in raiders there is the ‘explosion’ when the ark is opened.
Martin Scorsese, director of Goodfellas, put a lot of effort into making a good, honest mob film. In this film, Scorsese brings the audience onto the never-ending roller coaster that mobsters ride. The status of these men continuously changes as they battle with the streets, addiction, death and the courts. He combines narrative, cinematography, editing, sound and set design in this film to portray the dark lives of the Italian mob. Martin Scorsese directs a very strong narrative in Goodfellas.
The movie opens with a panning shot that follows the natural movement of the human eye as it takes in aspects of the neighbourhood. Jeff’s curiosity and action of taking the law into his own hands, eventually leads him into danger with the dangerous Thorwald entering his apartment. Jeff uses the blinding light of camera flashes to deter Thorwald. The bright, blinding flashes of light on the screen illuminate the way truth can be used as a weapon. Through Jeff’s voyeurism of the crime, Hitchcock echoes the context and values of his
In the sci-fi film Avatar, directed by James Cameron, Jake Sully is a character that changed his views of his race, Pandora and its indigenous population. This idea is shown through two major events in the film, using a variety of both visual and verbal film techniques. One is Quarich telling Jake to spy on the Na’vi and the other is during the final battle when Jake and Quarich fight one-on-one. The first event that allows the audience to become aware of Jake’s intentions on Pandora is at the beginning of the film. This is shown through camera shots, dialogue and music.
By the mid-1800s, saloons, dance halls, gambling dens, and houses of prostitution were common. The Hole in the Wall Saloon was a prime example. Crime was so bad in the Fourth Ward that police were afraid to respond with less than six or more officers (Asbury, 1927). I. Arnold Rothstein, the American Napoleon of Crime J. Starting out as a successful gambler, Arnold Rothstein earned the nickname The Brain for his keen organizational skills, criminal versatility, and clever leadership.
The camera helps build suspense when the main character Tre and Ricky start walking apart and Tre keeps on looking back to watchout for Ricky. The shot starts with Ricky scratching a lottery card in focus, then which shows Ricky isn't feeling any danger as the red car appears, the camera focuses on the rival red car. The camera cuts between Ricky and Tre several times then as Tre turns around, a red car of the rival gangs shows up on the screen, the director uses a focus pull shot, to give the mood of nervousness and also shows the nervous face of Tre. Tre turns around feeling danger. Tre shouts out “Ricky”, the director uses a tracking show mixed with slow motion to show Ricky running away from the rival car after hearing Tre's voice.
The plot weaves through the lives of various men in the LAPD, ultimately leading the characters and audience to a restrictedly shown climax uncovering the corruption beneath the ranking captain of police. L.A. Confidential is an exceptional film for displaying aspects of mise-en-scéne, and the filmmakers use tools such as setting and décor, props, and costume and makeup to support and establish the themes and motifs in the film. The film is set and filmed in the city of Los Angeles, and different elements are used to develop important pieces to the story. To create the "fifties" look, the filmmakers had scenes filmed where modern buildings, towers, bridges, and cars were out of sight; vintage cars, of course, were heavily used props to
Keanu Reeves goes sci-fi in: ‘The Matrix’ By Jeremi Campese Directed by Andy and Larry Wachowski, The Matrix follows Thomas Anderson, who is living a double life, better known in the movie as his hacking alias: Neo (played by Keanu Reeves). He is driven to discover cryptic references on his computer to “the Matrix.” Another infamous hacker, Trinity contacts Neo and informs him that a man named Morpheus (played by Laurence Fishburne) can tell him what the Matrix is; Morpheus meets and teaches Neo the true meaning of the Matrix (I won’t dish out any spoilers to this). Morpheus also tells Neo he believes Neo is ‘the one’ who can resurrect the minds of the world from intelligent machines and agents. In a quest for the truth, the reality and most importantly ‘believing.’ Neo is tested constantly in and out of the Matrix, and to a swell of romance to finish. Graphically, it is a kinetic thrill, keeping you mesmerized by the innovation of editing, visual effects, sound mixing and editing.
Each of which has boasted its own brand of violence. The most notable eras are the following: the wild westerns of the 1950’s, the mafia-inspired Godfather style of movies of the 1970’s, the street action and ghetto/hood movies of the 1980’s, and the use of increasingly graphic images of violence that was made possible by manipulating the technology available to produce life-like special effects in the 1990’s in movies such as The Matrix. Here in the twenty-first century, there has been a tendency for film makers to use computer generated imagery (CGI) in order to produce the most extreme and graphic images of violence ever possible. According to Andrew Trent, though; all violence in movies is not necessarily bad. In an article he wrote for VersaGlobe.com he explains that violence in the movies can really be divided into three different categories: 1.
Skyfall The James Bond Movie franchise was shaken up in 2006 by the arrival of Casino Royale and it’s leading actor Daniel Craig. Taking on the role of James Bond, Craig’s portrayal of the secret agent presented a darker, tougher Bond, more like the ‘blunt instrument’ described by the author of the original novel written By Ian Fleming. Casino Royale the movie, had a much darker, gritter tone than previously seen in the series, and showed Bond as being both tough and vulnerable, with conflicts about his job, plus the betrayal and death of Vesper Lynd. Once again the producer and director Sam Mendes have gone back to the original novels for inspiration and will go even deeper into Bond’s character. Though it’s not all going to be serious, as Daniel Craig has hinted there is a lot of humor in Skyfall, which I’m sure will be make this movie more balanced and enjoyable than Quantum of Solace for example.