Directors use such techniques as Mise en Scene, Movement and montages to express the idea and establish the specific quality of his work. Movies such as Donnie Darko directed by Richard Kelly and Koyaanisqatsi directed by Godfrey Reggio both portray the conventions of an art film, as we are left in confusion of what has happened throughout the film. Mise en Scene is a technique used in art films by the directors to create a certain feeling or vibe in a scene, whether it is positive or negative. Mise en scene is created by the director through the ways in which he constructs the scene. The use of audio codes and montage affects aid this technique as they can create suspense and juxtaposition of certain objects or people.
It's message, condemning the horrors of The Great War and war in general, was effective enough that both the book and the film were banned in Germany during the Third Reich. Too see why, one has to look past the more superficial aspects of the story and consider both the messages the author wished to get across, as well as how the director used film techniques to both subtly and blatantly drive them home. The director, Lewis Milestone, uses a fade-to-black fairly regularly. It seems to punctuate things like character death and other dramatic scene transitions. An example of this is the scene where you're only shown a person from the knee down wearing what used to be Kemmerich's boots.
Topic: “It is the style of ‘On the Waterfront’ that gives the film its power. Discuss The dark and gloomy “On the Waterfront” is a film revered for its raw power. Though narratively and structurally exceptional, this power should be most accredited to the stylistic nature of its making. Director Elia Kazan employs various techniques encompassing the disciplines of mise-en-scene, film noir, and naturalism that deliver an authentic and gritty work of art. The actors equipped with the newly found, ‘method acting’ disciplines, most notably Marlon Brando, further showcase an honesty and precision of the feelings felt and predicaments overcome by their characters.
Thesis: The director has contrasted and reinforced ideas about the theme of life and death, and father and son relationship through the unconventional use of sound effects, the use of particular settings, and the idea of violence. Audio: The sound of the waves contrasting with the theme of death. We assume like the other deaths in the movie that the idea of someone dying is very much scary and horrible, but the use of diegetic sound effects of the waves makes this segment very much angelic in a sense. Before his death, there is a moderate pause of any sound effects or dialogue, intended to shock the viewer with the sudden gunshot sounds, before the sound of waves resume after. Cinematography: There is a scene where he is looking out of the window at his son playing in the scenery of nature and the open space.
When Martin Scorsese shoots a scene during the daytime in the film, he fills the frame with really bright red objects that are noticeable for the viewer. For example when Henry goes to teach the guy a lesson that lives across from Karen to not to touch Karen again, the director fills the frame with bright red objects such as the car, toolbox and flowers to once again represent violence. Another scene where Martin Scorsese uses the colour red is when the trio beats Billy Batts almost to death the room is filled with a vibrant red colour to
Furthermore, research on multiple personality disorder (MPD) (now known as dissociative identity disorder) showed that people attempting to feign MPD would often report having two stereotypical good versus bad personalities, while true sufferers of MPD normally report having “a tetrad of personalities” (Kluft, 1987, p.112). This was accurately shown in the movie, as Stampler’s malingered personality of Aaron was clearly meant to be the “good” personality, while his true personality of Roy was the “bad”
[1] The various critical methodologies which have evolved around film are principally to do with a film’s provenance. And, as Matthew Sweet reminds us, “the history of film criticism has created its own orthodoxies.” [2] Like a piece of art, a film’s value is directly attributable to the signature in the corner of the frame. However, if it is possible to accept in principle that film is a collaborative venture where does that leave the screenwriter in terms of the attributing of a single cinematic signature? The case for Robert Towne as cinematic auteur lies in those tropes which mark his particular style of authorship – a consistency of dramatic elements as well as a special talent for writing the kind of dialogue that actors love to speak. A survey of his work demonstrates the kind of themes and qualities that compare with those characteristics normally attributed to auteur directors and here qualify as a
The Vulgar, the Cheap, and the Tawdry: What was the Hays Code and how did Filmmakers get around it Film as an art form suffered what could have been a severe setback from the reign of the Motion Picture Production Code (more commonly referred to as the Hays Code.) Hollywood used the Hays Code from 1930 until 1968 as a way to sort of self police itself. The code protected the industry from government or other outside intervention but sacrificed the artists and their visions. Luckily for cinephiles these artists found numerous and ingenious ways around this. Filmmakers’ subverted the censorship of the hays code through story implications and film techniques.
A study of a film in relation to its genre focuses on the aspects that place this film in a particular genre and/or the contributions it brought to it. It also includes an analysis of the way these aspects act as an influence on the viewers emotions and responsiveness or as references to other films of the same genre. A study of Night of The Living Dead in relation to the horror genre would have to analyse how, thanks to its brilliant yet simple filming, created a stir in the film industry. In addition to analysing Night of The Living Dead’s contributions to the zombie subgenre and therefore establishing its resonance in the horror genre, many sources will be used to strengthen the arguments
The concept of auteurism has been enduring ever since, and modern examples such as Wes Anderson typify this idea that a body of work from one director can hold a large degree of distinctiveness. Wes Anderson’s films highlight a continuity of colourful backgrounds and an extravagant use of mise en scene, while his movies often also display similar themes of familial drama and disgruntlement. Other film auteurs such as Jane Campion, display stronger distinction in her themes and help create the idea that auteurism can be viewed as a commercial category. The original development of directors being film auteurs was built around the idea that film was a form of art. These ideas were originated through the French journal, Cahiers du cinema, which, though the article politique des auteurs, established the notion that despite of the