In the original film (Hitchcock) the old dark and colorless film, the creep music provide the viewers an idea that something wicked is about to happen. Therefore again both directors did provide enough action to carry over to each scene. In the remake the casting was truly wrong; For instance the infamous character Norman Bates, the psychopathic motel owner was played by fast talking, macho man Vince Vaughn. In the remake the Norman appears to be more of a sexual predator, whom would actually please himself as he watch Marion through a peephole in the shower scene; which gives the audience a different point of view about this film and van sant character Norman. However in the original version Anthony Perkins plays Norman Bates, who truly fit the character with calmer attitude, and good boy looks as Norman.
The costume that he wears and his very gothic looking hairstyle makes him look sinister. Even though Edward is the nicest and the kindest character in the movie he is thought to be a devil by Esmeralda. The same could also be said for Jim, he does not look evil, going out with one of the most innocent people in the movie, Kim, but he is the most evil person. Lastly there are the film techniques that help us or make the viewers determine whether a character is light or dark and good or evil. The lighting, costumes or settings can make ur think about a character differently.
The novel Fahrenheit 451 by Ray Bradbury, and the 2002 movie Equilibrium directed by Kurt Wimmer, are in fact, perfect examples of this. Both the book and the movie, use censorship to illustrate a utopian society gone wrong, or in other words, dystopia, in which thinking and feeling are executional crimes. The novel Fahrenheit 451 and movie Equilibrium have comparable characters, themes and settings, and both conclude that forced utopian societies always fail, and that unfortunately there is no “perfect world”. First of all, a comparison can be made between the protagonists, antagonists and secondary characters of the novel and movie. These characters
BOOK REVIEW: Spike Lee Film: 14 SYNOPSIS: German authors Gunnar Landsgesell and Andreas Ungerbock's tome SPIKE LEE FILM: 14 is a comprehensive, handsome-looking read featuring an interesting and extensive profile on the confrontational and immensely talented American filmmaker Spike Lee and his brand of cinema. The text is written in the German language but the contents are universally received as the scribers serve up a hearty menu of Lee's filmography that includes his cinematic works from 1986's She's Gotta Have It to 2006's Inside Man. Among the film critics/film scholars that contribute their critiques to Landsgesell and Ungerbock's introspective movie book is well-known Pulitzer Prize-winning Chicago-based Roger Ebert (he penned the 2004 review She Hate Me). Besides the notable contribution from Ebert, Landsgesell and Ungerbock tap the services from other revered American and European sources that serve up Lee's films in thorough, thought-provoking compositions. In this 304-page entertainment book, there is other subject matter to consider besides the in-depth reviews of the contributors' written material.
Yet Moore's ego is entertainingly punctured when he is shown as a smug liberal martyr attempting to destroy Team America's headquarters - by rigging himself up as a suicide bomber. Again, a breathtaking moment of offensiveness: a veritable chain-mail fist through the paper-screen of celebrity correctness. It wasn't that long ago that Michael Moore, in his anti-gun documentary Bowling for Columbine, was interviewing Matt Stone, and generally praising him to the skies as a fellow satirist. And this is how he is repaid? Oh
When it opened in America to somewhat disappointing business, there was a widespread misjudgement that Fight Club was an action movie about underground bare-knuckle boxing contests — perhaps an inflated, star-powered version of Jean-Claude Van Damme vehicles like Bloodsport or Kickboxer. Actually, it's a horror movie which literally begins in the fear-centre of its narrator's brain (and arguably stays there) and spins a postmodern rethink of Psycho with enough dizzying side-trips to pull off yet again the long-blown surprise ending that two apparent antagonists are, in fact, the same person. Adapted faithfully from Chuck Palahniuk's novel, the film follows a buttoned-down insurance minion (Norton) who projects himself as flamboyant, anti-social, charismatic genius revolutionary Tyler Durden (Pitt), in order to shake up
In Shakespeare’s Macbeth, the main character initially demonstrates qualities of being a tragic hero, but by conclusion of the play his deceitfulness and his overwhelming gullibility lead him to be portrayed as a criminal. Macbeth has serious issues with power, greed, and even his own self- esteem and self- conscious. He knows when he kills Duncan and Banquo that it is the wrong thing to do but he still does it anyways. He also becomes obsessed with idea of power and becomes more power hungry as each day passes. He has become an unstoppable killing machine who believes he is invincible once the three witches reveal their prophecies and their apparitions to Macbeth.
Examine the functions and effects of editing in The Limey – Steven Soderbergh The Limey; an ‘unforgettable meditation on revenge and regret’ (Holt, 2002, p306), is described as Soderbergh’s ‘most haunting and stylistically impressive work to date’ by Jennifer Holt (2002, p302). Soderbergh’s history of directing and screenwriting has created a huge collection of exceptionally and uniquely edited films, making him ‘one of the toughest directors to nail’, as stated in Interview Magazine, 1998 (Cited in: Holt, 2002). This essay will discuss the functions and effects of editing in Steven Soderburgh’s The Limey. The Limey, released in 1999, is subject to Soderbergh’s brilliant work as an independent director, and breaks many ‘rules’ of film making (Holt, 2002), creating a new and innovative film. Soderbergh’s contemporary filmmaking style in The Limey, breaks with the classic Hollywood continuity editing structure, making viewers feel uncomfortable with the distancing editing and construction; Soderbergh (1999) stated ‘I tend to keep looking for things that I haven’t done before’.
Edgar Allen Poe is a writer and poet who, even in his own time, is highly recognized for his bizarre and fascinating stories. Most of his pieces involve death and murder, and they also question the character’s sanity. Many of his stories have been turned into movies and his great work has inspired many modern authors. One author in particular is Stephen King. Mr. King has won numerous awards for his work and is considered one of the greatest writers alive today.
Edgar Allen Poe. Just the name itself conjures up images of the macabre, of the horrific, and of death. Edgar Allan Poe was a master of suspense and seldom disappoints a reader who is looking for trepidation in his relaxation. Perhaps no other author has been called upon in film as has Mr. Poe, with over 40 films having been adapted based on his works. High praise indeed, but it has been said by his critics (and there have been a considerable number) that many of Mr. Poe's works are similar of character and climax - a crazed mad man, an unwitting, although not necessarily innocent victim, some gratuitous gore, and other aspects of demented storylines.