Many adult actions occur throughout the movie that causes young Eve to begin to change and reform. Issues involved include: terror, jealousy, violence, death, abductions, seduction of virtuous young women in the sentimental novel tradition, and revelations of crimes and punishments. Eve’s Bayou is a classic example of good vs. evil and has a central theme and focus of the movie’s structure. The movie opens with an ominous black and white scene. This scene shows us bits and pieces of what seems like a vision.
Danilo E. Chaves ESSAY ANSWER TO QUESTION #1 Dziga Vertov’s Man with a Movie Camera and Robert Flaherty’s Nanook of the North were both conceived as educational devices. While both attempt to give viewers a new perspective on filmmaking, both differentiate significantly from each other regarding the delivered message, the context and the aesthetics. Vertov’s film aims to increase people’s awareness about the process of filmmaking, while Flaherty’s attempts to revive the viewers long lost “innocent eyes” by focusing on a preconceived Romantic perspective. As an important part of the Soviet Cultural Revolution, Vertov’s works were conceived mainly to transform people’s consciousness regarding political and social matters. Increasing the critical awareness and thought of the masses towards the deception of film was one of Vertov’s main goals as a filmmaker.
Al Germann Mr. Matthew Feltman Intro Film Analysis 12/6/11 Mulholland Drive “Mulholland Drive” is one to keep you guessing. With its dream-like qualities and obscure avant-garde style it certainly will make you think. “A love story in the city of dreams”, David Lynch's tag line for his film sets the tone, but perhaps more than most realize. One of the many interpretations of the film is its setting in a dream world. One made by the main character, Diane or “Betty” as she has sub-consciously named her self in the dream.
During the twentieth era to the twenty-first, movies was ensure to moviegoers of varieties of experience that acknowledged a more from their own values. Investigating the interrelationship between visual and culture entertainment media; by exploring various forms of visual entertainment that that shape the American culture and the values, social influences whether it’s positive and negative and summarize how the visual media reflect or influence social behavior and their attitudes. Visual entertainment tells various stories and forms that will bring to mind and shape to the most long-term values and culture. There are a few movies that displayed culture of times in them as Smoke Signals, Out of Africa, The Cosby, The Brandy Bunch. The all remind signify universal themes of social familiarity as the states text human experience; Family relations the experience of childhood growing older and copying death (Images and Sounds Chapter 6 page 187).
That is when films started to tell a story with an established beginning, middle and end and using various techniques to put the viewer into the film and reveal the story key points through the plot and story and their durations, characters, space and time. As most of the classical Hollywood films, credits sequences are often used “to initiate the film narration” (Bordwell and Staiger and Thompson, 1985, p.25). Here in Mildred Pierce, the opening credits sequence showing us the Warner Bros logo, who is known for his gangster and melodrama movies, and then the waves washing
The Wizard of Oz is a film which portrays convictions and ideas on imaginative journey through a dream sequence. In the film it is established through filmic techniques that an imaginative journey is taking place. One of these techniques is the transition from black and white to colour in the film when Dorothy the protagonist enters her imagined world. The film's crux lies in the notion that imaginative journeys have the ability to transform and alter ideas and beliefs in a positive way. The imaginative journey which Dorothy undertakes acts as a catalyst and brings about a change in her attitude and alters her perception of herself and the people around her.
Allusions in Blade Runner Blade Runner arose out of a post-modernist society, as is evident by the many illusions found and Postmodernism's focus on mixing previous ideas and arts to create something new. There are subtle and direct intertextual references within the film’s dystopic depiction of mankind's loss of humanity and an inability to recognize a difference between the natural and the artificial. Filmic Allusions Stylistically, Blade Runner borrows from previous films and film movements to set specific moods and allow is heavily influenced by the film noir movement of the 1940s and '50s. Rachael’s clothing and hair styles are reminiscent of the film noir style. Many scenes are cast in dark shadows with lighting used to embody conceptual ideas of alienation and dehumanisation.
The use of audio codes and montage affects aid this technique as they can create suspense and juxtaposition of certain objects or people. Mise en Scene was used well in Donnie Darko directed by Richard Kelly, in the scene where Donnie and Gretchen go to the celladoor. The music in this scene creates a lot of suspense and makes us feel as if something is going to happen. The use of montage created suspense as Gretchen and Donnie kept on looking at each other, looking curious. This technique is used by many directors of art films as it is makes the audience more engaged in the film and makes them feel like their apart of the film.
“For the spectator it is the threshold between her/his world and that of the film; for the film it is the threshold between myth and reality, and for the actor, it is the threshold between role and image.” (FT p.36) This type of symbolism has been used in classical Hollywood cinema since it began. What is so interesting about this chapter comes from a neo-formalists point of view; as a screen, door and threshold, Cinema is guiding the audience through their world with more than one main points of entry. Since neo-formalists see their audience/spectators as more than passive subjects, but as “acting contributors” and they contribute “substantially to the final effect of the work.” David Bordwell, a fellow neo-formalist, also enlists the help of “ideal spectators”
[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