Interviewer: So Nina, you are saying that only a few narrative archetypes exist, but each is just conditioned and created differently to relate to their own contexts and time periods? There must be a reason filmmakers like to stick to these enduring formulas though, like the “Hero’s Transformation” example you used. Nina: As an audience watches a film, they
Analyse the editing style and technique of a film, describing its effectiveness and commenting on its function in respect to the film’s narrative construction, focussing on one sequence in particular. (Films: Hitchcock’s Rear Window) “What is drama but life with the dull bits cut out” Alfred Hitchcock. This quote from Hitchcock resonates throughout Rear Window (Alfred Hitchcock, 1954, USA) as it is a prodigious example of his auteur style as he turns the mundane and ordinary lives of the protagonist’s neighbours into a suspenseful thriller. This essay will provide an insight to the effectiveness of the editing style and technique also in relation to its function with the films narrative. The film is set around L. B.
The Screenwriter as Auteur: The Case for the Early Works of Robert Towne By Elaine Lennon Definitions of the cinematic and the assigning of both meaning and names to the narrative models which provide our cultural self-image have ceaselessly proved their attraction in the area of film studies. However, the naming of names is no easier now than it has ever been. Screen authorship remains keenly debated in both popular and academic criticism. The artistic neglect of the screenwriter and the identity of the screenplay has its roots in the origins of American cinema, as Tom Stempel reminds us in his landmark book, FRAMEWORK: A History of Screenwriting in the American Film: Much film history about screenwriting is inaccurate because the sources are those who have reasons for downplaying the role of the screenwriter: actors, producers, directors, and their publicity machines, both in the industry and in film studies. [1] The various critical methodologies which have evolved around film are principally to do with a film’s provenance.
Through various fresh approaches to filmmaking and story building, Night of The Living Dead was able to positively surprise audiences and critics with new characteristics, challenging its predecessors’ conventions in spite of its limited budget and setting the standards for horror films to come. This paper will present an analysis focusing on the characteristics that place the film in the horror genre, while relating them to those of former and contemporary critically-acclaimed horror films. The emphasis will be placed on the movie’s storyline, its filming and editing style and its explicitly displayed violence. “Genre” is a french word that can be literally translated to kind or type. 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.
The Cruelty of the Mental Hospital By: Jing Yi Xiao Good novels are eventually made into a movie, whether it is two years after the book’s publication or ten years. However, the transition from novel to movie is not without complications. Usually, the plot of the novel is too long for it to be fully included into the movie. Therefore, changes are made in the storyline by the movie director to adapt it into a more suitable plot. When Ken Kesey’s One Flew over the Cuckoo’s Nest was made into a movie, the important element that was kept by the director, Milos Forman, was the cruelty of the ward.
I will analyse the signifying factors a body has and the changing definition of the term ‘hard body’. I will discuss how the hard body can influence a films narrative whilst using relevant research to support my work. I chose to look at Fight Club (David Fincher - 1999) as well as Rebel without a Cause. (Nicholas Ray - 1995). A characters body plays a vital role in film, an audience are easily able to recognise certain stereotypes, partially through the differences in a characters body.
The Help: Similarities and Differences Between the Book and Movie Do you ever read a book and say you want to see the movie after, or how about the other way around? Just so you can see the words turn into pictures or the pictures turn into words. Your so excited until you watch it and parts are left out, or you read it and some events are described differently then how the movie shows it. But you are also left with the reassurance that some things do happen the same way for the sake of getting the same story, or point across. The Help by Kathryn Stockett and the movie, The Help, is a great example of a book and its movie having lot of differences but still having similarities where they are needed.
Winton’s short story Abbreviation, along with Clerc’s film adaptation explores different aspects of the story by foreseeing the content and perspective differently. Both texts identify Vic as travelling through his journey from a child to a young adult; however the two texts look at this through his relationships with different people. The short story identifies the reader about perspective through dialogue whilst Clerc’s film adaptation uses film techniques such as camera angles and sound effects to explore the perspective. Winton’s short story focused highly on Vic’s relationship with his family, most predominately his parents and how this slightly inhibits his ability to grow up. Winton identified Vic’s relationship with his family
It received several awards for the cinematography and an Oscar nomination for art/set decoration (1979). This following paper will closely analyse a short, famous scene from the movie Alien and analyse the cinematography, mis en scene and relevance of the events to the storyline. It will also discuss those techniques effectiveness in helping to create a sense of fear in the viewer. Alien, released in 1979 still lies among the most popular science fiction horror movies. The American film institute recently declared it to be number 7 in the top 10 science fiction movies ever made (2008).
Len Lye is communally famous for his title sequences such as Tusalave (1929), Colour Box (1935) and Colour Cry (1952). Maurice Binder is famous for his Creative and dazzling title sequences Polanski’s Repulsion (1965) and the Last Emperor (1989). Saul Bass created Anatomy of a Murder (1959) and Around The World In 80 Days (1956), which gained him a very good reputation. I will highlight the reasons why these designers were so influential, whilst searching to see which was the most influential, and just how they managed to revolutionise the modern film industry. Middle 1 Maurice Binder (1925-1991) was a famous designer of film title sequences who created the famous style of the James Bond series.