PARAGRAPH 1 – FILM In the movie, Edward Scissorhands, the symbolic code of colour and technical code of camera angles are not yet only used to support the dominant discourse, but also to make a clear aspect of Edward’s difference to the society. Burton uses a technical code in which the camera is shotted from the castle’s window showing all of houses look insignificant. Use of colour such as the repetition of all the houses, yards as greenish colour and houses being in one colour encourage viewer with the conformity of town. Furthermore, the bright colour of the suburbia and dark and doomed image of Gothic castle present how award the individual can be seen in such town. Then Edward, a pale, scarred face, weird hair, black clothes and “scissor” hands appeared.
This color motif is reinforced in the exterior color of Zissou’s (Murray) submarine. The setting in this particular scene is a very small space in which the characters are crammed together but this idea of togetherness further enforces the theme of unity. Costuming is a significant element in a mis-en-scene film. It contributes to the totality of the film as well as acting as an imperative motif in the narrative. The costuming design used throughout the film establishes a sense of unity and teamwork throughout the film.
The goal of this paper is to contrast the film’s respective treatments of love as a unifying theme and to compare both to Shakespearean concepts of that emotion. Both films have grand entrances with seven travelers, one of long unseen friends and the other of a group of conquering heroes returning from battle. Each draws on the film legacy of The Magnificent Seven of John Sturges and thus of course The Seven Samauri of Akira Kurosawa. The concept of a separation and final unification of characters is a classic plot line in Shakespeare. The setting in each film is an idyllic, palatial estate, consistent with Branagh’s early 1990s, extravagant, auteurial style.
The Coen brothers’ characters are, when all is said and done, quite unique. They do not follow the traditional model of their respective roles. However, there is an overriding sense of normalcy throughout the movie. Thus, by juxtaposing the conventional and unconventional, the Coens are able to create a world that is entirely their own, but still maintain key aspects of the film noir genre; such as the ability of normal people to commit crimes and the notion that everyone is on their own. Marge Gunderson is, possibly, the best example of how the Coens use juxtaposition to both enrich the film as well as break it from traditional modernist ideals.
Comparing Movie Clips to “The Strange Case of Dr. Jekyll and Mr. Hyde” The novella “The Strange Case of Dr. Jekyll and Mr. Hyde” was written in 1886 by Robert Louis Stevenson. It has a central theme of the inner battle between good and evil. The setting of the story is in England around the Victorian era. The character being portrayed as good is Dr. Jekyll. He is a respected doctor and the character being portrayed as evil is Mr. Hyde an alter ego of Dr. Jekyll that only comes out when he drinks a potion.
In the days of silent film, the only methods to express how a character felt were the dialog cards, the actor's face and the music score, all of which worked together to convey the necessary emotion. In a silent film, if a character delivers what appears to be a tense or dramatic speech, tense and dramatic music is sure to accompany it. In modern filmmaking, the same can be said to be true. Secondly, music is a basic and effective way to heighten the drama of a given scene in a film. Regardless of the genre (drama, comedy, romance), a film score can add to nearly any scene.
These strong sounds (b, g, r, z, t) make the text grandiose and noble, while describing the environment in an auditory manner. The sentences are very abrupt and simple, although they are very descriptive. The author often uses adjectives that are synonyms to describe things more vividly, for instance drenched and drunken and crash and clatter. The style is formal (although the sentences aren’t always that complex) and meant to entertain so therefore the imagery is dramatic and fairly metaphorical (like the blows from a thousand beating hammers and like a sword in the brain). There is no internal dialogue in the text, but the narrator still knows exactly how Wimsey
And so through montage I spliced into the acted scenes of slaughter pieces of real blood and death. Nesbet, A. (2007), Sergei Eisenstein and the shaoe of thinking, I.B Tauris, New York. “Montage “ was supposed to be able to bring together the disparate element of Strike’s finale: the concrete dhock of the slaughterhouse; the message and the acted scenes of worker’s rout. Eisenstein has become so thoroughly identified with montage in standard histories of film that it is unsettling to discover that his first attempt at film-making was found wanting precisely in that area, (Nesbet,2007) Lev Kuleshov claimed that Eisenstein was someone who knew how to work with single frames but did not yet have proper control over editing techniques.
Sweeney Todd: The Demon Barber of Fleet Street, directed by Tim Burton, is a film with a very straight-forward, traditional narrative structure. The film’s musical nature allows for a longer presentation of each scene, and strengthens any weaknesses in the narrative structure by allowing us insight into each character’s thought process, which would not be evident with traditional dialogue. The film is heavily chronological, and is presented with primarily omniscient narration—there are no less than three individual story lines which often cut back and forth using parallel editing. The end result of this presentation is a simple, yet incredibly effective, narrative, allowing readers to follow the story progression smoothly and focus their attention instead on the film’s rich musical aspects and mise-en-scène. The film opens by introducing us to our main protagonist, Sweeney Todd, as well as a young sailor, Anthony, as they arrive in London.
At a first glance, you see indications that Inglorious Basterds might be a Tarantino film, with the title being inspired from a 1970’s B –film, The Inglorious Bastards. The film does not follow conventional structure, Containing several protagonists including Lieutenant Aldo Raine (Brad Pitt), Lieutenant Archie Hicoz (Michael Fassbender) and Sergeant Donny Donowitz (Eli Roth) of the elite team of Jewish-American Soldiers, as well as Shosanna Dreyfus (Melanie Laurent), a Jewish girl living under an assumed identity in a Nazi occupied France. The common thing between them is that they are determined to bring down the Nazi empire of World War II. The films main antagonist is Colonel Hans Landa aka, The Jew Hunter (Christoph Waltz) along with his supreme leader, Adolf Hitler (Martin Wuttke). Never has a movie relied so much on a supporting character to deliver such a stand out performance.