It means that camera is pen and the director is the author of the film. Film itself is an expression. Film is not just entertainments; it is the thoughts of director, although it is abstract. The films are unique and there are significant and character in the films. Moreover, Francois Truffaut emphasized on mise-en-scene of a film.
The way in which it was adapted into a scene within a film would therefore have had to been intense and moving to truly capture the essence of the point being made. When considering the success of an adaptation of a novel into a film, it is important to first define and understand what makes an adaptation ‘successful’. In the case of Nineteen Eighty Four, the adaptation would have to create the sense of real claustrophobia and then, in the moment Julia and Winston discover one another, offer the audience the same glimmer of hope Winston experiences. I believe the very nature of the novel centres around the dehumanisation of a whole society and plays on the readers empathy towards those within the novel that are forced to abandon their own; thus it can be said that without the autonomy to decide and imagine for ourselves the helpless of the situation, it takes away from our urge to empathise when seeing it upon a screen. Even when considering film adaptation in a general sense, the fact that there are so many people involved in creating a film again takes away some autonomy of the audience/reader; the different roles of everyone
In the 1920s structured order meant filmmakers followed an unwritten set of rules that determined plots, protagonists and the genre of successful films. Vertov was part of a movement called the Kinoks who challenged original cinematic techniques that the extremely controlled cinema industry followed. The Man with the Movie Camera is a perfect example of a film that has broken free of conventions and challenged the walls of cinema. This essay will analyse the use of editing in creating meaning and how important it is. As well as assessing Vertov’s beliefs and drive to make such a film.
Introduction: Joseph Conrad claimed in his 1897 preface to the The Nigger of the Narcissus that above all his aim was to make the reader ‘see’ and D.H Griffith asserted that “[t]he task I’m trying to achieve is above all to make you see” (Spiegel 1976:4). Analyzing these two opinions the difference between the author and auteur’s intentions become clear. Despite the difference in purposes in the world of films, films are generally created from literary sources like novels or short stories because there is the prestige involved in the film’s close relationship to literature, especially literature by authors of high standing. Besides the best stories for films are often to be found in the covers of the novels. There is also the best seller argument.
Gerald Graff, on the other hand, would commend A Walk to Remember as an art form that gives rise to many debates and arguments about the movie and that gives viewers a chance to prove their intellectualism outside of the academic realm. By exploring their opposing arguments with respect to A Walk to Remember and the movie’s historical context in romance films, one can reach a conclusion about the effects of the movie on audiences and whether or not these effects are considered positive or negative. A Walk to Remember began as a novel by well-known author of romance novels, Nicholas Sparks. It was written in 1999, and Sparks shares that there was a rather strong inspiration behind the writing of it. Sparks loosely based the novel off of the life of his younger sister, who developed cancer at a young age (Sparks).
Film Theory Münsterberg and Arnheim: Theoretical Interpretations of Sound in Cinema Separated by an entire generation, the cinematic premises of Hugo Münsterberg and Rudolf Arnheim lay the primary structural foundation for understanding how and why film affects the human mind so profoundly and differently from all preceding art forms. Although these theoreticians have made their own respective contributions to the core assumptions of film theory, their analyses converge in the particular lens through which they choose to assess the phenomenon: the psychoanalytic paradigm. From this perspective, Münsterberg and Arnheim are able to fully dissect film’s facets and explain their construction as well as their consequences on the viewer. How these aspects combine with one another forms the crux of film’s effect on the human brain, thus expanding the ontology of the medium beyond the sum of its immediate parts and into the realm of its perceptual impact. It is from this vantage point that one needs to assess all characteristics of film, including the development of sound.
Aesthetic, social and technological. From this we shall derive a conclusion as to its relevant interests to the film historian. When we refer to aesthetic film history, we are considering films as an art form. The immediate problem with film history as a study of art is that what constitutes art is subjective in itself. It is very easy to dismiss Titanic as being a ‘formulaic’ Hollywood blockbuster made with the sole intent of making capital, a special effects laden epic combined with a love story.
Discussion centres around concepts of the lawyer as a translator, how the Lex Populi diminishes the value of the legal system because of its inaccuracies, the positives of law being depicted in popular culture and the role of the media and its influence on access to the legal system. The paper uses a number of examples from the Lex Populi, focussing in detail on ‘A Few Good Men’ and the Australian film ‘The Castle’. Poetic License v ‘Real Law’ There is no question that when Lieutenant Daniel Kaffee (Tom Cruise) stands before Colonel Nathan Jessep (Jack Nicholson) in the film ‘A Few Good Men’ and yells: “Don't call me "son". I'm a lawyer and an officer in the United States Navy. And you're under arrest, you son of a bitch”, that as a viewer we secretly wish that we too will one day have a Tom Cruise to champion our rights should we ever end up in the courtroom.
This quote happened after the India’s great struggle with British Empire, which ended in India’s independence through peaceful means led by Gandhi (Ackermann 2000). This essay will discuss if the statements above are true or not as well as talk about recent, real world examples. The main critic will be about media’s involvement & power in social movements such as through movies, music, TV and social media. In addition, there will be case studies relating to media. The portrayal of how citizens should triumph over an oppressive government and free the state from authoritarian shackles is a harshly debated topic both within academics and media.
How the effects of digitalization could change the future of the Hollywood film industry Introduction This paper will explore the different effects that digitalization has on the Hollywood film industry. Digitalization technically means turning different types of information like sounds, texts or images into binary code. This seemingly small change in technology has a great impact on the production, exhibition and distribution of Hollywood films. The industry is currently forced to change their traditional business model, and adopt new models to adapt to this technological change and to exploit its benefits. First, we will examine the traditional production chain of the industry.