As the play was made into a movie it had to evolve. Characters and their antics are what make a movie fun and interesting. A significant change is in the character portrayal. In the play, Parris seemed to be overly egocentric and self-conscious. He is still thus in the movie, but is more whiny, and annoyingly so.
Most of the tempos are extremely slow and a mellow romantic tone. There is sound in movies that are not to dramatize the scene but to rather notify the audience that this is an important scene coming up. There are specific elements that should evident, the movement and tone of actors must be believable to convey a story. After viewing trailer, two films come to mind in which the music, narrative, and structure was changed to present two very different themes, one of cheerfulness and the other of horror. The costumes, expressions and music executed, to get the desired end.
What interests you most? I find it thought-stimulating to ponder the content of the written play itself and its shortened movie version. Does an adequate shortened movie means that certain parts of the written play was unnecessary or not important enough? This leads to the discussion of whether the written play or the movie gives the most authentic and accurate portrayal of the Laramie incident. What strikes you most?
(264) Classical narrative form is commonly known as linear narrative which refers to stories told in a single line with logical order and ends with an assured conclusion, usually seen in traditional Hollywood films. The ending is usually often the solution of problems of the characters. Therefore, there might be nothing left to be solved. In this kind of narrative, it is cause and effect which lead it to go on in a correct direction and drew the attention of audiences to follow. Jill Nelmes states in the book he edits: It is
The structure of a film has a great impact on the reaction from the viewers. There are two main aspects of a film that make it have the reaction from audiences. One is the director style which contains everything the directors choose to do to make the film flow like a book. There are directors who are known as auteurs. This is when people brainstorm on film ideas of their own and basically does everything from writing the script and picking their own actors to supervising the writing to make sure it is to their standards.
Open? Accepting? Tolerant? Anything that makes the character a better person is good here]. This is made clear though the director’s use of [film technique and detail of the technique – eg what we’re seeing or hearing in the shot or sequence].Therefore/Thus/Clearly/evidently [vary those words for each paragraph] a new experience can result in ….
Movie observers have their favorite kind of film they love to watch. By that, we disregard certain films because it does not fit into the mold of what we think a film should look like. We should keep in mind that all films will not fit our preconceived notions. To become a receptive viewer we must be willing to venture beyond the norm. Films are not only for entertainment and are not only for profound artistic statements.
Editing is essential to our experience of the cinema; as Mark Le Fanu (in Cunningham 2005, p. 237) argues, ‘(s)tories may be told without editing… but in an important way the beginning of editing is the beginning of cinema itself’. The centrality of editing is particularly evident in documentary genres, which often condense or elide large periods of time into a single moving image experience. According to Megan Cunningham (2005, p. 236), the documentary editor ‘is like a sculptor whose materials are restricted to found artifacts of media: photos, footage, archival material, home movies, interviews and music. All of these assets are at their disposal to construct a cinematic storyline.’ Cunningham further explains that “(d)ocumentary editing ties together seemingly mundane moments that may lack inherent drama in a way that moves the plot forward, creates intrigue, portrays an engrossing reality and brings the larger significance of the events to the surface of the film.’ (p.236) This essay will explore the ‘assets’ at the ‘disposal’ of the
Film Prioritisation Case Assumptions Before we present our analysis and evaluation of the case study, there are general assumptions about the definition of Legal Safety & Environmental Standards, Best Picture of the Year, Calculation of Profit, and Environmental Concerns which our group has taken as we filled in the evaluation form. These are included in the Appendix. Project Priority The order of project priority is Film 6>4>1>7>5> 1,3 (Eliminated) A. Must Objectives: Film #1 & #3 Avoided Every project must meet the must objectives as determined by executive manage ment. It is important that selected film projects not violate such objectives of high strategic priority.