This idea rids humans of what empathy they are capable of and jeopardizes their reign on a stable emotional mind. Huxley uses foil, symbolism, and irony to delve into this problem of escapism and its contributions to a dystopia in disguise. (your thesis needs to be more specific. Authors don’t delve into problems. They take clear stands on issues.
Soderbergh’s contemporary filmmaking style in The Limey, breaks with the classic Hollywood continuity editing structure, making viewers feel uncomfortable with the distancing editing and construction; Soderbergh (1999) stated ‘I tend to keep looking for things that I haven’t done before’. This discontinuous editing throughout The Limey may arguably disconnect some viewers from the story or characters. The stylized use of sound overlay is another technique used by Soderbergh to disconnect the audience from the image and speech, adding to the discomfort of a broken Hollywood continuity structure. Another key element within the editing of The Limey is the use of colour strands fragmented throughout. This subtly links different parts of the film together, allowing the audience to make connections of their own about the events and characters.
He characterizes things by ideas that life lacks stability or certainty as shown by the films story and distinctly visual disjointedness, its embrace of pop culture and its blurring of distinctions between high and low culture. The normalcy of film is challenged by having three different scenarios and by having mixed media throughout the film. Firstly, Tom Tykwer presents game theory through a postmodernist approach, which allows him to explore many facets of Lola’s game and the game of life. The game that Lola is involved in is to save Manni’s life. Tykwer places an emphasis on the restrictions of time within the game through the opening scene.
File form is the ways that the filmmakers use to show the story scenes and express the concepts that they want to tell. Filmmakers make use of various shots and filming angles to present different film content. For example, when a particular scene’s action has broken down into many shots, the filmmaker can utilize this fragmentation to precisely control what audience see, when they see it, how they see it, how long they see it, and in what order they see it. The film form directly influence the perspectives and points of view of the audiences since the audiences have to follow filmmakers’ shots and angles to watch the movies and understand the stories. And that’s why film form can shape an audience’s experience.
Based on the principle of accountability, filmmakers should not be held legally responsible for the actions of moviegoers. Another opposing argument states filmmakers should be at fault because they show a false sense of reality in their movies. Several supporters of this idea criticize the filmmakers’ lack of consequences in the movies. In multiple movies, the bad guy gets away without any retribution for the crimes they committed. The lack of consequences in the movies leads to deliberate, heinous crimes in which the perpetrator thinks he can get away with his actions.
However many viewers do not realise that documentaries are only a version of reality. Moore exploits this ignorance by employing the elements of documentary construction to create a misleading and manipulating relationship between the filmmaker and his audience. Constructing Lies! The first way in which he uses the construction process is by incorporating shot construction. This creates an impression between the director and viewers giving a more desired effect.
What are the principal themes in Rear Window? In other words, what is the film about? Bear in mind that this is a different issue than thinking about what happens in the film (though they are closely related of course). What are the bigger ideas to which the film is pointing us? I think the bigger issue of the movie is “don’t get into other peoples private business or it could get you in trouble” and Jeff’s vulnerability.
This infers that the auteur theory applies to both these films. Furthermore, both the films seem to break the common conventions of Hollywood cinema, this can be seen in various sequences throughout the films. This would imply that these films could fall into the independent cinema category. This paper will analyze how the auteur theory can be applied to the films, Please Give and Friends With Money, and their common writer/director, Nicole Holofcener. Additionally, this paper will analyze how these films can be classified as independent cinemas, through various sequences seen throughout both films that break the common conventions of studio films.
Although Louie Psihoyos has used fundamental aspects of a documentary for this film, such as location shots and interviews with key people, he has diverged from a traditional documentary through the inclusion of visually confronting footage and persuasive filmic techniques. Although The Cove uses many techniques that are used in a documentary, such as straight forward narration and direct and indirect interviewing, it uses certain film techniques that move away from the fundamental aspects of a documentary. Throughout the film the use of “Glittering Generalities” is present. This means to use attractive but vague words that appeal to human values and trigger emotions, without providing any real information. An example of this in the film is Rick O’Barry states “these dolphins are symbolic of a new day for the environment, and If we can't stop that, if we can't fix that, forget about the bigger issues.” This technique is most commonly used in propaganda and was used in WW2 German documentaries, such as ‘Triumph of the Will’, to push Hitler’s message to the people.
What seemingly are insignificant, were considered really serious. Therefore to conclude, creating historical-based movies with dozens of inaccuracies is inappropriate, especially for an educational tool. Hence of the number of inaccuracies, and if The Patriot is used as an educational tool, learners or audiences must be warned or informed about the historical errors in the