Allusions in Blade Runner Blade Runner arose out of a post-modernist society, as is evident by the many illusions found and Postmodernism's focus on mixing previous ideas and arts to create something new. There are subtle and direct intertextual references within the film’s dystopic depiction of mankind's loss of humanity and an inability to recognize a difference between the natural and the artificial. Filmic Allusions Stylistically, Blade Runner borrows from previous films and film movements to set specific moods and allow is heavily influenced by the film noir movement of the 1940s and '50s. Rachael’s clothing and hair styles are reminiscent of the film noir style. Many scenes are cast in dark shadows with lighting used to embody conceptual ideas of alienation and dehumanisation.
Randi Grummer Film Noir 4/26/11 Anderson The Underworld of Suburbia Film Noir is a term used to describe a certain type of Holly crime drama. Film noirs, otherwise known as crime thrillers or murder dramas, have specific camera angles, shadows, romance, and atmosphere. These films contain flashbacks that disrupt and obscure the plots sequence, in addition to possessing a dark and corrupt feeling. Typical film noirs from the 1940’s and 1950’s were often connected to an urban setting. However, today, directors have evolved this genre and, now, a majority of these films are located in suburbs, small towns and rural areas.
Tackling such topics as racism, the life of slain African-American activist Malcolm X, interracial relationships, phone sex, and the world of drug dealing, Lee's work has met with mixed reviews. His greatest impact in the realm of film has been the presentation of a different
Sirk uses colour to define paradigms and redefine ideas through the lighting and costuming decisions made. There is a clear polarization of red and blue throughout the film, which conveys not only emotional intensity but a dichotomy of classes. Red and orange create an inviting authenticity to scenes which represent or display the middle-class way of life while blues signify the removed lifestyle of the wealthy. The tone and shade of the colours give a clear indication of Sirk’s views of this theme, with the warm, inviting reds conveying comfort and joy contrasting starkly with the bright, cold blues which place Cary’s highbrow society in a harsh perspective. The lighting is often hued more than the props in the scene, with artificial blues bathing scenes in Cary’s mansion home and the clubhouse.
There are a number of references to film and fiction in The Reluctant Fundamentalist. What clues do they give us to understanding the narrative? 7. ‘The Reluctant Fundamentalist is a sad novel because it is about the loss of innocence.’ Discuss. 8.
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.
Blade Runner Cinematography Bladerunner by Ridley Scott centers heavily on its use of cinematography. While the story was backed by a strong foundation of an original plot and interesting characters, the cinematography of the movie was a driving factor behind its popularity and success. Appropriately, just like the movie’s plot, the entire film is cast in darkness. From the opening scene, we are introduced to a darkened city nearly blackened by night were it not for the ocean of electronics and lights throughout it. Various shots consisting of single frames, pans, and zooms of a number of significant areas in the city are broken only by a view of one beautiful blue eye, almost inhumanly perfect, glistening with the reflection of the city’s flames and lights in its iris.
The great French director Francois Truffaut once said: “You respect him because he shoots scenes of love as if they were scenes of murder, but we respect him because he shoots scenes of murder like scenes of love.” While it was a playful statement by Truffaut, he makes a good point. A Hitchcock film normally has incredible characters on moral journeys that shatter the laws of black and white expectations and subsequent answers. In Rope, the moral journey happens in one room in one evening. The film makes a large statement about morality in a small intimate setting, ironic in itself that the film makes a big statement about debilitating moral philosophies of the world post World War II. This certainly isn’t the first time Hitchcock has dealt with international governments (This is apparent even in early works such as the early masterpiece The 39 Steps) and this also isn’t the first time Hitchcock would film an entire movie in one room (the well-renowned Rear Window).
Spook came about in the United States around the early 1940s. Racism between the whites and blacks was quite prevalent around the time this term appeared and was used in reference to African Americans. This particular slur is very self-explanatory. It refers to blacks being so dark that in the night time you could not see them. Since the skin color of African Americans could be really dark for some this gave a ghostly affect.