The first movies were produced without sound and even the first talking pictures required that vision and sound be recorded separately. Purists may still prefer to make movies on analogue film stock but today digital recording allows sound and images to be seamlessly integrated. Nevertheless, this split between sound and vision is etched into film’s history. This has important consequences for the analysis of film as an artefact. It is this
Classical and Post-Classical Hollywood Cinema INTRODUCTION During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
How do mise-en-scene and cinematography introduce character and setting in the first five minutes of the 2009 animated film “9” by Tim Burton? Cinematography and mise-en-scene are important aspects to consider when making a film, due to how important these micro aspects are in establishing meanings in a film. They are used both independently and interlinked. A sense of the approximate date of the film, setting, details about characters, narrative clues and the mood of the film can be created and communicated using these aspects of filmmaking. In this essay I intend to analyse how “9” uses cinematography and mise-en-scene to introduce character and setting and generate responses from the audience in the five minute extract which shows the creation of “9” and his discovery and reaction to the world around him.
Even if they did make this happen how will they control the dinosaurs to killing us humans? Yes, it is possible that Jurassic Park could really happen. If scientists could find the right arrangements of genes DNA Jurassic Park could happen. They would have to find a way though that the dinosaurs are not able to reproduce. Scientists are really able to clone anything they really
This style of montage is used the least frequently of the five, but when used sparingly could be very powerful in obtaining the desired emotion. Film, as an art form, has always had different interpretations of the same theme. The way in which an audience interprets a film is not a complete accident. Every director has a message that they want to portray and even though each person may have their own interpretation they nearly always come away with the same feeling. How is this possible?
It is from this vantage point that one needs to assess all characteristics of film, including the development of sound. Accordingly, the central query for such an appraisal must be how does this particular property (sound) contribute or detract from the medium’s intended effect? Münsterberg’s early death notwithstanding, one can hypothesize from chapter nine of his work The Photoplay: A Psychological Study as to his probable judgment concerning sound in cinema. The Means of the Photoplay, as Münsterberg coined this portion of his study, refers directly to the modes of perception that give film its unique elegance as an art: the aesthetic and psychological. From these two analyses, Münsterberg declares a formative principle: We recognized there that the photoplay, incomparable in this respect with the drama, gave us a view of dramatic events which was completely shaped by the inner movements of the mind…
A multimillion dollar company discovers a new and innovative way to clone dinosaurs. They extract the blood of prehistoric mosquitos in fossilized “amber” to find dinosaur DNA. As a result, they manage to clone most of the species that were existent during the Jurassic period and open a theme park that is designed to be a tourist attraction. During a preview of the island, the park suffers a huge power outage, which allows the animals to break free and take over the island. Regardless of being a science fiction film, Jurassic Park seems to follow a more realistic plot compared to other science fiction films.
The director of the music in the film is James Horner who wrote the score for the film. He has composed music for such movies as Aliens, Apollo 13, Titanic, and Avatar. As his recent scores have created for 3D movies, his recent scores have utilized the technological sound designs common in superhero movies as Spider-Man. The scores of The Amazing Spider-Man have never been heard before in the franchise but feature elements of traditional scoring; powerful and brassy scores provide the epic backdrop needed for a character, Spider-Man. Horner finds fresh 3-D dimensions in a score as the film is being shot in 3D film.
Film Theory debates the essence of cinematic value and provides conceptual frameworks for understanding a film’s relationship to reality, the other arts, individual viewers, and society at large. In order to successfully approach film criticism it is important to examine several theories. It is important to keep in mind that, “no critical approach can tell us everything about a film but, rather, different approaches can teach us different things about a film” (Luhr, Lehman 80). First and foremost, films are perceived in terms of their narrative structure. When discussing a film, audiences will recall its story line or characters to exemplify what the film was about.
Prof. Tony January 4th, 2011 WO4B Response Paper First of all I think that the title fits within the main idea of the story, because whenever there is a problem they bring out only one character which becomes the solution to all problems known as “The Godfather” The movie basically starts of from the same part where the book had started from. There was an equal flow from both the book and the movie. It starts from the part where Amerigo sits in the court room which seemed most like a small private room. By reading the selections from the original text and then watching the movie my reaction seemed not too thrilling and not too boring. But I was disappointed to the fact that the way the author had described the scene of the court room in the novel, in scene one…it didn’t perfectly come up to my expectation level because the novel had more details and it was easy for me to visualize it clearly without any struggles or any difficulties.