Firstly, the analysis will focus on the dramaturgical composition of the film and how the participants (the ‘bunkers’) have been perceived in theory and practice. Secondly, the interview techniques will be examined and how they are used, illustrated and perceived in the film, as well as how visual effects and other techniques are used in the film. Thirdly, the moving picture’s composition will be discussed, and the way the film presents a picture and is edited to present its message to the viewers is also analyzed. Finally, a summary of the findings will be presented. 2.
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…
Our study will explain and interpret the meaning or the significance behind those components, and by then try to connect the shot to the themes of the film. Tony Scott applies several genre specific editing techniques, which accordingly suture the audience to the stories multiple levels. Tony Scott is mixing up the sound effects, which links the audience to the drama and the history of the movie, providing a coherent structure. 00:45-1:00 In the first scene of the movie we are presented with the main character “Domino” (Keira, Knightley). In terms of Mise-en-scene our eyes are firstly attracted to Keira, who is lighting up a cigarette.
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.
Directors use such techniques as Mise en Scene, Movement and montages to express the idea and establish the specific quality of his work. Movies such as Donnie Darko directed by Richard Kelly and Koyaanisqatsi directed by Godfrey Reggio both portray the conventions of an art film, as we are left in confusion of what has happened throughout the film. Mise en Scene is a technique used in art films by the directors to create a certain feeling or vibe in a scene, whether it is positive or negative. Mise en scene is created by the director through the ways in which he constructs the scene. The use of audio codes and montage affects aid this technique as they can create suspense and juxtaposition of certain objects or people.
In doing so I will extrapolate on the ideas of the initial article and reveal the ways in which Kazan uses the formal qualities of the film to reinforce the ideas. Given the three-act narrative structure of On the Waterfront, I want to look closely at a number of sequences from each act. From the opening sequence in which Terry Malloy (Marlon Brando) is complicit with the corrupt (Act 1), to his emerging understanding of the corruption characterised by his growing ambivalence (Act 2), to the fight for ‘rights’ (Act 3), the film is rich in its imagery, dialogue and design. There is a careful fusion of all these cinematic elements in the ways that the narrative of conscience, confession and catharsis is played out. For example, throughout the film a strong sense of place is evoked.
It is a film based in the DDR. Another film based in the DDR and which I consider note worthy is ,,Goodbye Lenin’’. Both of these films show what life was like in the former DDR. I would like to use these films to talk about the importance and effect that the DDR had on those who lived in the old Republic. I will begin with a short history of the DDR and some clarifications.
Danilo E. Chaves ESSAY ANSWER TO QUESTION #1 Dziga Vertov’s Man with a Movie Camera and Robert Flaherty’s Nanook of the North were both conceived as educational devices. While both attempt to give viewers a new perspective on filmmaking, both differentiate significantly from each other regarding the delivered message, the context and the aesthetics. Vertov’s film aims to increase people’s awareness about the process of filmmaking, while Flaherty’s attempts to revive the viewers long lost “innocent eyes” by focusing on a preconceived Romantic perspective. As an important part of the Soviet Cultural Revolution, Vertov’s works were conceived mainly to transform people’s consciousness regarding political and social matters. Increasing the critical awareness and thought of the masses towards the deception of film was one of Vertov’s main goals as a filmmaker.
Christian Metz's Le Grande Syntagmatique provides film viewers with a coded system for deconstructing cinema. Although this system is sufficient for deconstructing classical narrative films, it is not sufficient in deconstructing avant-garde films such as Daisies. In Christian Metz's essay "Problems of Denotation in the Cinema", Metz arrives at the theory that filmic denotation is primarily a question of syntagmatic considerations by examining the "relationship between cinematographic language and language itself" (Metz, p. 108). To Metz, cinematographic symbolism "must be born out of the film" (p.119). He argues that "the principal figures of cinematographic language originally aimed to make stories more alive for connotative purposes, and this concern with connotation resulted in increasing, organizing, and codifying denotation" (p. 118).
Discuss the role of editing in making meaning, with reference to a documentary or fiction film. Your discussion should include close analysis of particular sequences and make use of relevant critical, theoretical or historical texts. To a filmmaker, the importance of editing to create meaning is unique. The ability to manipulate footage allows a whole new domain of creative ideas to become available. “My path leads to the creation of a fresh perception of the world.