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.
Emma / Clueless comparative essay – film techniques How do the film techniques help in the exploration of the themes in ‘Emma’ and ‘Clueless’? Refer to the films in detail. The directors of the films ‘Emma’ and ‘Clueless’ use a range of film techniques to highlight the themes of the texts. Diarmuid Lawrence and Amy Heckerling explore the themes of marriage and matches, distortion of vision, social and moral responsibility, and the importance of self-knowledge. A detailed analysis of four parallel scenes in ‘Emma’ and ‘Clueless’ show how film techniques are utilized to help convey meaning in a text.
Jeunet is influenced from the ‘cinéma du look’ and the ‘French New Wave’ film conventions to the more recent, ‘cinéma de banlieue’ which are able to be brought to light because of the theme of memory and its distortion. Jeunet amalgamates three heterogeneous areas of memory in ‘A Very Long Engagement’ (Jeunet 2004) to establish and evaluate the power and frailty of memory “Memory plays a complex role in Jeunet’s film, which enacts both its repression and its return” (Ezra 15). Firstly to be discussed is artistic memory, memories and emotions of the spectator are rendered because of an association with another memory from other sources, e.g. film and art. Secondly to be evaluated is personal memory which is autobiographical memory and finally, historical memory, memories that are considered facts in history.
The OWI would manipulate the scripts and outcomes of many films for the benefits of the country as a whole. These books were historical contexts on films during the time of war. The books found were historical because they went over the history of World War II during this time, and they were also able to glimpse at the history of film. Both books made it obvious to their readers that the government played a major role in cinema during this time. Pressure from the war was high, and any way for the government to interlude propaganda to the public in order to boost morale was
This paper is intended to describe the elements of film design, from envisioning the story to designing, creating the film and the edited and revised end product that the audience views on the big screen. The movie that will be used to demonstrate the various elements of film design is the notorious, Forrest Gump. “Everything in the mise en scene is controlled, chosen or at least approved by the director (Goodykoontz & Jacobs, 2011).” The production company, Paramount Pictures produced the film Forrest Gump. The director of the film, Forrest Gump is Robert Zemeckis, known for his use of special effects. Zemeckis is from the “Spielberg camp of film-making” and has even had Spielberg produce many of his films (IMBD 2012).
I have analysed many factors that affect this contrast of convection and unconventional suitability to the genre by looking into the mise-en-scéne, generic convections (such as plot, themes, setting, characters and special effects) and camerawork (such as oblique, long shots, point of view shots, medium shots, close-ups, panning, etc). One of the first things the viewer is experienced with is the choice of colour to emphasize and portray the feeling of the setting and general theme of the film. By this, I mean not only the alteration of colour balance between frames and within the mise-en-scéne generally, but in fact in a much more deep and effective way. An example of this is when in The Matrix, the official intro title animation for Warner Brothers’ Pictures is colourised in the style of a science fictional theme. This is achieved by making the main foregrounded and animated emblem for the corporation green.
However by doing this, does the documentary lose authenticity? I aim to analyse various techniques Gordon uses in structuring ‘The King of Kong’, and how they relate to classical Hollywood cinema. I will focus on the subjects’ portrayal and how he builds the characters and story, as well as filmmaking techniques he has used in line with structuring the documentary, for example editing choices. I will use this to focus on authenticity, and the balance Gordon places between entertainment and an accurate account of events. In Bordwell’s definition of classical Hollywood cinema, the narrative is focused on a goal-oriented protagonist: a hero who is drawn into a situation, which he must resolve in some way.
Josh Litman Josh Litman Prof. Janelle Blankenship T.A. Caitlin Foster Film Studies 1020 1 A Director's Signature: What Makes Hitchcock an Auteur? According to The Film Experience, auteur theory holds that "a film bears the creative imprint of one individual, usually the director, whether or not it is considered a great piece of art," and that it "is taken to reveal the personality of its director," (p. 464). In other words, it suggests that a director may have a signature style, or 'stamp,' that permeates his or her body of work. Auteurism can be observed in the thematic, aesthetic, and ideological concerns of a director.
Hitchcock was very ingenious with these techniques. In conclusion formalist film maker uses techniques of camera angles, camera lenses, lighting, color or not, music, and editing to set a mood or to help convey an idea or message while also telling the story. Some directors like Alfred Hitchcock and Sergio Leone were masters at using all or some of these
Although myth was traditionally transmitted through the oral tradition on a small scale, the technology of the film industry has enabled filmmakers to transmit myths to large audiences via film dissemination (Singer, “Mythmaking: Philosophy in Film”, 3-6). In the psychology of Carl Jung, myths are the expression of a culture or society’s goals, fears, ambitions and dreams (Indick, “Classical Heroes in Modern Movies: Mythological Patterns of the Superhero", 93-95). Film is ultimately an expression of the society in which it was credited, and reflects the norms and ideals of the time and location in which it is created. In this sense, film is simply the evolution of myth. The technological aspect of film changes the way the myth is distributed, but the core idea of the myth is the same.