Give evidence from the film to support your views. - Explain how the use of binary opposites (Richard and Frank) challenges dominant ideology about winners and losers. (Use evidence from the film to support your ideas) Explain the use of the referential code in the film. (Give evidence from the film and focus on what each of the cultural references tells us about the character). - Explain the use
The power and frailty of memory drives both Jeunet’s plot and his own artistic act, discuss. Memory establishes Jeunet’s plot as the plot is built upon the validity of memories and how they are able to enhance and distort history. Jeunet’s plot is based around Mathilde recovering the truth about whether her lover, Manech is alive and she is led down many paths by character’s memories of the war and war documents which not all are truthful. Jeunet’s own artistic act is prominent throughout and Jeunet is able to incorporate different film conventions for the spectator to be engrossed in the film under his own artistic act. 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.
It was part of the wider Neue Sachlichkeit movement, which incorporated various art forms to capture and portray the mood of the German public in the post-World-War I period. One must note that the content of the film, and indeed, the question of authority, is influenced by Murnau and Carl Mayer’s perception of civilisation under the rule of the Weimar Republic. They were themselves German citizens. One must bear this in mind when extracting wider meanings from the film, because Der Letzte Mann is a Kammerspiel film, albeit with expressionist elements. It is important to define authority so that it can be easy to place in the context of the film.
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.
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.
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.
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.
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).
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.