As director the nuances of his genius are processed through many stages to reach an elite level of cinema very few have had the privilege to ascertain. Morgan Freeman describes the film as "a film with heart." However true, the drama is the main component of the film as it provides the majority of tension and ultimately the resolution. With the screenplay written and directed by the same person he was granted complete creative control over the characters first created by Steven King. Darabont’s fictional retrospective provides much drama but not without astounding the audience with such precision and prowess only he could complete.
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.
The scene in which Kane and Gettys have a confrontation is one that shows a lot about the characterisation of Kane. While the physical stability of Kane is lost is this moment as he is definitely is a position of less power than Gettys, the stability of his character remains. He is still selfish and power hungry which is reflected when he refuses to back down to Gettys and makes the decision to abandon his family before abandoning his own pride. The third key moment of change that really shows the stability of Kane’s character and the refusal to be anything that he isn’t is in the scene where Susan Alexander leaves him. Kane has an inability to see past himself and think about any situation in a selfless manner.
The system was essential in maintaining the direction of movement during a film and so characters would not “bump into themselves”. To ensure the audience was always on the same side of the narrative action, the film had to be carefully shot and edited so the camera never crossed the 180-degree line. The development of the aforementioned resulted from Griffith’s background in theatre as well as his deep understanding of audience perspective. Griffith brought a new technique to his craft offering deeper meanings to his scenes. With the addition of “cut-ins”, Griffith broke down the standard distance between audience and action, allowing a closer look into the drama of the piece and the reactions of actors on-screen.
The purpose of this essay is to provide definitions for the terms agency and structure. This essay will also outline and discuss the key themes and ideas of the film ‘Super Size Me’. I will personally evaluate the film; identify the key points and comment on how well I believe they presented their concerns to the audience. Finally, a critical evaluation of the key themes and ideas behind the film ‘Super Size Me’ will be made in relation to the agency/ structure debate. Carillo (2000) defines agency as “the ability to make decisions with respect to what an individual does, with respect to controlling their own life”.
Sequence Analysis In the art of film making, it's imperative a director and the filming crew use all resources available to effectively portray the situation the actors are simulating. With a blend of certain stylistic elements, a quickly crafted set can become a new world and a narrative can become a reality to the audience. In Goodfellas “The Date Sequence” is brought to life with a masterful use of both cinematography and sound. The graceful blend between these two elements, as well as others, draws in viewers and drives forth the narrative. Within the first few seconds of the date sequence, viewers are given a stylized over the should shot at Ray Liotta, allowing the audience to seamlessly adapt to his character's narration and the scene at hand.
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.
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.
The scene my group will be adapting covers all time periods in the 4 minutes switching back and forth perfectly without confusion of what is happening. This is done with some wonderful visuals, mostly using colour and tight shots to create the cinematic scene. I found that many close-ups and extreme close-ups were used so the viewer had to focus their attention on such things that were happening. This has been used in many of libatiques cinematography before, especially in Requiem For a Dream. If a hand hit a lamp and an ink cartridge fell over, instead of the viewer just hearing this, the audience sees it.
To access the thoughts and feelings of the main actors in the novel is to vicariously experience their passions and so their narratives stand out against the more objective narratives of Lockwood and Nelly as well as offering more potential for discussion with other readers who may feel more sympathy for some characters than others. Lockwood is the main narrator who introduces us to the characters of Wuthering Heights - his entrance to the house is the point at which the reader also crosses the threshold and it is his thoughts we read at the very end. This narrative ‘framing’ effect neatly encapsulates the story and provides an element of objectivity in contrast to the testimonies of the more passionate main characters. Even when it is apparent his welcome is not as warm as he had expected, he continually demonstrates good manners and his educated language is notable and in stark contrast with the nearly incomprehensible local dialect of Joseph upon whom he comments; ‘I charitably conjectured he must have need of divine aid to digest his dinner’ (Bronte, 1847, p.4) When considered