“From the first time we see and hear him in the opening frame of the film, we know that Michael Sullivan Jnr. is going to be an important character whose journey (both physical and psychological) we will follow as the narrative unfolds.” With reference to a detailed textual analysis of the opening scenes of the film, to what extent do you think that this statement is true? The gangster movie Road to Perdition directed by Sam Mendes in 2001, is mainly centralised and focused on one character in particular, Michael Sullivan Jr. By the way the film portrays the young boy we can see that he is is different from the crowd. In this essay I will begin to explain and analyse this by exploring the opening scenes of the movie and later go on to give explanations as to why I think this. In the opening scene of the film young Michael Sullivan Jr. is filmed from behind looking out onto an empty horizon on the shore of a beach.
Try imagining a Wes Anderson movie set in 2014; it’s pretty hard to picture. - Conclusion Once you start getting in-depth with Anderson’s films, you’ll find even more common threads that tie them all together and distinguish them; connections between protagonists from one movie to another, nods to films like The Magnificent Ambersons as well as Jules and Jim, and more. But if you’re only now getting started diving into the world of Wes Anderson, this is what you absolutely need to know to get by and to understand what makes him, his characters, and his narratives
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.
Many texts show a great depth in visual elements to portray their central ideas. “Run Lola Run” Directed by Tom Tykwer and “Next” by Lee Tamahori both dramatically portray our position within time itself and how much of a difference a day really makes. Although our lives are governed by time, these directors show us the possibility of time being manipulated, which makes the viewer ponder, “If only I could control time”. Time itself is the way the world moves on. In ‘Run Lola Run’, we see the constant visual technique of clocks re-occurring throughout the film to remind us of how time has a greater power over us than we sometimes realize and that we cannot control it.
I have attempted to describe the physical landscape of the coast using metaphor and personification similar to the descriptive techniques used by Macleod. I also intend to use flashback in order to contrast the different feelings experienced in different places that have ultimately provided pieces of my own psychological and emotional landscape. My story is set in Samoa in the south pacific and describes the experiences surfing waves I was not used to and linking them to other surfing experiences at home. My audience includes my peers and anybody else who is a
The structure of a film has a great impact on the reaction from the viewers. There are two main aspects of a film that make it have the reaction from audiences. One is the director style which contains everything the directors choose to do to make the film flow like a book. There are directors who are known as auteurs. This is when people brainstorm on film ideas of their own and basically does everything from writing the script and picking their own actors to supervising the writing to make sure it is to their standards.
Jacob Jarman Paper #4 10/18/2012 The Window to the Soul It was once said that, “The eyes are the window to a person’s soul.” Perhaps this is what director Ridley Scott was trying to portrait in Blade Runner as he frequently used this idea of the eye as a major motif throughout the entirety of the film. However, not only does the eye serve as an ongoing symbol, but as the story unfolds the eye begins to give more insight into the meaning of the film. From the first shot of any character, to multiple different characters introduced, Scott continually constructs a deeper understanding of his film through the use of the human eye. The first shot of any character is one of Dave Holden (Morgan Paull); this close-up shot of him introduces the importance of the eye from the film’s beginning. By setting the tone, it is impossible for the audience not to notice this motif right away.
A producer seeks to fulfill the viewers of its generation and society so he would modernize aspects of The Catcher in the Rye to be sure to make a successful film The time period of the book would still be used in the film, as done before in movies such as The Great Gatsby, to create and maintain the theme or plot setting for the movie. Clothes, slang, cars, places, walking street, subway etc The issues or actions in The Catcher in the Rye are still problems in today’s society, such as smoking, under aged drinking, education conflict, and the classic boy-girl complications that may be a question we never know. With the similarities between the 21st century and Holden’s life in the early 50s, a producer has the ability to bring to date issues such as smoking cigarettes by possibly changing the tobacco to a more relatable drug in today’s day in age such as marijuana. The producer’s creation may also consist of more sex appeal in the clothing of women
It sets the tone of movies, whether it is a sense of fear or suspense, or if a character is sad and lonely. Without music, you just would not have a good movie. After music, you have direct sound, which are sounds that are recorded at time of filming. Then you have post-synchronization which is recorded in the studio and added in the movie later. Depth photography uses a lens that allows the camera to see everyone and all the objects foreground, middle ground, and background.
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.