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Differences between jekyll and hyde book and film
Dr. jekyll/mr. hyde compare
Dr. jekyll/mr. hyde compare
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More handpicked essays just for you.
Differences between jekyll and hyde book and film
Dr. jekyll/mr. hyde compare
Dr. jekyll/mr. hyde compare
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Auteur theory is an important mode of film criticism that indicates the extent of the director’s involvement in the final output of the film. As it has been previously mentioned, Spike Lee’s films express certain notions about race that emerge from his personal viewpoint as well as from his political and aesthetic beliefs. The focal point of this chapter is the auteur theory and its relativity to Spike Lee. In order to prove the connection between the theory and his works, it is necessary to refer to Lee’s biography, since both his background and distinguishable personality have contributed to his technical skills as well as to his unique style as a film director. The particular chapter will also include the synopsis as well as the technical analysis of each film correspondingly.
There are many things that make “Citizen Kane” considered as possibly one of the greatest films every made; to the eyes of the passive audience this film may not seem the most amazing, most people being accustomed to the classical Hollywood style, but to the audience with an eye for the complex, “Citizen Kane” breaks the traditional Hollywood mold and forges its own path for the better. Exposition is one of the most key features of a film, it’s meant introduce important characters and give the audience relevant details and and dutifully suppress knowledge in turn. “Citizen Kane” does not follow this Classic Hollywood style exposition, instead going above and beyond to open the film with revealing as little information as possible and confuse/intrigue
Over the fifteen weeks of the first semester of film school, we were taught many interesting types and styles of early world cinema which were extremely informative and influenced the filmmaking style of the whole class and made us better filmmakers instantly. One such ‘ism’ which inspired me the most was German Expressionism which is a unique characteristic of Weimar Cinema. In this essay I am going to talk about the history of this ‘ism’, its impact on cinema, some significant works and how it inspired me and influenced my filmmaking style. German Expressionism is one of the earliest artistic genres to influence filmmaking, and one that ostensibly prepared for some other cutting edge artistic styles and techniques. It is an artistic genre
My favorite movie of all times would have to be Orson Welles’s 1941 film Citizen Kane. This film is such a great movie that event though it is over 70 years old it is still being played not only in theaters but is also used in cinema classes. This movie had changed how movie makers made movies and has inspired so many big movies even to this day. It has been nominated for Academy Awards in nine categories and had won an Academy Award for Best Writing. Even if you might not have seen the movies itself you most likely seen some of its best-known scenes in other shows like The Simpson, Family Guy and many other shows and movies.
As for the actresses who starred all their films, all of them had specifically North European features, fulfilling very specific requirements: should be stylized, elegant, classic, intelligent, somewhat cold and, of course, to wear a platinum hair. The director felt a predilection for the “Nordics” — as he called them — since as he explained he considered them mysterious and frivolous; they were easier to photograph in black and white and to highlight their elegance and coldness. Hitchcock was very clear that his protagonists would be blonde, and otherwise, they would be dyed, as they had to do Madeleine Carroll, Joan Fontaine or Ingrid
Over the past century, film has served as a powerful means of communication to a global audience and has become a vital part of the contemporary culture in a world that is increasingly saturated by visual content. Due to the immediacy and the all-encompassing nature of film, the process of watching a film, is widely perceived to be a passive activity by the general masses. However, quoting Smith in his article about the study of film, “nothing could be further from the truth.” The study and understanding of film as an art form enhances the way we watch and appreciate films. It requires the audience's active participation and interaction with the film in order to fully comprehend the directors' intention behind every creative decision.
This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday
Baz Luhrmanns contribution to the art of film, brings about a flamboyant and revitalizing side to the industry. Through the use of cinematic language, his story telling techniques and belief in the theatrical cinema come to life. Baz Luhrmann has a very distinctive directing approach with particular techniques that define his style. He presents his films as if he were telling a story, which he invites you into. His stories are simple and he tends to give away the ending at the beginning of the film, which intrigues you to find out more about what had taken place.
When I was eleven years old, my dad, after growing tired of watching Good Luck Charlie and The Suite Life of Zack and Cody every day, decided that he wanted to introduce me to what he described as “real cinema”. Unfortunately this was before Netflix’s ubiquity and my dad was unwilling to pay for a DVD, so he shelved the idea for a few weeks. Then, when he made a trip to the local library to return an overdue book, a flyer stapled to the bulletin board at the the entrance caught his eye. It read: “Alfred Hitchcock Movie Marathon! One Movie Every Week!
Clint Eastwood is a talented director who does not consider himself an auteur. He considers his films to be ensemble projects and has “no interest in having a common style” across them. Clint Eastwood is well known for his unique old school Hollywood style which he portrays in all of his movies. It is to his credibility that his narration is also very easy to follow. He says that the script builds up the style because what he writes dictates his dictatorial style.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own.
Baz Luhrmann is known world wide for his eccentric and flamboyant film-making style. Luhrmann’s signature bright colours, fast-paced camera-cuts and zooms, and bold costumes are all key characteristics of his films and assist Luhrmann in putting forward the themes and motifs he regards as essential in each of his works. However, Luhrmann still receives much criticism for not staying true to the original source material of the stories he introduces to the big screen. One fails to realize the fact that, “Luhrmann’s films are not so much adaptations as re-imaginings” (Vogue Magazine) and through analysis of his various techniques, as well as his overall cinematic language in his films, “Strictly Ballroom” (1992), “Romeo + Juliet” (1996) and “The Great Gatsby”, one can see this clearly, through Luhrmann’s evolution as a director. Luhrmann makes his films his own from the start, the opening scenes of all three of these films implement post-modern techniques which instantly informs the audience that they are entering into Luhrmann’s
Cinematographic thinking starts at the iconic stage, but is by no means the totality or the fullness of it all. Pearce’s categorization of signs defined the iconic stage as that of perceived resemblance. Though Bazin would go to extremes to qualify cinema as a medium in which there is perfect and exact corellation between what is represented and its representation in film, it is important to note that every medium is characterized by some level of abstraction. Cinematrographic specificity should be considered as the zero point of interpretation. From the conception of the idea right to its eventual realization, there is a lot of transformation and difference.
M.H. Abrams’s The Mirror and the Lamp: romantic theories and the critical traditions is one of the most influential books in the field of western criticism. It was published in the year of 1953. The title of the book refers to the two contradictory metaphors used to portray the artist – one comparing the artist to a mirror which reflects nature as it is or perfected whereas the other compares the artist to a lamp that illuminates the object under consideration. Professor Abrams in his book illustrates the transition of the perspective of the theorists on the artist from one to the other and the ramifications of the latter in aesthetics, poetics and practical criticism. The essay “Orientation of critical theories” is the first chapter of this book.