Wait a second!
More handpicked essays just for you.
Camera techniques in film
Filmmaking then and now
Don’t take our word for it - see why 10 million students trust us with their essay needs.
More handpicked essays just for you.
Camera techniques in film
Filmmaking then and now
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Danijela Akrapovic ENGL 1104-70 John Berke Film Analysis Essay 2 2/10/2018 Film Analysis on Bonnie and Clyde “Bonnie and Clyde” is a kind of a realistic, drama, comedy, tragic, gangster movie, which was produced by Warner Bros and directed by Arthur Penn. This movie was released in 1967 and it was based on real-life events. Bonnie and Clyde were two criminals who were traveling around central United States, robbing banks in the hope of becoming rich and famous. Before they began being partners in a crime, Bonnie was a hot, blonde waitress who worked in a café and did not like her job because boys who came to the café usually wanted to take advantage of her.
The handsome protagonist Roger Thornhill, played by Cary Grant, is mistakenly pursued by the antagonist Vandamm (James Mason) and his group of henchmen. Roger’s life is turned upside down by being falsely accused of murder, a seductive blonde (Eva Marie Saint) and near death experiences in the action thriller (North By Northwest). Alfred Hitchcock has become well known for his acquitted style earning the nickname ‘master of suspense’ (www.biography.com). North By Northwest is a hybrid film that involves elements of adventure, crime and mystery with the main genre being thriller and action (www.imdb.com). In an action thriller, the audience should expect to feel a wave of emotions leaving them anxious and uncertain which creates suspense and
Physiological Prison, a Hood Mentality The mindset in the Black Urban Community, also referred to as the “Hood” is one that is delusional where criminal actions are acceptable and bettering oneself is looked down upon. I have witnessed personally the lifestyle of those in the hood and selfish/selfless mentality they possess. While doing my research I came across a video documentary of the everyday life in the Black Urban Community. The video shed light on the thought process that those that live in these communities and how this process becomes a cycle that is on repeat generation after generation.
Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.
In the film, Butch Cassidy and the Sundance Kid, some of the natural rhythms of the moving screen objects would be one of the first few scenes when they’re riding on the bike because they seemed happy and goofy and the music sounded like it was also very light and happy. You can find an example of the editor or director doing this by looking at scene 18:30 in the movie. In the film, the music plays a big role especially in the three big scenes where the editor decided to play the sort of musical like song pieces when they’re trying to show that both Sundance and Butch were happy, carefree, and just not having to worry. The music was added on to represent the emotion of Butch and Sundance and also in what situations they were in or what was
The characterization in the film Goodfellas by director Martin Scorsese is based on a true story of the Italian mafia, and the commonality the director Baz Luhrmann’s film The Great Gatsby (20013) share is an organized crime theme. Both film directors express the unique composition of mise-en-scène. The sets, costumes in the films are realistic to each time period in which they are set. The films elements of mise-en-scene influence the viewer’s a psychological sentiment in relation with the film.
North by Northwest, is a 1959 American archetypal thriller film directed by auteur Alfred Hitchcock. This espionage neo-noir film follows protagonist Roger O.Thornhill who is mistaken for the fabricated George Kaplan. In an effort to clear his name, and demonstrate his guiltlessness, Thornhill is chased across the United States, and framed for the murder of U.N diplomat Lester Townsend. Thornhill is then forced to acquire Kaplan 's identity; whilst being confronted with a mysterious femme fatale named Eve Kendall. Through Hitchcock 's explicit usage of mis-en-scene and complex cinematic structures such as establishing shots, and point of view shots, this neo-noir film, draws intensely on the context of the 1950s era, by delivering stories
Many of his other films including Vertigo, Psycho and Rope showcase his critically acclaimed genre. Hitchcock’s North by Northwest follows his unique genre, delivering the suspense,
Film Study September 18, 2014 Mrs. Luchsinger Aaron Herr, Katelin Christianson, and Karley Landwehr Citizen Kane This movie was made in 1941 and you’re wondering why you still have to watch it. This movie had started to become more and more popular but every time you sit down to watch it you end up falling asleep. You wonder ‘Why’ why do i fall asleep? Why can’t I get threw the first 5 minutes of this movie?
Suspense is a difficult art to master--that certain balance between nervousness and excitement is achieved by so few. Nonetheless, Alfred Hitchcock has the magic touch when it comes to keeping viewers on the edge of their seats. Fifty percent of the time, when an audience is taken over by suspense, its thanks to one of his original films--the other fifty percent is only just watching Hitchcock's tactics re-stitched into modern movies. His film North by Northwest is a prime example of Hitchcock's intelligence and experience in this form of art, being "regarded by many as the very quintessence of a Hitchcock film," critically acclaimed reviewer for Films de France, James Travers, notes (par. 1). Through critical elements of the mis en scene,
Sunset Boulevard (1950), directed by Billy Wilder, is a black and white film, where Norma Desmond, a famous actress of the silent film era, cannot come to terms with her career’s end. Desmond meets a guy named Joe Gillis, a struggling writer who is in financial trouble. The two come to an agreement that Gillis will polish up her script, which Norma believes will be her ticket back to the big screen, and Norma will take care of Joe financially. The one thing Norma and Joe have in common is that Hollywood has deemed both of them as undesirable. Norma experiences delusions of grandeur, and Joe cannot get his scripts picked up by a studio.
The attempted murder of Vito changes that quickly, uprooting the stable family we see at the wedding of Connie (Talia Shire) and her husband to a new, twisted form, with Michael as head. The American war veteran we meet with his girlfriend Kay (Diane Keaton), becomes involved in the mob life, killing for family rather than for country. Essentially, Michael grows to embody the worst his family represents. Coppola made characters who in any other film would be the villains sympathetic, as their actions were in the name of family. Coincidentally, the strife faced by the Corleones is shown with Coppola's struggle with Paramount as he wasn't the first choice of director, and the heated discussions with casting such as an infamously hard to work with Brando and a relatively unknown for
By delivering a witty monologue he proves to be the right kind of ambassador for New York, as Whoppi Goldberg calls him, a “New York landmark”. Allen belittles himself joking that he was unsure why the Academy had called. He thought they wanted to collect his Oscars or apologize for not nominating him that year. After explaining the purpose of the phone call, that they needed someone to introduce the film, Allen tried to persuade the Academy that there are more suitable filmmakers than him but apparently “they were not available”. Allen proceeds with a very honest tone, that “for New York City, [he]’ll do anything”.
Aside from the natural, knowing tone of the dialogue, the realism of the picture is heightened by scenes set inside the actual iron-grilled gates of the Paramount Studio, where Norma Desmond goes for an on-the-set visit with her old comrade, Cecil B. DeMille himself. And the fantastic, Babylonian atmosphere of an incredible past is reflected sharply in the gaudy elegance of the decaying mansion in which Norma Desmond lives. The hope that propels young people to try their luck in Hollywood is exemplified by Betty Schaefer, a studio reader with writing ambitions who is beautifully portrayed by Nancy Olson. Fred Clark makes a strong impression as a producer working for his second ulcer, and there is heartbreak in a simple card game scene where "the wax works," as Gillis cynically refers to Norma 's friends, includes Buster Keaton, Anna Q. Nilsson, and
3. Planet of the Apes (1968) The movie ending tends to be logical in some ways and leaves a kind of commentary to the audiences who watched it when you believe that this movie was modified by Michael Wilson and Rod Sterling who was the host of Twilight Zone. This movie was most likely one of the movies with best twists in plot.