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Like Pi Auteur Theory

1412 Words6 Pages

Films create a world on screen in which the audience immerse themselves. In the case of a film created by an auteur, the director’s vision and ideas are so great that certain themes can be seen throughout their entire show reel. Darren Aronofsky writes a lot of his films as well as directs them, and can consequently be seen as the ‘author of the movies’ as he claims them to be an art form. “The second premise of the auteur theory is the distinguishable personality of the director as a criterion of value. Over a group of films, a director must exhibit certain recurrent characteristics of style, which serve as his signature. The way a film looks and moves should have some relationship to the way a director thinks and feels.” Aronofsky’s key …show more content…

Almost all of his films have some sort of religious message to be spoken for as well, whether that is the anti-Semitism stylised by Sara Goldfarb in the ending of Requiem For A Dream (2000), the deep-rooted environmental Scripture in Noah (2014), or the subtle parts of Jewish culture that come through within Pi …show more content…

Requiem for A Dream, like Pi, is powered by its protagonists ' desperation and their descent into various private hells... Like Pi and Requiem for a Dream, The Fountain centres on the self-isolation of a character trapped in his own bubble of existence. Whether by choice or compulsion, Aronofsky’s films ask the question of whether everyone is fatally trapped in their own private worlds.” – Matt Hills (501 Movie Directors, 2007). They are dark, provocative and controversial, usually uncomfortable to watch and covering taboo subjects of drugs, sex and psychotic episodes. Black Swan is largely based upon sex and Nina’s innocence, forcing her to succumb to the maturation process in order to progress as an artist, and also as a human being (much like The Wrestler). “Drugs are pretty heavily featured throughout all of Aronofsky’s movies, though typically never in a glamourized light. The jerky, strobe-filled club scene in Black Swan invokes a frightening hellscape, mirroring the character’s slow moral degradation; Mickey Rourke’s ageing wrestler Randy Robins snorts coke on his continued downward spiral past rock-bottom. And that’s not even getting into all of the terrible things that happen to the trio of junkies in Requiem For a Dream. Aronofsky also sheds light on the negative side-effects of perceived “lesser” drugs, like the diet pills Sara Goldfarb gets addicted to in Requiem that slowly loosen her grip

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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.

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David Lynch’s Mulholland Drive (2001) is almost a genre of its own, blurring the line between reality and dreams, and exploring the complexities of Hollywood and its characters. The film is a work of art that combines many themes and genres, such as film noir, psychological thriller, and surrealism. In this essay, I will analyze Mulholland Drive within a historical context using the auteur theory, considering Lynch’s unique vision and artistic control over the production of the film, as well as the changing technologies used in the film's production and exhibition. According to David Bordwell, the Auteur theory is a French film theory that emerged in the 1950s and 1960s, which states that the director is the author of a film because in a way

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1703 Words | 7 Pages

One aspect of film theory, the auteur theory, has been debated and critiqued by many film theorists since it was first introduced. The auteur theory is the idea that the director is the main creative force behind a motion picture; that similarly to the author of a novel, a director constructs a film through camera movements (akin to an authors pen). In this theory, the fundamentals of the film, which include blocking, lighting, camera movement and placement, are more important than the plot itself. The director, in a sense, makes the film great because of his/hers creative control over every aspect of the filmmaking process. The theory, however, has raised many concerns; it puts ‘great directors’ into this group of ‘auteurs’ and once you make

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Rinzler explores how Lucas's directing style evolved throughout the production, from his initial vision to the finished film. The author also discusses Lucas's use of innovative techniques to create the film's iconic

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Ideology: is an indirect way of looking at the vision of the belief system of what the film is conveying. Referring to a set of values that which is commonly interrelated with politics that reflects on a single person, a class or culture about how one see the world and how they should each other in it. Auteurs: Is the most recognizable practiced and pervasive theoretical forms to writing a film. This is an artistic form to express the ideas and feelings of one person, usually the director or dominant figure. The indelible stylistic traits that link the style of their films together making the director known for their type of film such as John Wayne and westerns, Woody Allen and comedy, Arthur Freed with his musicals and Alfred Hitchcock is

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David Foster Wallace and Ernest Hemingway are two American writers. Even though they come from different generations, both men argue about the same subject, abortion, which is controversial during their time. While both of their short stories using a third person narrative, Wallace portrays his characters’ actions and behaviours by making readers experience their thoughts in “Good People” while Hemingway portray his characters by allowing readers to observe them from the outside in “Hills Like White Elephants”. Firstly, their different writing styles can help the reader to either understand the characters relationship quickly or slowly. Next, it would seem that the involvement of reader to understand the characters in “Good People” is greater than in “Hills Like White Elephants”.

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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.

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Introduction This essay examines the Cassavetes’s unique approach in his films he directed especially in Faces (1968) and Shadow (1959) in creating alternative forms of performative expression. Cassavetes’s approach focus on spontaneous, unstructured performance of characters, contradict to Stanislavski 's system that focus on emotion memory or actor’s past experience to bring out the expression on stage. In this essay, Cassavetes’s first film, Shadow, will be compared to his fourth film, Faces, to see development in Cassavetes’s approach in performance of character. Shadow is a film about interracial relations between African-American and white Americans in 1950’s New York, starring Ben Carruthers as Ben, Lelia Goldoni as Lelia and Hugh Hurd as Hugh, the only dark-skinned among three siblings.

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From Lurhmann’s first film Strictly Ballroom these techniques were very prevalent and instead of out growing these brash techniques he actually evolved and developed his techniques. And thus resulted, resulting in the creations of very successful films. In this essay I will be discussing how Lurhmann has evolved these cinematic techniques beginning in Strictly Ballroom, continuing in Romeo and Juliet and finally in The Great Gatsby. Strictly Ballroom was made on a very limited budget but this did not stop Lurhmann using very audacious costumes.

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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.

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Film takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love.

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Baz Luhrmann’s films are known their ability to make a watcher feel as if they are part of the show. Between his use of camera angles, shots and the use of a narrator, it’s no wonder he is able to keep viewers on the edge of their seat. But how does Baz Luhrmann pull off this spectacular feat of his? This is probably explained best by referring to Baz Luhrmann’s films and how he himself has evolved as a director.

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Unlike any other filmmaker of his generation, Tarkovsky’s films invent a language of the spirit through the poetry of cinematic images. As opposed to the genre of “religious films” which deal with the role of religion in the lives of people, the “spiritual cinema” of Tarkovsky is about interior terrains where a person is one with oneself – where faith is not about making public declarations of belief but more about waiting for the miracle to happen, a miracle that occurs on the borders of invisible realms and can be felt rather than logically

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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.

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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.

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