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Visual And Aural Aesthetics In The Film 'Goodfellas'

100 Words1 Pages
There is a relationship between the visual and aural aesthetics in Goodfellas and the constant simmering presence of violence as an extension of masculinity. Far more than previous dealings with violence, crime and masculinity, in films like Taxi Driver and Raging Bull, Goodfellas is a visually pleasing film. Full of bright colours and smooth camera work; even the violent scenes are not nearly as potent as the shoot-out in the finale of Taxi Driver. In Goodfellas the camera, which prowls smoothly on cranes and dollies is accompanied by an up-tempo soundtrack with lighting that highlights the characters’ brash material possessions.
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Each of his films transports you into the location. Often using Brooklyn as his canvas in films like, “She’s Gotta Have It”, the story of a woman and her lovers around the streets of Brooklyn. Brooklyn has often been the subject or character of his films including “Do the Right Thing”, “Crooklyn” and “Clockers”. Films are powerful storytelling devices, but what they reveal about the places in which they are made and set, is many times, more important. Brooklyn plays a critical role in Spike Lee’s films – in that Brooklyn becomes an additional character.

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Terrence Malick’s 1973 film Badlands depicts an unusual relationship between a fifteen year old girl named Holly and her rebellious twenty five year old boyfriend Kit, who go on a killing spree through South Dakota. Where Arthur Penn’s 1967 film Bonnie and Clyde presents us with a young couple who meet in a small town and decide to start their life of crime by robbing banks all through the south. Malicks film presents a detached and dreamlike portrayal of its characters, whereas Penn’s film chooses to focus on the relationship between the main characters. These films have an almost parallel theme but differ in many ways. While both Malick’s Badlands and Penn’s Bonnie and Clyde explore the theme of criminality as a form of social resistance

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I am going to focus on the cinematic element of sound because I think it is a very important element in film when it comes to producing the whole effect of a scene. In the film High Noon, Will Kane goes to see Martin Howe at is home. Will was the marshal of the town, but as of today he no longer is. Yet, he is preparing to face a criminal he arrested that just got out of jail recently.

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Just like the scene from Goodfellas where a young Henry Hill gets pinched for the first time and everyone is waiting for him outside of the courtroom and Jimmy Conway says to him, “never rat on your friends and always keep your mouth shut.” After this first arrest, John quickly filled his rap sheet with charges such as burglary, disorderly conduct, and unlawful assembly when he was caught during a gambling raid, but that didn’t stop him.1 John continued to essentially do what he wanted due to never getting severe sentences each time he broke the law. In 1962 John Gotti became familiar with how to value goods and the operations of a shipper warehouse when he began working for a trucking company as a truck driver helper. This exposed him to a whole world of theft and how to successfully steal without being caught.

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Cinematography, is the art of making motion pictures, and mise-en-scene, the settings or surroundings of an event or an action, go hand in hand in the film Fruitvale Station. Since this film is based on an actual incident that took place at the Fruitvale Station, where an officer shot and killed Oscar Grant, you know how the situation is going to end, but the cinematography is extraordinary and keeps you engaged the entire time while addressing issues of race, class, and identity in one film. The opening scene of the film is footage of the shooting shot by a passenger on one of the trains at the Fruitvale Station. The actual footage shown does not show how the film ends, with Oscar getting shot, but it leads up to it.

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Likely the most iconic and quoted scene of the cult classic Pulp Fiction, the “Big Kahuna Burger” scene also offers a perfect example for how minor details in movies affect us subconsciously. Through camera work, prop placement and acting, Pulp Fiction can show the viewer everything they need to know about the characters and the world around them while simultaneously telling the story of the movie. The scene shows two men, Jules and Victor, headed to a rather messy apartment to retrieve goods for their boss, Marsellus Wallace. The walls are unadorned, shelves empty, the furniture bland, suggesting that the men do not live there or haven’t lived there for long, but stayed long enough for their clothes to be bunched in the corner and on the shelves.

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Hot is a paid homage to the love of film; a meticulous and inspiring work of art with key elements of schadenfreude. Two musicians cross-dress as women in order to escape the mafia gangsters whom they witnessed committing a crime inspired by the Valentine’s Day Massacre. The film explores the underlying

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The film, Goodfellas, released in 1990 and directed by Martin Scorsese is a film based on a true story that takes place in Brooklyn, New York. Goodfellas provides drama, suspense and anxiety. There are a number of extraordinary scene, characterization, points of view, lighting, as well as high, small and/or stable angles of shots to analyze. The Copacabana is a scene narrated by Karen, Henry Hill’s future wife.

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What Scorsese did differently was that he made male protagonists vulnerable again, just like they were in the old mobster movie days, but in a bit more realistic way Scorsese produces movies in a way that, according to Kolker, he „Determines our point of view and our emotional and intellectual attachment to the film. We are therefore, scarcely allowed any separation from what the central character is seeing. “ (218). He even does this directly by breaking the fourth wall twice in Goodfellas, and therefore making us feel as though we are the acomplices in all the things that were happening in the film. And we all know that it is very hard to judge ourselves effectively.

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The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters

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Film noir is evident in the dark mis-en-scene. This comes in the form of low key lighting, the use of smoke, fans, and slow jazz music. The nature of these scenes creates a sense within the audience of a desolate future which is ruined by capitalism. Another perfect example is the opening scene.

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Introduction Speaking about “Pulp Fiction” can also mean speaking about a genre that constitutes its name. And it is a genre that has built a new world. Longer, larger, freer, it was like seeing films of category X on paper, in which sex and violence, were explicit, even very visual without going to excessive lengths. In this case, Tarantino extracted the subgenre of the gangster, where bondage and erotic elements stand out. However, Quentin is not Quentin without his personal stamp, and what the director did was simple: deconstruct the genre, separating it into smaller fragments and build his way through a motion picture.

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Communication is an important element in video analysis. Ideally, a careful analysis of the different characters in the scene and their role in enhancing interpersonal communication is much more important. In consideration of this concept the underlying principles of interpersonal communication, there is a need to assess its applicability in the movie; Goodfellas. The three-minute scene titled, "I 'm funny how, I mean funny like I 'm a clown" is a reflection of how self-concept, perception, and non-verbal communication work together in the context of dyadic communication.

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‘Good Time’ is a film by the young Safdie brothers that explores several themes of survival through storytelling through its characters. The movie depicts two brothers, Connie and Nick, robbing a bank which leads to one being put in jail, Nick, and the other, Connie, coming up with ways to get him out. The rest of the movie follows Connie’s journey through getting his brother out. Slowly these motives are blurred as Connie’s choices become cruel and selfish with him in the back of a police car towards the end of the movie. The director’s choices of how to convey the story all point to the concept of realism.

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This creates a contrast with the darker and lighter parts of the scene, and creates the subject of the scene to be hidden in the shadows. This lighting technique is perfect for a gangster film such as the Godfather. Francis Ford Coppola’s has made apt use of lighting in this scene. In this scene, almost all the frames are low lit, especially the scenes where Don Corleone’s eyes are darkened.

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