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Recommended: Film analysis
Directors use various techniques to create a compelling and memorable motion picture film for the audience. In 1982`s Blade Runner, Ridley Scott portrays various themes of mortality, memory and identity through various film techniques such as editing, cinematography, and mise-en-scène.
The theme of morality can be shown throughout the film by the director’s use of editing, cinematography and mise-en-scène. The moral aspect here is creating these replicas in order to be sent off to another world and become slaves for humans with a limited time of four years before they are ‘retired’. In the beginning of the film, Scott uses an extreme close up of Roy’s hand balling up into a fist. This is used to show the replica’s constraint time and freedom. The surrounding is also very dark; darkness signifies anger, grief and death. The only thing in this scene is Roy’s hand, however upon closer inspection, one can see that Roy’s fingernail are black and dirty, signifying the hard labour that the replicas must endure while also raising the moral question of why are these replicas discriminated a...
Movie makers have agendas. They get their ideas across by using cinematic techniques and styles which make us view a certain subject in the light that they put it in. I will discuss the differing techniques used by the makers of "Stepping Razor" and describe what the overall impression of the movie has on the viewer, and what the agenda of the director is.
Choosing a movie, do you take notice to whether it is a Director’s cut, the original version, or simply grab the chosen movie and pop it in taking no notice of which version is in hand? Is there even a difference? Because a director’s cut is simply a version of a movie with various cuts made by the director’s choosing, if watching both versions of Ridley Scott’s, “Blade Runner,” the subtle differences in several of the scenes will become apparent, although the scene layout and plot remains the same throughout both versions.
With the shift from industrial to postindustrial capitalism, our culture has become increasingly concerned with the problem of how to represent subjects in a technologized world. Traditionally, dominant conceptions of the subject have relied on Western metaphysics; naturalized monolithic categories arranged in hierarchic binary oppositions: male/female, human/machine, subject/object, etc. In this system, the discourse of science maintains an isomorphic and mutually reinforcing relationship with the discourse of heterosexuality, since each posits an active, masculine subject and a passive, feminine object. However, the sciences of contemporary capitalism are marked by technologies of reproduction and simulation which transform the world into a web of interconnected, overlapping information codes, asking us to reconsider our “natural” binary distinctions. While these questions have sparked a lively debate concerning technology and the representation of “naturally” gendered bodies, there has been less discussion about the specific ways in which the term “reproduction” links the discourses of science and gender. Reproductive technologies like in vitro fertilization, test tube conception, and genetic manipulation challenge our concepts of human reproduction, transforming bodies from unified organic units to strategic and manipulable systems. Furthermore, these new ways of thinking about human bodies undermine the biological justification for traditional heterosexual gender identities: if all reproduction is redefined as technological, then normative or “natural” gender roles must be reconsidered as well.
Scott’s Blade Runner is a hybrid film that combines aspects of film noir, a detective and a science fiction film. Scott manipulates the landscape and setting to match the film noir label. The film parallels Metropolis in the sense that both films revolve around class level to physical position in a city. The lower class is in the lowest level in the city and the upper class is at the highest level in the city. Scott plays
The Kite Runner focuses on the relationship between two Afghan boys Amir and Hassan. Amir is a Pashtun and Sunni Muslim, while Hassan is a Hazara and a Shi’a. Despite their ethnic and religious differences, Amir and Hassan grow to be friends, although Amir is troubled by Hassan, and his relationship with his companion, one year his junior, is complex. Amir and Hassan seem to have a "best friend" type relationship. The two boys, Hassan and Amir, are main characters in the book titled, The Kite Runner. The two boys have a relationship that is significantly different compared to most. There are many different facets that distinguish the relationship the boys possess. The boys do write their names in a pomegranate tree as the "sultans of Kabul" (Kite Runner 27) but, their friendship is not strong and it is one sided. Hassan has love for Amir. He loves him like a brother. Hassan is exceedingly loyal to Amir. The relationship between the two boys is emotionally wearing and rather gloomy for the most part. The main reason for their complicated relationship is the fact that Amir is Pashtun, and Hassan is Hazara. The Afghan society places Hassan lower than Amir. Hassan is Amir's servant. The placement of Hassan in the Afghan society disenables Amir from becoming Hassan's true friend. Amir sees Hassan as lower than human. Amir ruins the chance for friendship between himself and Hassan because he is jealous of Hassan, he thinks of Hassan as a lower human, and because Amir possesses such extreme guilt for what he has done to Hassan. Amir is an unforgivable person overall.
Scott was greatly influenced by a highly technological world in which sci-fi film was growing in prevalence. The replicants who are claimed to be 'more human than human' are perverted by their dystopic and supposedly utopic world. Their quest to achieve humanity turns to murder much like the monster within Frankenstein. Within the 1980's in which there was a rampant spread of commercialism and reaginism aided by globalisation, societal values were dictated by profit margins and efficiency rather than human rights. Scott effectively uses his filmic representation through the character Priss. She is metallic and robotic in nature and is portrayed as simply an object for satisfaction. In the scene of her death, the diegetic screams utilise filmic form in an expression of despair. Priss's inability to attain humanity is her ultimate downfall, much like the monster. Although the medium in which the message is portrayed differs to Shelley, the parallel is evident in that science and the changing values of humanity can be detrimental. The character of Roy saves the life of Deckard to redeem himself much like how the monster sacrifices himself through self-immolation. Despite not having emotions, Roy shows mercy. A close-up as he sheds tears and states '' all these memories will be lost...like tears in the rain' warns the audience
The Fight Club, directed by David Fincher, constructs an underground world of men fighting with one and other to find the meaning to their lives. Ed Norton and Brad Pitt are the main characters who start the fight club. They make a set of rules in which everyone must follow.
Blade Runner directed by Ridley Scott is a science fiction thriller released in 1982. Scott uses many elements of cinema such as mise-en-scene, cinematography and editing to make his movie one of the best science fiction movies of all time. With his movie Blade Runner, Scott captures the idea of an archetypal postmodern view of females as it relates to the society in his fictional world.
...rayed as physically and mentally superior to humans. Paradoxically, most of the emotion displayed in the film is shown from the replicants, in particular when Roy experiences an epiphany “tears in rain” just before his expiration. This illustrates the replicants are in fact a manifestation of mankind in its purest form and the detrimental effects of the vices and follies of humanity.
A studious young man, an open book these two images swirl around the screen in a kaleidoscope effect, this was the introductory scene of "Good Will Hunting." This scene is followed by Ben Afflick, knocking on Will's door, when Will comes out a credit rolls by that says, "screenplay written by Ben Afflick and Matt Damon," just as the two walk side by side. This shows how perfectly the makers of this movie have everything timed, down to the credits. Also, the timing shows when the professor's assistant and Will are alone and the assistant tells Will how lucky he is to have someone believe in him as the professor does. Just as he finishes saying this the professor walks in and suddenly the assistant has something better to do than just sit there so he gets up and leaves. The cinematography in this movie is good, as right of way the viewer of this movie knows Will lives in one of the poorer sections of Boston, as his front yard is cluttered with junk and the look of the neighborhood surrounding his house is anything but colorful. The neighborhood looks gray and drab. Also, one of the many settings is a local bar which has the look of a neighborhood bar with Christmas type lights strung and normal looking people filling the place. Another setting is a Harvard classroom and a community college classroom. In the Harvard classroom the students appear to be attentive, clean cut, well dressed, and enthusiastic, while the students in the community classroom are bar...
I take three steps back from the starting line and stand still, waiting for the starter to say his commands and fire his starting gun. I am calm, but ready to give everything I have in me to beat the other 15 runners, running against me in the mile. The crowd is silent as we wait for the command. The starter, with a loud military voice, shouts "Runners set!" All the runners on the track quickly react and take their step behind the starting line. My calm mind goes ballistic and I'm in a frightened state. I quickly close my eyes take a deep breath and review the strategy that I had planned for this race. The most important thing I need to remember is that I need to maintain a forefoot strike the last 200 meters, to finish the race strong.
Blade Runner as a Classic Film Noir and a Science Fiction Film Blade Runner, a well known 80’s science-fiction film, begins in 2019, set in the industrial city of L.A., the scene lit only by the many neon lights and molten guisers. We draw in from a panoramic long shot to Deckard, ‘ex-cop, ex-killer, ex-blade-runner’, who is at the heart of this film. Blade Runner is, definitively, a science fiction film, but the traits of Film Noir are the bread and butter, bringing it the dark, desperate atmosphere that is the very beauty of the film. Ridley Scott plants shrapnels of Film Noir throughout, from the subtle (cigars), to the downright blatant (the washed-up cop of main man). The genre itself developed in the post-war era, thriving upon the depression that had settled upon the world, and the new technology.
After reading the Kite Runner, it has really given me insight and opened up my mind to the horrific
In 1996, Chuck Palahniuk released his best known Novel; Fight Club. In 1999, The award winning novel was adapted to film. Palahniuk is know for his unique, and sometimes dark writing. The unnamed main character works in the liability department of a major (also nameless) car company. He fly’s all around the country to investigate car accidents and other problems his company’s cars may have. He is the one who determines whether or not a recall is necessary. Necessary as in, if it’s going to cost the company more money to do a recall or settle out of court with the family’s that their defective cars have killed or injured. He meets an intriguing stranger on the way home from one of his business trips. They end up developing an underground Fight Club. So how does the film compare to Chuck’s novel ?