This analysis observes the opening scene of the Coen brother’s film No Country for Old Men (2007), a neo-noir crime thriller set in Santa Fe, New Mexico. The film does conform to classic Hollywood style in that the story is character-centered and plot and narrative change to serve character exposition. As well as the character’s actions changing plot and narrative and that style is subservient to the story as the ultimate goal is to develop a fictional world that is perceived as real, as Bordwell put it the classic Hollywood style should be “seamless” and “style-less” (Bordwell, 1988). But does have Post-classical influences such as lack of musical score and modern editing techniques and special effects. The film opens with a very short simple …show more content…
Lighting contributes to this idea as he is repeatedly shown as out of focus or silhouetted or from behind so his features are blacked out, this conveys an unnatural tone about his person as Belton puts it “Lighting becomes an extension of the character’s psychological makeup into the surrounding space” (Belton, 2013). This use of Low-key lighting is stereotypical of the thriller genre and the Coen’s use it to their advantage to attribute an air of mystery to Chigurh. The key light in the outdoor scenes is obviously the sun but the Coen’s do not adhere to the convention of reflecting panels to allow light to come from underneath as it does in many old westerns, they adopt a more realistic approach allowing shadows to fall where they may but utilizing positioning to keep Bardem in the dark. Once the characters are in the car they manipulate the lighting again having the “sun” fall on the officer and not Bardem. Once inside the Police station the dimly lit electric lighting replaces the sun as the key light. Which portrays a dimly lit, unpleasant environment perfect for the grappling fight that is about to …show more content…
The film adheres to the ‘classic Hollywood style’ in which it was conceived. The story is very character centered in the two central characters of Rick Blaine (Humphry Bogart) and Ilsa Lund (Ingrid Bergman). The film explores themes of neutrality, the past, travel, and gender specifically that of lady luck. The Film opens with a dramatic credit sequence (1m05s) showing all actors involved as well as crew members which is usually a process reserved until the end in modern Post-classical Hollywood films. The film was produced by warner Bros. who focused heavily on realism which is very important to this story. The credits are written in a Florentine cursive font evocative of the romantic
The movie “Cotton Road” is about the way American grown cotton that is sold to China and then made into products that are sold back to America for the publics use. The movie also shares the perspectives of multiple people involve in the “Cotton Road” from the growing of the cotton to the transportation to China, and the transformation from raw cotton to clothing products. The cotton is grown on a farm in South Carolina, and there are perspectives given of that farm owner and the main farm worker. When in China there are perspectives given from dock employees, transporters and cotton factory works such as the cook, fabric imperfection checker, and main clothing maker. I was shocked to see what happens and the hardships that occur in this
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
Silas Lynch, who is presented as the antithesis of Ben Cameron and the main villain of the film, represents the dangers of letting a black person have freedom and power. Lynch, who has been told by Austin Stoneman that he can be the equal of any white man, uses his new political influence to terrorize the white population of Piedmont, and to supplant his black biased agenda over the traditions of the south. In one of the more outrageous scenes of the film, Lynch’s black supporters actually block white voters from reaching the ballot box during an election, effectively denying the historical struggle of African American voters to gain proper suffrage rights by reversing the roles in the film. This scene is also used to make the viewer feel sympathetic toward the Ku Klux Klan when they deny African Americans the ability to vote at the end of the film. At the beginning of the reconstruction period, Ben Cameron feels powerless and frustrated.
"The Breakfast Club" begins with an old dramatic standby. You isolate a group of people in a room, you have them talk, and eventually they exchange truths about themselves and come to new understandings. William Saroyan and Eugene O'Neill have been here before, but they used saloons and drunks. "The Breakfast Club" uses a high school library and five teenage kids.
The American film industry’s early attempts at the narrative Western were limited and in the early years were produced mainly in the east. During this early time in the film industry the...
The movie Older Than America is an informational narrative of the treatment of indigenous people in the United States. The fourth cinema is a movement in which people of indigenous backgrounds tell the stories of their people, in a realistic and less Hollywood style. The Movie, Older Than America, is set both in the present and in the recent past, and explores the conflict of identity which plagues many native people. It poses the question; does it wipe the war paint off the lens? My answer to that is yes, it more than scratches the surface of the mistreatment of “Human Beings” by Euro-Americans. The demonization of the Catholic Church, and its duplicity in the abuse of its power over helpless children was the overriding story in this film. In this film the Catholic Church is representative of the United States
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
Gender and the portrayal of gender roles in a film is an intriguing topic. It is interesting to uncover the way women have been idealized in our films, which mirrors the sentiments of the society of that period in time. Consequently, the thesis of this essay is a feminist approach that seeks to compare and contrast the gender roles of two films. The selected films are A few Good Men and Some Like it Hot.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
The entire movie is littered with anxiety. The movie makes you anxious as to what may happen next. This primary example is the scene where Skeeter ask Aibileen to tell her personal stories for the book Skeeter is writing. This rose a very serious anxiety in both women. Skeeter also found other maids to also share their personal stories. This scenario caused extreme anxiety because in that day and time if you were to publish or talk about what the maids have to endure, you could be prosecuted or maybe even killed.
The movie I decided to analyze for this course was American History X (1998), which stars Edward Norton. Though this movie isn’t widely known, it is one of the more interesting movies I have seen. It’s probably one of the best films that depict the Neo Nazi plague on American culture. The film takes place from the mid to late 1990’s during the Internet boom, and touches on subjects from affirmative action to Rodney King. One of the highlights of this movie that really relates to one of the key aspects of this course is the deterrence of capital punishment. Edward Norton’s portrayal as the grief stricken older brother who turns to racist ideologies and violence to cope with his fathers death, completely disregards the consequences of his actions as he brutally murders someone in front of his family for trying to steal his car. The unstable mentality that he developed after his father’s death really goes hand-to-hand specifically with Isaac Ehrlich’s study of capital punishment and deterrence. Although this movie is entirely fictional, a lot of the central themes (racism, crime punishment, gang pervasiveness, and one’s own vulnerability) are accurate representations of the very problems that essentially afflict us as a society.
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
12 ANGRY MEN, is basically a story play written for broadcast on CBS in 1954 by an American playwright Reginald Rose. In 1957, Rose finished the screenplay for the movie version, which was co-produced by him and Henry Fonda (Juror#8). The movie was directed by Sydney Lumet. This movie was nominated for many awards like Academy awards for Best Picture, Best Director and Best writing, Screenplay based on Material from another Medium, and an Edgar Allan Poe Award for Best Motion Picture Screenplay from Mystery Writers of America.
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.