Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Success in our society
The concept of success in modern society
The concept of success in modern society
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Success in our society
Creating a whirlwind of confusion and an intriguing storyline, David Lynch’s 2001 Mulholland Drive brings the whole audience to question the true meaning behind the movie. Many view this film as a psychological thriller, causing individuals to wonder what had just happened in multiple scenes involving the two main female characters, Betty Elms (Naomi Watts) and Rita Hayworth (Laura Harring). Throughout the film, it is clear that Betty/Diane attempts to assist Rita/Camilla in regaining her memory to figure out her true identity, which results in numerous obstacles and mysteries that both women need to endure to reach their goal. As their journey unfolds, their relationship begins to develop into something more and mysterious secrets …show more content…
Mulholland Drive has various scenes that depict its emotional rollercoaster ride and the dream state the characters appear to be in, generating a sense of realization into the audience’s mind that many individuals in today’s society are in the exact same dream state as well. Aside from having false realities, this film primarily focuses on the false reality of the overrated vision of success in Hollywood. Near the beginning of the film, the director uses certain lighting and sounds as the scene of Betty opening the door to an elderly woman named Louise. At this point in the film, Betty has already decided to look after Rita and assist her in figuring out her true identity. As the scene starts with the camera facing Betty’s aunt’s apartment door opening, Betty is suddenly under a brighter light compared to before when she was obscured by the confines of her aunt’s apartment. Although the lighting varies throughout the scene, the type of lighting used is low key light because …show more content…
Diane is first seen sitting silently on a worn-out couch in her house. The lighting all around is dim and gray, with no bright lights or colorful lights to liven up the mood as well as the background behind Diane that depicts a dead and dull house. Already, the audience is able to sense the foreshadowing outbreak that will possibly tie the entire story together. As the camera shoots Diane in a run-down, faded pink robe, sitting off to one side of the worn-out couch with her dull house as the background is behind her, this provides the mise-en-scene for this shot. There is still extremely subtle, haunting nondiegetic sound playing in the scene as it suddenly cuts straight to a close-up of Diane’s face, which is filled with dread and looks like she has not slept at all with ruined makeup under her eyes as well as her dirty hair. Suddenly, the scene cuts back and forth, a brief shot/reverse-shot, of Diane and the blue key on her coffee table as she looks at it in horror. In addition to the horror theme going on, someone knocks loudly on her door and she turns around as the camera shoots an old couple shown in the very beginning of the movie crawling under the front door as miniature people. Possibly the old couple’s, little laughing voices are heard in a diegetic sound as the scene cuts back to an extreme close-up of Diane’s eyes, emphasizing her horror. The loud knocks
... artistic vision and the disorganization relating to the Hollywood mob. Ultimately, Tod can no longer recuperate from the brutal crowd and the cacophonous sound of the siren. Instead, he loses his artist status by conforming to the status quo, more specifically, becoming like all the people he wants to paint.
The movie Blow is about a man named George Jung who Johnny Depp plays furthermore he made the cocaine market in America in the 1950’s-1970’s. In this movie, you see the horrific effects that can take place to you and the people that closest to you, George was apart of the war on drugs and it caught up to him quick. He moves to California as a child in which he became wealthy for selling marijuana and expands his market but eventually you see him turn careless and gets caught by the police. George ends up meeting a man named Diego Delgado in jail, and was now introduced to the drug Cocaine, which was now a way for him to become wealthy again, be became a cocaine dealer.
ScreenPrism. "ScreenPrism." Why Did "Night of the Living Dead" Spark Controversy after Its Release. Web. 19 Sept. 2017.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
Besides an initial voiceover narration introducing Ray Kinsella (Kevin Cosner), his beloved wife Annie (Amy Madigan), and their young daughter Karin, this is the first scene in Field of Dreams, released in 1989 and directed by Phil Alden. The voice-over establishes the expectation of the film as being a sensible story about a loving couple trying to run a family farm in Iowa, and the subsequent scene (pictured above) quickly deconstructs that expectation. While working in his field one night, Ray hears a voice whispering “If you build it, he will come.” From then on, there are no more misconceptions about Field of Dreams being anything but an unapologetic fantasy in which an Iowa farmer mows down his fields to build a baseball diamond where
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
Alfred Hitchcock’s film Shadow of a Doubt is a true masterpiece. Hitchcock brings the perfect mix of horror, suspense, and drama to a small American town. One of the scenes that exemplifies his masterful style takes place in a bar between the two main characters, Charlie Newton and her uncle Charlie. Hitchcock was quoted as saying that Shadow of a Doubt, “brought murder and violence back in the home, where it rightly belongs.” This quote, although humorous, reaffirms the main theme of the film: we find evil in the places we least expect it. Through careful analysis of the bar scene, we see how Hitchcock underlies and reinforces this theme through the setting, camera angles, and lighting.
make us see exactly what he wants us to and this film is a very good
In The Sixth sense in a like manner, lighting is used to obstruct the viewers thought process. In the scene where Malcom is shot, the angle in which the scene is shot and the lighting in which it is shot differs from the previous scene. The darkness or the “noir” of the scene is used to invoke fear and tension for this specific scene. The lighting directly on the face of Dr. Malcom’s wife’s shows that something is wrong, she has a real fear. The viewer then gets to see the room from Malcom’s perceptive. Malcom’s perceptive is shot from a different angle, the audience now gets a glance at the whole room. The room is in a disarray. During this shot the viewer is seeing things from the prospective of Malcom. Visually the shot is wobbly and uneven. The audience now feels involved in what is taking place. The viewer is now in the position to feel what Malcom is feeling, the emotions and the fear. This camera work stimulates the mind, putting one in the scene with Malcom. Now the the viewer is more involved or feels the anxieties behind what Malcom is going though. The viewer is now anticipating what is going to happen next. The scene is cut now the view is again seeing things from the perspective of Malcom’s wife Anna. Anna is screaming at the top of her lunges. This scene is even darker and has extremely low lighting. Although the screams are used to invoke fear, the screams from Anna also make the audience want to find out what is next to come. As the shot continues, the viewer see that Anna and Malcom are trapped inside of their room. There is also irony behind being trapped inside of one’s own home. The home that one lives in is supposed to be a safe haven. This scene also forms connect directly to the viewer. This scene serves the purpose of connecting reality to the pictorial scenery, this too could happen in an everyday ordinary life
Stanley Kubrick’s “The Shining” presents the audience a twisted tale of a man named Jack Torrance and his wife Wendy and son Danny, who spend a few winter months in isolation as caretakers of the Overlook hotel. This is no typical horror movie. Viewers are slowly lead though a slow film journey following the Torrance family in their moments of horror and insanity with help from bizarre events connected to the haunted Overlook Hotel.
“The Mission” is based on a true story that occurred around the borderlands of Argentina, Paraguay and Brazil in the years 1750’s according to the film and history. The Treaty of Madrid of 1750 with the Spanish and Portuguese caused both havoc and death for the people of the Guarini and the members of the Jesuits. The Jesuits, members of the church, tried to bring Christianity and civilization to the natives while keeping at peace with Spain and Portugal. The Jesuits were the teachers for the natives; Teaching them not only the Christian religion but also civilization. Father Gabriel, a Jesuit, is first introduced in the film when he is showing his respects to a former Jesuit priest killed by the natives. He walks through the South American
One characteristic of melodrama is the "lavishly artificial and visually stylized scenery (Schatz 234) which is exploited in Magnificent Obsession. Numerous scenes take place in moving convertibles, where the motion of the car is out of synch with the motion of the scenery. Whenever possible, rooms have large picture windows showing magnificent, but obviously fake outdoor landscapes. At one point a scene on the lakeshore cuts directly from a shot of Helen (Jane Wyman) sitting in front of a real horizon to a close-up of her sitting in front of a brightly c...
‘Our interest in the parallels between the adaptation inter-texts is further enhanced by consideration of their marked differences in textual form,’
Mulan seems to be a feminist film which encourages individual women to take care of themselves. However, the film is not free from traditional gender roles. While the film may be progressive by removing the "damsel in distress" plot, further analysis shows it isn’t a feminist film at all. Disney’s Mulan reinforces a black and white societal role of gender that privilege men over women. In contrast the poem is incredibly progressive, it shows a woman fighting just as well as men and men accepting her as a powerful warrior not being jealous of her power. The poem removes gender roles whereas the Disney movie reinforces them.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.