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Recommended: Classical cinema art
His Girl Friday, Citizen Kane and Rashomon are all very well recognized films in the cinema & media world as well as from avid movie viewers worldwide. Although all three are iconic films, they vary greatly in the film form in which they’re presented. His Girl Friday is a prime example of a classical form, whereas Rashomon can be classified as an example of art cinema. The third film, Citizen Kane cannot be grouped into either one of these distinct categories because it shares similarities that both classical and art cinema film involve. Citizen Kane belongs in a category of its own and can be seen as a “hybrid” combination of both classical and art cinema. The fundamental principle of any classical film is based off traits with clear
Did you know that living with foster parents doesn’t give you the same love than your real family. The is why Ponyboy should stay with Darry instead of the system. He would be better off with Darry. Darry has shown that he is a responsible guardian because he has two jobs so that Ponyboy could stay in school. “Darry worked on two jobs at once, made good at both of them, and his outstanding record at school…” This proves that Darry is an outstanding guardian. The foster parents don’t give them the same love as their family. On the other side darry cares about him more than other foster parents. Darry is a good guardian and watches out for Ponyboy. Ponyboy has good grades and likes to be on the track team, this is good for his health.
In the Discourse on the Origin of Inequality, Rousseau demonstrates that in the state of nature, man was free and equal. According to Rousseau, man’s problems started from the evil in the society that has caused inequality. During the state of nature, man was similar to an animal with no knowledge of material things, status, and money. In part two, Rousseau states, “Man’s first sentiment was that of his own existence; his first concern was that of his preservation . . . devoid of any sentiment of the heart, produced a purely animal act” (Rousseau, 851). The reliance on natural instinct during the primitive time made people equal. Mean Girls is a 2004 movie
The debate over Casablanca and Citizen Kane has been a classic argument between film critics and historians alike, and this is because both of these pieces are timeless pictures that have managed to captivate audiences well after their era. On a broad spectrum analysis this is an apples and oranges debate as the two films both have great cinematographic value but for different reasons. However, the real question at hand is which film is the greatest? Which film transformed the future of American film making? It is these questions that I as many others have, will attempt to answer in the following essay as I explain why I believe Citizen Kane is the greatest film ever made.
Orson Welles’ cinematic classic, Citizen Kane, is a film that centers on a group of reporter’s investigation into the meaning of Charles Foster Kane’s last word, “Rosebud.” Through their investigation of his last words, the team of reporters, is presented with an almost, but not quite, complete picture of “Citizen” Kane’s life. By assuming that the man’s last word was as grandiose as his life, the reporters miss out on the bigger, more holistic picture, which is Charles Foster Kane’s life. The reporters’ emphasis of attention on what turns out to be a small and trivial, although they never find that out, aspect of Kane’s life, make Citizen Kane a perfect example of the pitfalls of over-interpretation.
A dynamic interplay of art and life can be evinced in the relationship between films and society. Films provide escape from daily life, opportunity to solve mysteries, chances to identify with powerful competent heroes and discussions of morality that are comfortingly unambiguous. By opening a window on exotica, films enable us to become voyeurs, secret observers of the personal and even intimate lives of characters even when we know that the stories are largely fantasies. The present thesis proposes to focus its attention on film studies, subsumed within Cultural Studies to examine Alfred Hitchcock’s oeuvre. Cultural Studies evident in the study of cultural artifacts (films, music, novels) and examination of practices (sports, national events) is
Citizen Kane was a film that broke new ground for the possibilities of storytelling in cinema, and used every aspect of productionwriting, photography, acting, editing, and soundin masterful ways that challenged the status quo of studio films and paved the way for even greater innovation that followed. In a time of lighthearted studio films, the number of serious (what cynics might call “artsy”) movies being made was low, and often resulted in poor theater success. There was, and in many ways, still is a hesitance to place resources and money into projects for which there is no guarantee of financial return. Following the notoriety that director/producer Orson Welles’ generated from his infamous War of the Worlds radio broadcast, the Hollywood establishment took a change on the young wunderkid and allowed him unprecedented freedom in the making of his first film. The result was, almost inevitably, a financial failure (although this was due not a little to the efforts of William Randolph Hearst, who tried his hardest to see the film completely destroyed). It was simply too challenging for the audience of the time to comprehend. It bucked tradition and was never satisfied with doing things the way everyone else in Hollywood had. Because of this, Kane was truly ahead of its time.
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.
This essay will be divided into three distinct sections. First, I will begin by elucidating upon the origin of the film. This is to say, I will explain the development of the film in the writing stage, and the background of the directors and
One of the most defining films in American Film history is Orson Welles' 1941 cult classic, Citizen Kane. While the film is widely regarded for several cinematic elements such as its cinematography and background score, what stands out is the narrative style employed by Welles and co-screenplay writer, Herman J. Mankiewicz. Perhaps, what is most noteworthy was the demand the film made of its audience, to follow and deduce the plot as it unraveled, something we are used to as film viewers of this generation, but for its times was path breaking. The cinematic techniques used such as telling a story through a series of flashbacks, the use of deep focus camera shots, the use of low angles and chiaroscuro lighting enhanced the viewing experience and these remain
Film Noir’s exact definition is a point of contention among a great deal of the people who study, analyze, and write about film. For most it occupies a nebulous territory between style and genre. Despite this problem there are several similar elements found throughout the films classified as noir that help to identify them. Thematically these films explore the darker side of humanity, including murder, failed love, moral ambiguity, and a desire for profit. Visual characteristics that establish a film noir consist of low-key lighting, oblique camera angles, and use of shadows. Carol Reed’s The Third Man is an excellent example of British film noir that incorporates a dark thematic message and expressionist visual elements.
This separates her from women in all previous era’s who often gained their attention solely for their attire. Her suit is instead used to draw attention to what she says, as evidence by the upward and diagonal pinstripes that point toward her face. When all of the journalists question her about Earl, their dark colored suits in contrast to her stripes, as well as her position in the center of the frame, maker her the center of attention.This way, in every conversation she’s having all eyes focused on her quick moving lips. The importance of this contrast points to what aspects of women are noticed and highlighted. In the traditional women, it was their physique, and in the “new woman” it is in their intellect. There is also a large glowing light above her head during her dialect with Earl as he points his gun at her, which, coupled with her attire and fluent speech, could be another symbol of her
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
This form or realistic cinema provided the viewer with something completely different than they were used to seeing with the Classic Hollywood Style. These films hold a strong sense of the dilemma for the ordinary individual that is affected by political circumstances that are beyond their control. These actors were no longer perfectly attractive and trai...
Cinema in of itself has always been voyeuristic due to the nature of what film is, watching others, and because of the predominantly heterosexual male creative heads and audience. As cinema developed over the years, directors incorporated the general desire and scandal of watching, specifically voyeuristic male gazes on women, to combine the audience's desire to watch with the desire of the characters watching within the film. This essay will focus on directors Alfred Hitchcock with his movie Psycho (1960) and David Lynch with Blue Velvet (1986) on their use of different filmography techniques within the films to give the audience further insight into the psyche of the male characters and blur the lines between lust and violence. This all branching
The motion picture released before 1950’s formalism resembles to each other in some way. The movies mentioned in this essay are Barsaat (Rain) 1949, Bringing up baby 1938 and City lights 1931. These movies might have different narrative, theme, genre and auteur, but the organizing concept, structure and style indicate that they are very similar. The concept and structure, arrangement of movie released before 1950 reveals similarity of combined genre, expressive totality, and formalist approach of the movie that includes lighting, sound and set design, shot composition, editing characters, performance, theme and narrative.