“Sin City” (2005) used various camera and special effects to recreate a world created on static flat medium onto a moving medium. Robert Rodriguez worked with Frank Miller; the artist of the “Sin City” comics, although not legally co-directors they both took on directing positions in filming the film. There was also the guest directing of Quentin Tarantino in a scene with Dwight played by Clive Owen and Jackie boy played by Benicio Del Toro. The cinematography of the film is impressive because it was shot digitally using mainly green screen in a studio in what could be considered a short amount of time. The use of green screen allowed for innovative forms of storytelling while still incorporating traditional modes of storytelling. The format …show more content…
Parts of the car were CGI created and Del Toro used the red fluorescent liquid for blood so that it could later be white. The car is shown in the rain and special effects was able to control the how pronounced it was since it was digitally added in with the car, otherwise if shot with real water it would have to be carefully lit. Although, CGI is able to create the set for the scene, it is the camera angles, cuts and actors that are able to fully flesh out the scene and immerse the viewer into the story. To emphasize the paranoia and quickness the camera moves from one actor then another. The camera also pans around actors using the light to create various shadows onto the face. However, white is constantly used to separate the actors from the background except for Jackie’s hair that blends into the background and works as an extension of the darkness. This scene is also one of the few where color is introduced. It is the changing street light colors that indicate the movement through the streets and the neon style of the city by reflection off the white blood, white rain and reflective surfaces of the car. When there are moments crucial to the plot of the film the camera quickly zoomes into the actors faces, to record their reactions. There are also quick changes to shots of the empty gas light, that indicates problems for Dwight. The scene is carefully composed to only include necessity detail, and by maintaining mostly with in the car it communicates the claustrophobia and paranoia being experienced by Dwight. Although, CGI plays an important part in creating the scene for the viewer, it is the camera work that conveys the feelings in this
To create an atmosphere that both looks and almost literally feels like possibly the hottest day of the year, Lee uses orange and yellow filters throughout the film. Objects, as well as people seem to glisten in the light. Even scenes shot indoors have beams of light coming through windows and doors. The use of lighting is only one technique Lee uses to create a realistic feel for this film, which is pertinent w...
After experiencing a traumatic car crash, Michelle, the protagonist of director Dan Trachtenberg’s film 10 Cloverfield Lane, wakes up in an underground bunker owned by a man named Howard. Howard claims to have saved her from a widespread chemical attack that has contaminated the air, with his bunker being the only place to take refuge for the next couple of years. Yet as the film progresses, Howard’s controlling and threatening demeanor eventually brings Michelle to escape, allowing her to come across the actuality of the situation outside the isolated bunker. Throughout the production, Trachtenberg arranges close frames, manipulates the camera’s focus, and chooses specific lighting to create an ominous tone that mystifies and disturbs viewers.
One way the filmmakers did this is with the on location shots of rubble in many scenes. The characters in these shots are carefully placed to make the rubble stand out behind them. Lighting is carefully placed to illuminate the rubble and make it stand out. However, the carefully planned cinematography also plays into the overall meaning of the film and not just how it looks. The lighting, for example, influences our feelings for certain characters. Susan Wallner is always filmed in light. This is a drastic difference from how we see Hans Mertens. Hans is usually filmed with low light and is very dim. This helps show that Susan is optimistic, while Hans is pessimistic. Another way lighting is used in this film is to create shadows. Shadows are very prevalent in the last sequence of the film. Hans has confronted Bruckner and as the camera cuts back and forth to each of them we see Hans shadow keeps growing bigger and bigger behind Bruckner. We can interpret that as the shadowing is growing bigger so his Bruckner’s fear, because the dialogue coming from Bruckner is getting faster and we can also hear the fear. There are many times in the film where close ups are used to make the storyline more dramatic. One scene that comes to mind that makes use of quick cuts and close ups is in the end of the film: Susan ran in, stopping Hans from killing Bruckner. At this point we
The plot of the movie “Blade Runner” becomes unrevealed till the end of the movie. Many assumptions about the plot and the final of the movie appear in the spectator’s mind, but not one of these assumptions lasts long. Numerous deceptions in the plot grip the interest of the audience and contribute for the continuing interest to the movie eighteen years after its creation. The main character in the movie is Deckard- the Blade Runner. He is called for a special mission after his retirement, to “air up” four replicants who have shown flaws and have killed people. There are many arguments and deceptions in the plot that reveal the possibility Deckard to be a replicant. Roy is the other leading character of the movie. He appears to be the leader of the replicants- the strongest and the smartest. Roy kills his creator Tyrell. The effect of his actions fulfils the expectation of the spectator for a ruthless machine.
The Web. The Web. 30 Apr. 2014. The 'Standard' of the 'Standard'. The "Format Document" field. Format Document.
This classic move focuses on a single night in the early Sixties, the hopeful future of the main characters is followed by the events which occur. Steve (Ron Howard), and Curt (Richard Dreyfuss) will be leaving for college the very next day, the build up of years of hard work. Finally they'll be able to leave their small hometown and "spread their wings", experiencing life in ways they never have. Curt is unattached to anyone, but Steve will be leaving behind his longtime girlfriend Laurie (Cindy Williams), who happens to be Curt's sister. Also remaining at home are Terry (Charles Martin Smith), a fumbling nerd, and John (Paul Le Mat), an older kid with "the fastest car in the valley". The two main things that kid's focused on in 1962, it was cars and music. Everyone who's anyone cruises the strip in their shiny automobiles and while they're doing that they're listening to Wolfman Jack on the radio. Music is an integral part of this group, defining its moods, fears, desires and feeding from the same emotions.
Later on, Dwight and Jack started painting their house where white paint is used as a primary paint supposedly to symbolize purity and a new start towards Jack’s new life. But this also had an alternate mask covering the false positive pretense. It shows to the reader that Dwight may be covering the true rotten, ill and malice with white paint. Even with w...
In the opening scene of the movie we see Frank’s character played by Denzel Washington. Right away we are shocked by his violence and see his power. This is the first motif we are introduced to. We see Frank stand tall over his victim, and the dark shadowing we see on his face and body show his dominance. Another motif we are introduced to is how real this film is setup to be. The car headlights that setup the background and introduce where we the setting is as well as motivate lights. They have a purpose in the film in promoting its authenticity. We also hear the all the sounds in the forefront. When hear the sounds up close it dramatic for us as viewers. We hear every 7drop of gasoline that is poured on the man’s body and we even hear the flick of the lighter as Frank sets the man on fire. This is the director Scott Ridley’s way of saying to the audience I want to fool you, and I want you to feel like you were there and what you are watching in front of you is real.
“Raging Bull” (1980) is not a so much a film about boxing but more of a story about a psychotically jealous, sexually insecure borderline homosexual, caged animal of a man, who encourages pain and suffering in his life as almost a form of reparation. Martin Scorsese’s masterpiece of a film drags you down into the seedy filth stenched world of former middleweight boxing champion Jake “The Bronx Bull” LaMotta. Masterfully he paints the picture of a beast whose sole drive is not boxing but an insatiable obsessive jealously over his wife and his fear of his own underling sexuality. The movie broke new ground with its brutal unadulterated no-holds-bard look at the vicious sport of boxing by bringing the camera into the ring, giving the viewer the most realistic, primal, and brutal boxing scenes ever filmed. With blood and sweat spraying, flashbulbs’ bursting at every blow Scorsese gives the common man an invitation into the square circle where only the hardest trained gladiators dare to venture.
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.
The central drama and point of conflict in any love story is the obstacle between the lovers. In the best known tragic love story in Western history, Romeo and Juliet, the obstacle is their feuding families; in the classic film Casablanca it's virtue and in Brief Encounter, it's the marriage of one of the lovers. This is a story of unfulfilled love in Wyoming. Ennis and Jack, a ranch hand and an aspiring rodeo rider, work together as sheep herders in the summer of 1963 on Brokeback Mountain in Wyoming. When both drunk in one cold night, they raised their friendships to a new level of intimacy. They tried hard to hide their loves behind the social society because they wouldn’t be accepted in those conservative days. But their loves still were alive. They spent over 20 years stealing moments to affair. Brokeback Mountain becomes their dreams in their minds, which they never fulfilled in again.
The main themes of the story are loneliness, materialism, and freedom from society. Tyler was created because of the lack of connection the narrator had with the people around him. The narrator was lonely and attended so many support groups because of it. He was not rejected at the support groups because the members thought he was sick just like they were. Materialism is a reoccurring theme as the narrator mentions how he has worked his entire life for the Ikea items in his apartment. He tried to fill the void in his life by buying worthless, meaningless stuff. People spend too much time working for things they do not need. The narrator comes to the conclusion that, “You are not your job or your possessions.” Only once a person realizes that can he or she finally let go and start living. “It’s only after you’ve lost everything,” Tyler says, “that you’re free to do anything.” In order to be free, we must not care about the stuff we own. Our whole lives are spent working to pay for stuff. If we did not have stuff to pay for, we would not have to work as hard and our time could be spent doing something more meaningful.
“Year after year, twenty-something women come to New York City in search of the two L's: labels and love” is the very catchy line that opens the film with Fergie’s ‘Labels or Love’ as the soundtrack and The Big Apple as its introductory shot. The scaling deduced from the bird’s eye-view-point of New York City, showing its Metropolitan atmosphere with skyscrapers and the famous Brooklyn Bridge; to the urbanites of the City; then to the lead actors of the film. A fifteen year-old girl watches the film, mesmerizing the ecstatic city while admiring the skinny white bodies of the ladies. And last but never forgotten, she gets carried away with the funky upbeat rhythm of the song emphasizing “Gucci, Fendi, [and] Prada . . .” That is the introduction of Sex and the City and the focus of its cinematography. With its elements, the movie can honestly influence teenage girls. Yet as much as critics such as Maya Gordon of Psychology of Women Quarterly say how media contributes to the sexual objectification and values women “based on their appearance,” this film should be an exemption.
I am Jack’s dependence on consumer society. Jack tries to rid himself of me by creating another persona—I do not succumb. I control every aspect of Jack’s life: his clothes, his furniture, his desires, his fears. Without me, Jack would be free. Free to do anything, free to be himself. With me, Jack is a slave to our culture, incapable of thinking—acting—for himself. With me, Jack’s revolt melds seamlessly with the system he is stuck in.
In short summary, Fight Club by Chuck Palahniuk is a novel that involves a protagonist and his continuous fight with insomnia. The reader of this novel is presented with a character battling against this reoccurring condition caused by the strain from work. This fight is eased due to his doctor sending him to visit a support group consisting of cancer victims and survivors. Nevertheless, his condition comes back suddenly after he encounters a woman by the name of Marla Singer. As the story progresses, the protagonist, along with Tyler Durden, start a fight club.