In the following, I will analyse the film Arcane in order to clarify whether it constitutes a fantasy genre. To do so I will concentrate on the characteristics of a fantasy genre. How it can be recognised. Fantasies are what depart from our understanding of reality. To answer the initial question, a closer analysis of the structural elements (cinematography), the narrative approach and the theme of Arcane will disclose if it departs significantly from our understanding of reality. Only if I can discover the answer to this question to be proven, it is possible to proceed with the following question.
Nochimson (2010) stated, “Hollywood trains us to expect escapism, to enter into a fantasy world where the colours are brighter, all desires are fulfilled, and there are know obstacles that the hero cant overcome.”
The first scene of analysis is the opening scene, for the very reason that it shapes the audience’s expectations of what is to come. From a cinematography point of view, there is a great use of abstract dark colours, like the unusual metallic blue used to give a night-time effect. Arcane is in his astounding costume and Valerie’s opposite him walking slowly towards each other through the overpowering rain. The actions taken place already suggest a significant departure from reality, as it is very hard to identify with the depicted surrounding and its properties which seems to create an unrealistic atmosphere. Through the use of jump cuts this
atmosphere is enhanced: they disrupt the continuity (Brown 2002) of the viewer’s perception and therefore add to this feeling of estrangement and awkwardness. Subsequently we end up in Nick’s bedroom upon waking from his dream. Between the two scenes the colours used give a clea...
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...ut his desires. The moral of the story is that he learns that friendship is more important. Striving to get with the girl, Nick grows as a character. D.Ledesma mentioned, “Quests help the characters to grow as they strive for an object or ideal. The struggles between opposing forces are to achieve or restore balance to the world. Themes of heroism and coming of age bring about growth in characters. Other themes appear in Fantasy but these are the major ones”
Given the definition of fantasy, it is fairly clear to claim that it is highly probable for the film to constitute a fantasy genre, because all scenes analysed from above and the short comparison with Brazil displayed a significant departure from reality. Having discovered that the elements needed for a film to constitute a fantasy genre are present in Arcane, I am now able to move on to the next question.
However, despite Nick’s flaws and obvious misjudgement of himself, Nick does not become a ‘bad person’. On the contrary, it is these flaws and errors of judgement that shape Nick into a human, relatable character. Being human is not about perfection; on the contrary, it is flaws of character and errors of judgement that shape the human experience.
...olours of the opening scenes combines with the horrid lifestyle of Vaughn and Lena, whilst the greens and clouded with droplets of rain as they drive over the range brings in the ideas of hope and a future for both of the characters. The vital role the changing images that surrounds the pair gives insight into the influence of settings on plot and character development.
As much as generous and honest Nick Carraway is, he still needs a few important improvements in himself. Nick went to Yale, fought in world war one and moved to East of New York to work in finance. After moving to New York, Nick faces tough dilemmas throughout the story such as revealing secrets, and witnessing betrayal. His innocence and malevolence toward others was beyond his control. He did not have the ability or knowledge to know what he should have done in the spots he was set in. He seemed lost and having no control of what went on- almost trapped- but indeed, he had more control than he could have ever known. Because of the situations he has experienced and the people he has met, such as Gatsby, Tom, Jordan and Daisy, his point of view on the world changed dramatically which is very depressing. Trusting the others and caring for them greatly has put him in a disheartening gloomy position.
...h is why fantasy is necessary for children in succeeding through a quest for sanity and morality. Through what is essentially known as escaping reality, children such as the character Max can further bring themselves to understand what they are feeling by unconsciously thinking about it in an imaginative way. Projecting certain personalities into characters in a way that accurately relates to Max is a prosperous way to develop a reassured idea in his life, between himself and the relationships around him. Thus, effortlessly reaching a sense of sanity and morality after all, “Fantasy is hardly an escape from reality. It’s a way of understanding it.” (Lloyd Alexander)
defined what makes a film fit the science fiction niche. This paper seeks to explore
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 cinematography enforced the mood, drama, and plot. The use of color in the film was telltale of the mood. The colors were drab, lifeless, mellow colors. These colors were telltale signs of the setting and mood of the play. The setting was in a sorrowful, dirty, suffering country; the mood was sorrowful and suffering as well.
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
Four key film extracts will be discussed. The introduction of Mina, starting of with a medium long shot of her in the Westenra house, which allows the audience to pay more attention to what is happening in the background, the mise-en-scene being a large decorated room of the Victorian era, including plants, chairs. The setting of the whole room is surrounded by glass, which has the ability to allow natural light.
High Fantasy is a relatively new genre, having only been introduced in the late 1800s. Through the novels that fall under this category, authors have had the opportunity to respond to critical social issues that are prevalent in their lifetime. This has allowed the genre to mature along with the advancement of our culture. High Fantasy has rapidly developed into a genre that is widely appreciated and accepted; George R.R. Martin has contributed to this progression through his novel The Game of Thrones, in which he responds to past authors, social issues of today, and the High Fantasy genus.
10. Heilbronn, Lisa M. "Natural Man, Unnatural Science: Rejection of Science in Recent Science Fiction and Fantasy Film". Contours of the Fantastic. Ed. Michele K. Langford. New York: Greenwood, 1990, 113-9, 115.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
As a story of creatures like the hobbit, dwarves, elves, goblins, wolves, and the wizard Gandalf, and their lives and adventures in a place called the Middle Earth, the fantastical nature of J. R. R. Tolkien's The Hobbit deserves no further explanation. Yet the use of fantasy in it is remarkable and prominent, which contributes to its popularity over the years since it has been published in the 1930s.
It is impossible to talk about a Wes Anderson movie without acknowledging its stunning color palettes and quirky storytelling style. In one of his most exemplary works, Moonrise Kingdom, Anderson uses a warm color scheme that blends bright and desaturated colors that ranges from golden yellow, vermillion red, creamy beige, light brown, to even a hint of teal. His color scheme, which is reflected throughout the film’s props, sets, costumes, title design, and camera filters, effectively evokes nostalgia, establishes the summer-like, dreamy mood of the film, and creates a distinct contrast between the different moral values of his characters. However, in the chaotic stormy escape scene and in the costume of Social Services, the visual design deviates greatly from the film’s primarily warm color palette and instead, immerse their visual elements in a deep, dark blue color to show the contrasts in the mood of the story as well as the attitudes of the characters. Overall, Anderson’s visual
The first theme I chose to focus on was freedom. I chose this simply because of the fact that he uses this word repeatedly throughout his book. I thought this was a great theme because he constantly talks about how you cannot and should not let yourself get bogged down worrying about what other people think about you or how other people perceive you. Nick believes that you are in control of you and only you, and if other people do not accept you for who you are, then that is on them and that is their problem. Nick says that people must stop trying to live up to everyone else’s expectations. He also says that we have to stop these negative attitudes, despite what our circumstances are, and we have to stop the nonsense of thinking we are not “good enough.” I chose the image of a person who has different paths in front of them to choose from. I chose this to depict that everyone always has options no matter what their circumstances are. Everyone has a choice of how they will live, as well as what their attitude and outlook on life will be. Nick learns th...