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Visual Techniques in film
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The film Cinema Paradiso was originated in 1988, it is a drama film that was directed by Giuseppe Tornatore and it’s original title was Nuovo Cinema Paradiso. The film was an inspiring way of exploring Italian Cinema and how it’s importance to viewers it truly is. Salvator, who is the main character looked up to Alfredo as a child, who was his best friend and teacher who taught him everything he knows about film making. In Cinema Paradiso the film dealt with several elements such as scenery, photography, editing, sound, lighting. Cinema Paradiso film showed specific understanding of the Italian and American traditions place in the history of this film. Cinema Paradiso is a film that not only is strong in Italian culture but also shows the significance …show more content…
His girlfriend casually tells him as she is falling asleep that his mother had called and said that his friend had passed away from home. As Salvator is laying in bed and he calls his mother back he had realized then that it was Alfredo who had passed, he became very upset quickly. Salvato has a flashback to when he was a child and how him and Alfredo always made film together and Alfredo taught him everything he knows. Alfredo is Toto’s role model and he looks up to him and Alfredo is the reason why Salvator fell in love with film making in the first place. One part of the movie when the film studio accidentally caught on fire, Toto ended up saving Alfredo from the fire by pulling him down the stairs. Alfredo was Salvatore 's best friend he would have done anything for him. Alfredo did warn Toto it was dangerous to work there, Alfredo actually went blind because of the fire. Then they built the new theatre, Cinema Paradis and reconstructed what was lost in a brighter and newer way. Throughout the film Toto’s life experienced all the things a normal man should, he fell in love with this girl named Elena but she did not love him back at first, but he told her he will wait as long as it takes. Then he left for the military but returned safe home thankfully. All his adventures throughout life made him realize what was truly important …show more content…
Alfredo and Salvator were the main characters in this scene. Before Alfredo decided to play the film for the public outside of the theatre he was making smart and almost funny remarks to Salvator asking him if he “should let the poor devils see their film?” Alfredo knew he was going to show the film for him but it was the comical build up he gave the audience until he did. The way Alfredo comes across the the audience when watching this film is calm and collective, but with a serious side to. Alfredo was not afraid to speak his opinion when it came getting the job done. He also had such a kind heart though, you can tell about how much he genuinely cares for people and Salvator especially. In the scene before the fire broke loose Alfredo 's kind heart shows through when he decided to give the people what they wanted and showed the film for them. Not only is this great but in Italian filmmaking it shows the deeper meaning to life, for example, how Alfredo genuinely showed the film not because he was forced to but because he was a kind person. Salvator, during this scene showed his excitement for not only working with Alfredo and learning more about film but also saving the life of Alfredo when the fire had broken loose. He did not even think twice about savings him, when someone is important to you that much Salvator did not even question it.
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
...es linger on his admirer, and Aschenbach does not seem as pathetic. The object of his affection is willing, and we lose some of the tension from the novel. Most of the mythological, psychological and philosophical references have been removed. Visconti makes Aschenbach a composer, not a writer, with a strong relationship to his (dead?) family. His character is not as fully rendered as in the novel but it is sufficient. Tadzio is probably the best part of the movie. The casting was spot-on and one can see how a grown man could fall in love with that. Some of the strange men are there, most notably the guitarist, but the repetition is not emphasized. The film shows Venice's descent into epidemic well, with the street bonfires and disinfecting of the streets. Overall the movie is almost watchable for an art film, but it does not do justice to the very complex novella.
To draw the conclusion, it can be effectively said that it is very difficult to incorporate the ideas contained in books into films, especially when one has to prove some theory. Pasolini has done it successfully by incorporating his film theory contained in the book Heretical Empricism into the film Mamma Roma. Pasolini’s creativity is an integral part of the classical art. He gave his life to change the world for the better through his films. He has not only presented his socialistic thoughts in the film, but also included religious motifs of Christianity to show the plight of a woman in this materialistic society. The development of unforgettable emotions and memories are guaranteed in return. Modern society should know and remember the
But through all of these images of the horror and sadness of the time period, hopes are constantly raised by the humor, and personality of Guido and the magic his character brings to the story. Riding into a hotel ballroom on a green horse, and riding away with his princess—stealing her away from her fiancé, much like the old stories from the past. In the film, the concentration camp is a playground for a young child. And in the same town that Mussolini was driving through, Guido first meets his princess.
The scene that I will be analyzing takes place towards the end of the movie in which all the racial tensions that were boiling over erupted like a volcano and spewed out. This particular scene is about five minutes in length and is composed of about 25 shots. It takes place at the end of the day after Sal’s Famous Pizzeria has closed. We see that the pizzeria is closed and Sal is having a conversation with his sons Vito and Pino about him wanting to change the name of his store to Sal and Son’s Pizzeria. He also tells Mookie, “You are like a son to me.” The suddenly we here banging on the door, it’s the neighborhood kids wanting to get a slice of pizza. Although the pizzeria is closed, Sal tells a reluctant Mookie...
The astounding perils of young love has been eloquently captured in the story of Romeo and Juliet. Franco Zefferelli and Baz Luhrmann are the creators of the two most renowned film adaptations of William Shakespeare's Romeo and Juliet. Zefferelli, the more traditional director, created his Oscar winning version in 1968. Baz Luhrmann put an abstract, modern twist on Shakespeare's classic and created the 1996 version that raised millions of dollars in box office sales. Being that these two films are so different, I have chosen to compare them to one another, using the famed balcony scene as my focus.
The pace in which the The film goes very fast and it changes from one location to the next in a sequence of images, which occurs a lot during this recent film. In Franco Zeffirelli’s adaptation of the film, there are very similar. settings as they are both set in Verona but they have a different timescale and time period in which the film was produced. In the beginning of Act two Scene ii (the balcony scene), Romeo.... ...
Bondanella, Peter. (2009), A History of Italian Cinema, NY, The Continuum International Publishing Group Inc.
Italian Neorealism, a movement that focused on the arts began in 19th century post war Italy and “became the repository of partisan hopes for social justice in the post war italian state.” (Marcus, xiv) Even before the war, Italy had been under the dictatorship of Benito Mussolini and his corrupt form of government, Fascism, which caused oppression throughout the country. Neorealistic films allowed filmmakers to use common styles and techniques to finally reveal the world filled with anguish and misery that Mussolini had created. These films allowed the rebirth of Italy with the new ideals of freedom and social order. Some directors choose to add melodramatic elements to their neorealistic film which goes against Neorealism’s goal to project the Italy in its real form. However, although Rome Open City by Roberto Rossellini and Bitter Rice by DeSantis have classic hollywood narrative characteristics, the portrayal of women and children represent neorealist principles that help us further understand the struggles and conflicts of women and children during post-war Italy.
The Godfather is the “dark-side of the American dream story” (Turan, pp2). The film follows the practices of a fictional Italian mafia family, the Corleone’s. Though most Americans do not condone the practices of the Italian mafia, they cannot deny that Francis Ford Coppola’s The Godfather is a cinematic masterpiece. This film gave insight to a mysterious way of life that the average person does not have knowledge of. As the audience is educated about the mafia they also are introduced to many stereotypes.
Federico Fellini is one of the most important film directors of all time. He created multiple films that expressed the true reality of a Fascist Italy. Italy at the time was under Fascist control, which was similar to that of the Nazi take over in Germany. In his movie 8 ½ Fellini casts Marcello as the lead role, some say that Marcello was portraying a younger version of Fellini. Marcello plays the role of Guido in the film. Guido is a young man who is struggling through a sort of directors block on his recent film. Throughout the movie Guido’s past life unfolds before his very eyes as the women of his life return and many other memories unravel. This movie is a great example of the mastermind that Fredrico Fellini really is.
I chose to analyze Despicable Me, an animated film geared towards a younger audience, because I was interested in examining underlying theories and messages that this film would be relaying to its viewers. Often times, when watching animated films, children are not aware of these messages, as they are absorbed by the characters, special effects, and humor. But as we have learned throughout this semester, our brains are subconsciously primed by the various surroundings we are exposed to. Since we also studied the impacts of entertainment, such as television and video games, on children, I wanted to see how a popular children’s film might also affect them.
The aim of this report is to discuss Italian Neorealism (Neorealismo); looking at how the movement played a significant element in European cinema during and after the times of Benito Mussolini’s fascist regime. The report not only looks at how but why Neorealism became a growing phenomenon for filmmakers during its debatable 10 year period, and what implication of messages these Neorealist directors were trying to send out through their films. Backed up by several reliable book sources, the evidence for this report will also highlight the influences Neo-realism has created in modern filmmaking today.
Gran Torino is a suspense film directed by Clint Eastwood, which portrays the relationship between a 78-year-old Koran war veteran and his neighbors who are from Laos. The main character, Walt is a racist who still has memories from the horrors of war and has a dislike for anyone, including his own family. After his young neighbor Thao is coerced by his cousin’s gang into stealing Walt’s prized Gran Torino, a unusual relationship forms between the pair. Walt starts to respect Thao and his culture while fulfilling a fatherly role that Thao is lacking. Eventually, Walt has to confront the gang knowing that the confrontation will end in his death. Apart from the stereotypical, get off my lawn quote, this film depicts the relationship of family concerning the care for older adults, the struggle with despair and meaning later in life, and the morality of a good death. This paper will address each of these themes.
Clint Eastwood’s film “Gran Torino” traces the end of the life of Walt Kowalski. He has recently gone through a lot – the death of his beloved wife, his distant relationship with his son, his emotional scars from the Korean War and his bad health. All these things stop him from living a proper life. He doesn’t care about himself much – he smokes even though he is sick, he doesn’t eat a lot, he refuses to confess even though that was his wife’s last wish. However, all this changes when he meets the Hmong Family that lives next door. At the beginning he detests them because of their similarity to the Koreans, but later, as he gets to know them, they become the family that he was never able to have. The story traces the psychological changes in Walt’s character due to his unusual bond with the Hmong family, which changes are one of the main strengths of the film.