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Media Analysis Essay
Introduction
In this essay I will analysis three movie posters and their remakes. The three movie posters I will analyse are Psycho, The secret life of Walter Mitty and Thunderball. I will analyse these posters using the methods I have learned in Media Analysis such as Feminism, Male gaze and Audience theory, along with techniques such as camera angles, lighting and so on. Using these concepts I will analyse these posters and their remakes and see what the changes, if any, were in between the years the movies were released.
Feminism/Male Gaze
The first movie and it’s remake I will discuss is Psycho. Psycho was released in 1960, it is an American horror thriller directed by Alfred Hitchcock. One of the main issues in this movie is Feminism. There has been a lot of debate about whether Hitchcock was a feminist or not and did his beliefs link in to his films. In my own personal opinion I believe that the movie Psycho does not include a lot of feminism I feel that this poster shows just how much the film industry has changed over the past few decades. Though the f...
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003.
The movie Psycho was created in 1960, and directed by Alfred Hitchcock. This film has many meaningful moments behind it, which all lead up to a shocking yet interesting twist for an ending. Many clips corresponded well with Bill Nichols thoughts, and opinions on how “Every movie is a Documentary.” By comparing both the Nichols reading, and the film Psycho, it is easy to see that this film is a wish-fulfillment documentary. This film shows what could be a scary reality in many people’s lives. It gives us examples of what could be our deepest nightmares and dreads, influences an opinion over people who have multiple personalities, and even feeds some people’s interests.
Psycho is an American horror film directed by Alfred Hitchcock in 1960 based on a 1959 novel with the same name. Alfred Hitchcock typically uses certain elements in almost all of his films. In Psycho the following elements appear; blonde woman, conversation that is not important to the story, alcohol, Hitchcock appearance, Mcguffin, pursuit, the camera looks around, a P.O.V., creating suspense by letting the audience in on a secret, mother figure, birds, stairs, and a narrow escape.
John Gibbs and Douglas Pye (2005) Style and meaning : studies in the detailed analysis of film. Engalnd: Manchester University Press, pp 42-52.
Australia is considered as a young country when comparing to other countries as it has been founded around 200 years ago. Today, it is still in the trouble of some sort of identity crisis, trying to find its true identity. To try to define what really is considered as Australianness means one will have to take the plunge. For instance, in Australia the movie, director Baz Luhrmann made a great effort in telling an epic story of Australia but it still falls into the category of imprudent cliché of Australianness. Now we will look at the poster of Australia the movie then analyse it to interpret in what ways it represents the Australianness.
Just about everyone can voice their opinions on a film that viewed as we all do after leaving the theatre. It may be found to be useful when a friend or individual is interested in seeing the film themselves. However, I believe the only way that you could understand a film is by analyzing the film beyond the average person. When one begins to analyze they begin to develop an understanding of the film and may grow to love the film. The director Hitchcock is a fairly well known director. He has directed many different films from Vertigo to Psycho that are found to be popular with the viewers. In this paper I am going to analyze certain elements that spoke out to me during the film. Those elements that spoke to me the most during the film was the lighting techniques, camera movement, and symbols.
In his essay, “It’s Just a Movie: A Teaching Essay for Introductory Media Classes”, Greg M. Smith argues that analyzing a film does not ruin, but enhances a movie-viewing experience; he supports his argument with supporting evidence. He addresses the careful planning required for movies. Messages are not meant to be telegrams. Audiences read into movies to understand basic plotlines. Viewers should examine works rather than society’s explanations. Each piece contributes to Smith’s argument, movies are worth scrutinizing.
Movies are a dominant force in the entertainment industry, reaching millions of people all across the world. In attempt to appeal to all audiences, movie industries are constantly constructing different forms of advertisements. Movie posters use visual elements to capture the heart of the movie, often having a hidden meaning behind them. Cultural moments in society directly influence the entertainment industry, which can often be seen by the theme and content of the film and poster. By understanding the deeper meaning behind these posters, it allows the viewer to go back in time to see the prevailing topics being discussed. Casablanca is a classic Hollywood film released in 1943 that depicts a quintessential romantic drama. The fiftieth edition poster of Casablanca was designed by Charles Parent, in which the poster depicts iconic moments and characters from the film.
Kracauer, Siegfried. “Basic Concepts,” from Theory of Film. In Film Theory and Criticism: Introductory Readings, Seventh Edition, edited by Leo Braudy and Marshall Cohen, 147–58. New York and Oxford: Oxford University Press, 2009.
middle of paper ... ... In final analysis, the motion picture is the one that goes deeper inside the spectator’s mind. Other mediums such as still picture and theatrical play also provide the visual and aural elements for the spectator, yet they seem to be inferior to the motion picture in that they lack the reality, affinity, and creativity in terms of use of time and space. The levels of emotions such as attention, memory, imagination, emotion, and unity, which were introduced by Munsterberg, indicates how the spectator perceives the elements of the film and ends up with it.
Analysis of Film Posters Having studied film posters this term, it is apparent that certain forms and conventions are applied. [IMAGE]The major forms and conventions of film posters could include: A large title which attracts the eye, bold colours which stand out from the background, intriguing picture which would attract viewers to the film, persuasive language which might persuade the viewers to go and see the film, using the main character's name for promotion, and the certification will either to ensure that the right type of people are watching the film. An example of how different types of film (e.g. comedy, horror) poster use these forms and conventions to attract a certain type of person (e.g. teenagers, horror fans) would be a really scary horror film, which will use eerie images in order to appeal to horror fans. A successful film poster will accomplish attracting the target audience and persuade them to come and watch the film.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
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.