In the moving picture ‘Bella’ the director Alejandro Monteverde uses certain scenes to project a series of ideas and themes to the audience. In order to do so, Monteverde uses a variety of film techniques, which help to develop the narrative. One of the most important parts of the film where these techniques come into play is ‘The home scene’
The dialogue of The home scene helps the audience to understand an important message. Near the middle of the scene Jose is seen being lectured by his mother for his behavior and the tone of her voice is loud and harsh because she doesn’t want to see her son mess up his life again, he then breaks down in tears. Some of the most important pieces of dialogue used in the movie come into play seconds before
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Again, near the middle of the scene where Jose is being lectured by his mother for his strange behavior. He can be seen in a close-up shot looking up at his mother; vulnerable, as she is looking down on her son. Jose keeps a straight face but as his mother mentions that his brother informed her that Nina is pregnant, Jose looks down and his eyes begin to tear up. This is when the music begins to play. What can be heard is a soft melancholic song that becomes louder the harder he cries into his mother’s chest, still not able to look her in the eyes. These particular techniques work together very well together, as they are the best way to show the emotion that a character is feeling; which could be a metaphor in it’s own way, the closer you are to someone, the more you know about them. With these close-ups it is easier to see more of his emotion, as with the music, it helps to set the mood to help give the audience a better feel of the atmosphere the director is trying to create. You can clearly see the way Jose’s face drops when his mother mentions Nina’s pregnancy, showing the empathy and love he has for Nina. He himself was in the same headspace as Nina once and it drove him to feel a deeper connection and emotion for …show more content…
While Nina is on screen in this scene, the pace is very slow and she is on the screen for a much longer time as she is feeling lost and sad, however when Jose and his mother are on screen the pace moves very fast cutting frequently and him moving back and forth very fast as he is overwhelmed has been holding back sadness. As Jose cries and his mother yells at him, Nina submerges herself under the water out of embarrassment because she feels that she is the reason Jose is being lectured. Her doing this symbolises how many people do want to hide from their troubles, when you submerge yourself underwater, nobody can hear you and you can’t hear them. It was Nina’s way of escaping reality for a bit until she was ready to come up and face the world again. Along with this, the set design also helps to convey emotion and atmosphere to the audience. On the wall of the bathroom, a painting of a butterfly can be seen and is deliberately focused on when the scene cuts from Jose looking down as his mother is trying to look him in the eyes to Nina getting out of the bathtub. The butterfly is a deep and powerful representation of life and is a regular occurrence within the film. Many cultures associate butterflies with our souls, and as Nina descends from the water and the butterfly is focused on, this shows us, and in a way foreshadows Nina’s decision to carry on with life, and in the end bring
In the biographical film Mabo the Audience is positioned by the filmmakers to see Eddie Koiki Mabo as a hardworking, tenacious and strong man.
This film captures this class distinction without subduing the atmosphere through the use of a variety of cinematic devices. “A good film is not a bag of cinematic devices but the embodiment, through devices, of a vision, an underlying theme” (Barnett, 274). The audience can see this theme of the realities of the oppression, poverty and despair of this time period through the use of the things mentioned, but also through the character development that is driven by the character’s hopelessness. Each of the characters associated with the lower class is motivated by the conditions, which are viewed through the cinematic devices mentioned above: color, spherical lenses, long shots, and high angle shots. Sources Cited:.
As a young child, Rodriguez finds comfort and safety in his noisy home full of Spanish sounds. Spanish, is his family's' intimate language that comforts Rodriguez by surrounding him in a web built by the family love and security which is conveyed using the Spanish language. "I recognize you as someone close, like no one outside. You belong with us, in the family, Ricardo.? When the nuns came to the Rodriquez?s house one Saturday morning, the nuns informed the parents that it would be best if they spoke English. Torn with a new since of confusion, his home is turned upside down. His sacred family language, now banished from the home, transforms his web into isolation from his parents. "There was a new silence in the home.? Rodriguez is resentful that it is quiet at the dinner table, or that he can't communicate with his parents about his day as clearly as before. He is heartbroken when he overhears his mother and father speaking Spanish together but suddenly stop when they see Rodriguez. Thi...
The film Wendy and Lucy, directed by Kelly Reichardt, presents a sparse narrative. The film has been criticised for its lack of background story, and as a short film, much of the story is left to the viewer to infer from what is presented in the plot. However, Wendy and Lucy is able to depict the intimate relationship between Wendy and her dog as well as reflecting more broadly on the everyday, and commenting on the current economic state of the film’s setting in America. This essay will examine how film form contributes to the viewer’s awareness of the story in Wendy and Lucy and allows a deeper understanding of the themes presented. The aspects of mise-en-scene, shot and editing and sound in the film will be explored.
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.
Suspense is a 1913 film that portrays the story of a tramp intruding into a family’s home, where a mother takes care of her child while her husband is away. The plot is a common one that had been used previous times before the film’s release, such as in The Lonely Villa (1909). However, through taking advantage of the single frame shot, the filmmakers were able to create a masterful aesthetic of two separate stories that turn a basic plot into a complex story. The film created an inventive way of illustrating stories within cinema by allowing the audience the chance to consume more narrative in less time within just one take.
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.
Throughout the story, Juvencio seems very selfish. He never cares about anyone besides himself and what happens to him, which causes him many problems with those who care about him. His selfishness creates a divide between him and his family. This is shown in the first few paragraphs of the story, “‘All right, I'll go. But if they decide to shoot me too, who will take care of my wife and kids?’ ‘Providence will take care of them. You go now and see what you can do for me. That's what matters.’” Even this early on in the story, Juan Rulfo shows the reader how self-centered Juvencio is, that he would tell his son to endanger his life to save Juvencio’s own life. Juvencio states to Justino that saving him matters more than the safety of Justino or his family. Juan Rulfo also shows that Juvencio’s selfishness makes his son less ready to help him by describing Justino having an inner conflict about whether to take the risk of helping his father. Justino almost doesn’t help his father, showing that he is losing empathy for his father as a result of Juvencio’s selfishness and self-centered lifestyle. Juan Rulfo uses this scene to illustrate his theme related to selfishness. There are also a few examples of Juvencio’s lack of empathy in this story, including the scene in which Juvencio talks about his crime, showing a total lack of caring for any other human
“Marie Antoinette” (2006) directed by Sofia Coppola is a drama/comedy, that is centered on the life of the notorious Queen of France, in the years leading up to the French Revolution. Coppola’s film style was very modern avant garde. The film focuses on Antoinette point of view throughout all her adventures and difficulties. She was the character with whom the viewer identified with the most, her observation were the most important (aside from the audience). Therefore there were many close ups and high lighting on her. The film also invokes the lesson that luxuries is not everything that it will not make you completely happy, which makes the audience feel somewhat sympathetic towards the queen. Coppola successfully achieves to use beautiful and extravagant cinematography to tell the story of the late Marie Antoinette. The mise-en-scene of the film that will be discussed is setting, costume, lighting and figure behavior.
Next let us consider the vivid scenery depicted throughout this specimen of literature. Compared to other attempts at re-imagining this piece of literature none of them materialized virtually close to the number of scenes in this film. First, amidst the introductory we are given the scene of Lena catching the public bus transportation system home from work, affording us the opportunity to view the magnificent city on...
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
The climax of the story has a few layers of drama that really bring out the problems between the characters. We see Santiago and his half brother Cheche battle about the future of the factory; this affects Santiago's relationship with his wife who doesn't know about all the debt and risks he has taken. Then there's Conchita and her husband Paloma, who are experiencing marital issues which become heightened by the seductive lector Juan Julian. Both couples have personal conflicts with one another as well as external issues that affect their lives. The play had interesting parts to it such as infidelity and abuse of sexual nature. some very sensual parts; like infidelity and sexual abuse but were carried out by the cast with immense care and genuineness. Gomez does a really good job of bringing out emotional performances from the actors. This really took me on an emotional/visual roller coaster. The characters moved from happy to angry and from night to day with great ease. Scenes were so realistic and I found myself really engrossed in the story. Gomez interpreted the script really well and I think he related to the story. The story felt natural and cohesive,like it was his
The author connects Antonio’s anxieties about change in his life to the culture in which he lives. Ultima’s intrusion into Antonio’s life marks a crazy time of change for Antonio. Anaya reiterates Antonio’s position on the threshold of change by showing his nerves about beginning school, moving away from his mother, and facing his unusual future. The vaquero lifestyle preferred by his father renews the values of freedom, independence and mobility, all of which are rules in the vaqueros’ love of the llano. The Luna family lifestyle preferred by Antonio’s mother, but emphasizes family and productivity,
This analysis observes the opening scene of the Coen brother’s film No Country for Old Men (2007), a neo-noir crime thriller set in Santa Fe, New Mexico. The film does conform to classic Hollywood style in that the story is character-centered and plot and narrative change to serve character exposition. As well as the character’s actions changing plot and narrative and that style is subservient to the story as the ultimate goal is to develop a fictional world that is perceived as real, as Bordwell put it the classic Hollywood style should be “seamless” and “style-less” (Bordwell, 1988). But does have Post-classical influences such as lack of musical score and modern editing techniques and special effects.
Isabella is strong and feisty and Miguel is protective of Isabella. Ramon is pushed around, but the scene reveals his anger issues when he pushes the boy into the path of the bus. This foreshadows more violence to come.