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Recommended: Realism film style
It was as I sat watching the black and white 1964 film, The Train, I realized that with today’s advanced special effects and technicolor, I was spoiled. Enormous amount of footage in films today is saturated with the latest special effects and at times the storyline is lost in all the latest and greatest marvels the film industry has to offer. The manner in which the film was directed by John Frankenheimer elicited an intensity to the drama and provided a grit and substance that can only be found in a black and white film. The film begins as the Allied forces at the end of World War II are approaching Paris and a German Colonel Von Waldheim, played by Paul Scofield, is formulating a plan in which to ship a collection of paintings he has accumulated during the war, to Germany. It is as the Nazis …show more content…
The bravery and fortitude of the railway workers becomes an inspiration and depiction of those who resisted Germany conquest The protagonist to Waldheim’s antagonist within this film, Labiche is a French railway inspector portrayed by Burt Lancaster, whose only concern is the pursuit of a German free France. The film amidst the air raids and plots is reminiscent of many spy films we watch today, without being dependent upon special effects. As I watched, I had to wonder at the manner in which action shots, such as actors jumping from moving trains, were completed. Today, with current technology, a predominant amount of the action scenes are created digitally, with green screens. It is with a knowledge of the dependency of actions films on special effects, that I gained a profound respect for this particular film. The action scenes with trains colliding, derailments and military conflicts were capable of eliciting a stark drama in black and white magnificently enabling the sense of true to life
The way that a movie is pieced together by the director/producers has a huge impact on the viewer’s experience. Stylistic elements are used to help engage the viewer; however, without these techniques the viewer will most likely loose interest. In this essay I will be taking a look at a scene within the movie Casablanca directed by Michael Curtiz in 1942. Casablanca is a classic film that is reviewed to be one of the greatest movies of all time. This could be due to the notable quotes used throughout the movie, or its ability to follow a historic, comical, and romantic storyline throughout the course of the film. It caters to several different viewers, making this movie favorable to many. This scene in Casablanca uses specific editing techniques
The characters are a crucial element in developing the narrative of a film. The characters in Breathless do not act the way one expects those of Hollywood cinema to act. The woman who distracts the police officer in the opening scene seems as if she may be important, but is in fact never seen again. This happens again in a subsequent ...
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.
This part is divided into two sub-topics. The first sub-topic offers a summary of the book and contains spoilers. The second sub-topic summarizes the film. Both summaries incorporate key events in both form...
After listening to all four movements of Beethoven’s Symphony No. 5 in C minor, I have suddenly been awakened to the tremendous influence that the Classical Form of music has had on modern day works, especially in the area of the film industry which it is used to create drama, tension, and joy. History owes a debt of gratitude to composers such as Ludwig van Beethoven, who build upon the legacy of pioneers such as Joseph Haydn and Wolfgang Amadeus Mozart to create his own unique blend of symphonic compositions which will be revered throughout generations because of their continued appeal to the
‘Das Leben der Anderen’ (The Lives of Others) is a striking example of how a director can convey narrative links within a film by employing various styles and film techniques. The Lives of Others relies upon these visual means to assist with the telling of the story as much as it relies upon the script. In this selected sequence of the film, several narrative links are drawn here to form the conclusion of ‘Operation Lazlo’. These narrative links are further cemented by Donnersmarck’s use of various lighting styles, diegtic and non-diegtic sound, revealing camera shots and intricate mise-en-scene.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
In conclusion, I have demonstrated how Coppola exploits a wide array of sound and editing to create suspense, intensity, and anxiety in the sequence to affect the audience’s emotions, using diegetic ambient sound effects, non-diegetic music, voice over and four editing types. With this sequence, Coppola has shown the savagery of war and our complicity in this violence as an audience.
...s appeared not so much to matter as the fact that he developed new techniques, devised camera approaches and sought always to bring out the potential of a still developing form. That he forgot--or overlooked--to bring the Marxist message to one of his films two years ago brought him that fatal kiss of all--the accusation from the authoritative Soviet magazine, Culture and Life, that his productions had been short on the prescribed Soviet requirement of art and interpretation of history” ("Sergei Eisenstein is Dead in Moscow”, New York Times, 1948) . In film, Eisenstein was known for his development of the montage sequence, his unusual juxtapositions, and his life-like imagery. In life he was known for his propaganda and belief in the plight of the working class. Eisenstein left an inevitable mark on his community, his time, the shape of a sub-culture, and his art.
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
The movie I chose to analyze for historical accuracy was War Horse. This movie was set in the First World War, starting in Britain but the story also explored France and Germany during this time period as well. Three scenes will be analyzed: the trench warfare scene between the British and the Germans, the scene where the British soldiers were gassed, and the scene where the British were getting patched up and nursed. War Horse does well to stick to the historical accuracy of what happened during the First World War due to the fact that the three scenes that I have chosen to analyze are not embellished and are close to what really happened.
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
...satisfied and comforted. People in the tail section were utterly exhausted and lost their hope after experiencing a host great turmoil. The most serious and crucial problem I found in the movie is that a manager from the head section regularly visits the rear section and take some children with her. In the latter half of the movie clearly demonstrates how the children are being ‘abused’ with several purposes. Immature children with short stature go into the engine, the heart of the train, and modulate the saw teeth not to be mingled with each other. At the place where they have to lower their heads and close their legs, the innocent children were being sacrificed for the unknown people. Children with pure spirits became the victims of the pleasure and fortune of the greatest number of people. Who on earth would pledge the rights of the children and their parents?