Initially, Carl clings to the memory of his deceased wife Ellie, which causes him to live in complete solidarity with a new, very pessimistic view on life. Director, Pete Docter, uses the bright colors of Carl and Ellie’s lifelong house in comparison to the dark and chaotic construction site surrounding them to show this isolation (00:13:36). The dreary gray tones used in this specific scene in the Film show the stark difference between the vibrancy of the house and the turmoil and uncertainty of reality. Not only does the director use color to demonstrate Carl's feelings, but also various other cinematic techniques. Carl’s “square” personality and apparent disregard for others feelings can be shown with the use of shapes and dialogue. When
introducing him, Carl seems to turn away everyone and all things that try to care for him, presumably fearing that he would lose them like he did Ellie. The square shape of his face, glasses, and various personal items represents these walls he has put up. The memory of his late wife has also affected his life considerably; in a way Carl can be compared to a Memorialist. Memorialists are individuals who are stuck in the memories of their loved ones, and tend to refrain from experiencing any new adventures, fearing that they will lose what they previously had. Carl shows this trait multiple times in the duration of the film. For example, he has a specific routine he follows every morning, which is not unlike the routine he and Ellie shared often (00:11:40). Ellie’s Adventure book, which is a scrapbook of her childhood adventures, is also proof of Carl’s hesitation to leave his previous life that he left behind him, as he is shown flipping through the pages many times (00:19:50). The hesitations he has to continue on with life is a coping mechanism that Carl uses to deal with his grief, even though it is an unfortunate path to take.
During the Talladega 500, Cal Naughton Jr., Ricky Bobby's former best friend, pulled ahead of Ricky, allowing him to slingshot around his car and pass Jean Girard. Though Cal and Girard were teammates at Dennit Racing, Cal disregarded this and jeopardized his team's success to aid Ricky in the movie Talledega Nights: The Ballad of Ricky Bobby. This moment was crucial to Ricky, he having fallen from grace, going from NASCAR's top driver to being let go by Dennit Racing. The love Cal exhibited was a selfless form of love that was centered entirely around Ricky's happiness, not his own. Because of this selflessness, Cal compromised his own agenda, winning for Dennit, and disregarded personal consequence in hopes that Ricky would win the race. If you truly love someone as Cal loved Ricky, you must sometimes compromise your own interests for their benefit.
One of the most obvious portrayals of the bleakness and desperation of the era is the overall faded and washed-out look of the whole film, due to manipulation of the film saturation; the heaviness of it almost cries out to the audience. Though the film was shot during the summer, cinematographer Roger Deakins and Cinesite colorist Julias Friede were able to use digital technology to change the appearance of the colors. “Together, they worked on manipulating the [digital] saturation of the images, and in particular selecting the greens of the trees and grass and turning them into dry browns and yellows” (Escaping, 2). These dry browns and yellows enhance the audience’s impression of the desperation of the characters and the time period. Brown is a prominent color shown not only in the overall appearance but in the specific image of the dry brown of the dirt which also clings to the clothes of the three main characters: Everett, Pete, and Delmar....
The forward-tracking movement as used in Ernie's restaurant suggests the forward-tracking shot that is used throughout the film to show Madeleine has an allure for Scottie. Ernie's scene evokes the backward-tracking shot used throughout the film to show how Scottie is bonded to his object of desire. Together they bring out the character that an individual is playing in the film. The camera movement in Ernie’s Restaurant brings out forward and backward tracks that defines the point-of-view structure, but here the camera movement does not straight forwardly articulate a point of view. Instead, the camera is self-consciously sets up to show the relationship between the elements of the point-of-view structure that the rest of the film enacts.
On October 14th, 2016 in class we watched “Two Spirits” by Lydia Nibley. Basically the film explored the cultural context behind a tragic and senseless murder of the main character. Fred was part of an honored “Navajo” youth who was killed at the age of sixteen by a man who bragged to his friends that he was nothing but a “fag”. While walking home from a carnival he was chased by one of his friends. Once his friend caught up to Fred, he pulled him down from a mountain and smashed his head with a heavy rock. Fred laid there for five days straight where two young boys found his body lying there. He was labeled as a “two-spirit” who was possessed of balancing masculine and feminine traits. In the film, there are two parts that are put together effortlessly like the people it discusses. Most of the documentary focuses on Fred’s murder, but the real issues in the film were those of the lesbian, gay, and transgender community and how its members were viewed in a
The entire movie is littered with anxiety. The movie makes you anxious as to what may happen next. This primary example is the scene where Skeeter ask Aibileen to tell her personal stories for the book Skeeter is writing. This rose a very serious anxiety in both women. Skeeter also found other maids to also share their personal stories. This scenario caused extreme anxiety because in that day and time if you were to publish or talk about what the maids have to endure, you could be prosecuted or maybe even killed.
Throughout the film, the filmmaker follows the three victims around in their everyday lives by using somber music and backgrounds of depressing colors. The documentary starts off with colorful images of the scenery
Me, Earl and the Dying Girl started off in the most boring way possible. Narration and a dolly in on Greg, played by Thomas Mann, typing on his computer. These days I’ve been paying particular attention on the very first 10 minutes of a film. Does it grab me? Do I get so deep into the story that I don’t want out? Am I totally mesmerized? The first minutes of this film was none of the above. How boring to start off with narration. Films are supposed to be action heavy. An Auteur tells a story with pictures not words. And this one started off with nothing but words, then backed up those words with type on a computer screen. How lame can you get.
The film, Fruitvale Station, is based upon a true story of a young, unarmed African American male, Oscar, who was shot by a Caucasian BART police officer. The film displays the final twenty-fours of Oscar Grant’s lives going through his struggles, triumphs, and eager search to change his life around. There will be an analysis of the sociological aspects displayed throughout the movie that show racism, prejudice, and discrimination.
The myth of American(USA) superiority and exceptionalism has existed since the early foundation days. The rush towards the Pacific provided an easy way to sustain this theory, and for a long time it was assumed that westward growth was the best sign of success. In fact, some of the earliest films to hold captive the American citizens were spectacles of U.S. positivism, where good always triumphed over evil.
J. Edgar, a 2011 film staring Leonardo DiCaprio, is biographical drama that is, obviously, about J. Edgar Hoover. It was written by Dustin Lance Black, a LGBT rights activist as well as a gay man himself. It focuses on both the public political life and the private life of J. Edgar Hoover, the first Director of the Federal Bureau of Investigation (FBI). The film jumps around in time, as the main premise is that J. Edgar is retelling the story of the FBI to a writer so that the public can know the truth.
Gender and the portrayal of gender roles in a film is an intriguing topic. It is interesting to uncover the way women have been idealized in our films, which mirrors the sentiments of the society of that period in time. Consequently, the thesis of this essay is a feminist approach that seeks to compare and contrast the gender roles of two films. The selected films are A few Good Men and Some Like it Hot.
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
Her tense mind is then further pushed towards insanity by her husband, John. As one of the few characters in the story, John plays a pivotal role in the regression of the narrator’s mind. Again, the narrator uses the wallpaper to convey her emotions. Just as the shapes in the wallpaper become clearer to the narrator, in her mind, she is having the epiphany that John is in control of her.
To begin, the colors used provide visual indication to inform viewers of the objective of the director and cinematographer (Goodykoontz & Jacobs, 2011). Throughout the majority of the film, very natural colors are used. Van Sant’s use of warm tawny tones is a creative way to create a sense of humanity and forms a strong feeling of understanding for Will. Whenever Will is in a situation he feels secure and relaxed, the hues are very affectionate and welcoming. For example, when he is in Skylar’s (Minnie Driver) room at Harvard, in Sean’s (Robin Williams) office, or in his own residence, the prev...
make us see exactly what he wants us to and this film is a very good