Central Characters as Outsiders in Society in E.T. The Extra Terrestrial and the Elephant Man Both films there are many similarities and differences
between the directive strategies of Directors David Lynch and Steven
Spielberg although it should be remembered that there is a theory that
all stories derive from six basic plots.
The directors have chosen characters that compare with the general
feeling of the period for the two similar plots. Spielberg in ET
developed a plot creating and using a modern day fairy tale whilst
David Lynch creates his plot in Elephant Man with a more credible
scenario by using a historic figure, John Merrick. In Victorian times
disfigured people were at the bottom of society whereas if John
Merrick had been placed in the 1970's he would have received greater
sympathy which would not have been the affect that David Lynch sought
to convey.
During the opening of ET there is an apparently insignificant but
important scene. ET bends down to grab a plant as the camera moves
slightly to the right, showing a rabbit which is clearly comfortable
with this 'outsider' being there. Spielberg uses the concept of a
rabbit's instinct to show that ET is a harmless creature. As the
authorities arrive ET is left behind, on earth and Spielberg closes
the scene with a long-shot of the city. He has chosen to use this in
order to illustrate the notion that ET is but a small spec in the big
wide world.
As The Elephant Man film opens the music changes, creating an
atmosphere of joy with traditional circus music...
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... rules by which these deformed figures
were treated.) Lynch has also tended to use small spaces (rooms etc.)
perhaps relating them to the small lonely world that John was
subjected to endure.
Have the Directors been successful? I think they have. It is not easy
to come to such a blunt conclusion, as the directors have used many
comparably different techniques to bring there characters across
although taking many similar routes along the way.
On personal preference I found The Elephant Man to be the more epic of
the two. I felt the ending was magical as John Merrick chose to end
his life upon the drug that euphoria creates rather than subject
himself to the possibilities of the hurt he has already experienced.
Barber's Adagio for Strings captures the atmosphere perfectly,
possibly bringing the audience to tears.
Another similarity in the book and movie is that the characters have to go against their morals in order to decide what to do in certain situations. An example of this in the book is when Skip realises he would have to trespass and steal in order for him to keep himself and his friends alive. Or in...
The plot of both stories is quite similar. They are both about hunting larger prey to
These two films come from entirely different genres, have entirely different plots, and are even based in entirely different galaxies, but the share the theme of the hero’s journey. This concept can be equally applied to nearly every book, movie, and other such works, as long as you dig under the surface and find the meaning beneath. The elements of the hero’s journey are found in both films, and with a critical eye, can be found all around us. This is the classic story of the hero; in every shape and form an author can apply it too.
The short story and the film have the same plots and the same conflict ...
...nge that transforms to create a different, more effective scene is the eminent balcony scene. In Luhrmann’s rendition of the movie, the balcony is intensified with the addition of a pool. This makes the scene more interesting than the tradition portrayal of the balcony scene as it is more innovative.
...et with Autumn because he is confident in his capabilities. Another correlation between the two films is the family problems they face. Each character comes from a home where the parents aren’t together anymore or they really never knew them. Lastly, Omar Epps is rewarded with the girl of his dreams in each motion picture, and it ends in a fairy tale fashion.
...human life by using nature and the environment around said person, in “The Open Boat”. They both use irony, naturalism, objectivism, determinism, etc. to evince the, modern, human nature.
The scene starts with a medium close-up of Richie, who is positioned in the center of the fame and looks directly into the camera –which also doubles as the bathroom window- while wearing his signature headband and sunglasses. The medium close-up leads the viewer to focus on Richie’s face during the actions that are to fallow, but it also allows for a sense of place to be established. The scene starts off poorly lit and with a s...
In this movie, much emphasis is placed on simplicity, spontaneity and directness, so we can focus on the true story without being distracted from the normal every day routines these characters have. A degree of realism is achieved in this movie, because the fact remains that Ben is an alcoholic, although he does drink in extremes where the normal human being would be unconscious, and Sera is a prostitute, so the intense situations and decisions in this movie are reasonably depicted. One of the first scenes is an extreme long shot of the city of Las Vegas, because this sinful city was very carefully chosen as the setting of the story to preserve realism. Full shots are often used to show the protagonists on their daily routine, such as when Ben goes shopping at the supermarket for liquor. Figgis mainly used multiple shots to emphasize the two protagonist’s interactions with each other. The two shot and the over-the-shoulder shot were used often to build a sit...
Each of these films, with release dates ranging from 1976 to 1996 (Taxi Driver and Trainspotting, respectively), have the same, eerily similar structure. This goes for more than just film. Any art form that contains narrative contains examples of this same monomyth structure, and film and literature alike will never cease in producing works that fit this structure. This is because, as previously stated, storytelling and mythology are integral parts of all human culture. They can show us the darkness that lies in wait for us, threatening to corrupt us, thus protecting us from it. Narrative, in this sense, acts as an instruction booklet for life.
The opening title sequence is arguably one of the most interesting sequences of the entire film; it begins with a wide high angle shot looking down over San Francisco's Union Square. The square is busy from nearby office workers and Christmas shoppers eating their lunches and enjoying entertainment from local street performers.
... long shot, the camera crosses the 180-degree axis to show all the shots and reversed shots during the last dialogues. Breaking the rule of axis helps to change the atmosphere of the scene and implies the real ending shot is coming. As the atmosphere changes, the Cop also becomes more active. When the Cop brings the map of California that Faye previously gave him, the camera shows a close up of the map. This close up reveals that the Cop has kept the map thinking about Faye, which makes Faye feel touched and respond to him. The camera takes high angles at the Cop’s perspective and then low angles at Faye’s stand. These shots make audiences view Faye to be shy and cute and focus on Cop’s gaze toward Faye with love. The scene ends with a close up of the audio, which played the theme song, California dreaming, at their first encounter, implying their new relationships.
As college professors, do you ever consider exploring the world? Christopher McCandless once stated, “The core of man's spirit comes from new experiences.” This quote resonates throughout the movie adaptation, Into the Wild. Based on a true story in the 1990’s, the film explores a man’s existence and the meaning of life. Although released in 2007, I discovered the movie three years ago through the internet. Instantly, it became my favorite movie. Into the Wild describes an eye-opening adventure, an influential message, and a story that I, and possibly others, can relate to.
1 scene 3 in a building in a street in Venice. The building in which
Mise-en-scene, Cinematography and Sound in the Film Leon (Luc Besson) 1994 In the opening sequence of Leon, Besson uses a travelling aerial shot of a lake followed by a huge park, which is finally dominated by huge, cosmopolitan skyscrapers. The camera rests here to show the contrast in jungle and urban life. We then enter the urban city, where several travelling shots going through the streets are used giving an apparent sense of setting and location. The added use of non-diagetic sound combined with many beautiful shots of New York's streets combine to produce a very mysterious atmosphere.