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The Lion King has produced two sequels and two animated shows for television. The motion picture also inspired four video games on six gaming systems. The many toys, children books, and various merchandising gear has secured The Lion King’s place in moviemaking history and enthused the youth of the world. Personally, this motion picture inspired me with a message of determination and responsibility, as Simba believed that it was his fault for his father’s demise he returned to accept the blame for the wrong that he caused for making a mistake he made in his youth. The motion picture soundtrack won nominations and awards for the best in their category as the film continued to live on through its magnificent musical scores. In conclusion, The …show more content…
However, whatever I decide to obtain will depend on the approaches employed in examining a particular motion picture. For instance, using a formalist approach would consider how specific techniques have been used to create meaning that is perceived by the viewers. What this means is that the perception of audiences will change dependent on the methods utilized. A realist method would scrutinize how the movie represents the reality. A contextual approach would consider a film as part of a broader milieu. Thus, this technique could empower the analyst to gain an inclusive standpoint on issues just by reviewing a particular movie. So, in utilizing either one or a combination of these tactics, an observer will be in a position to understand the meaning the director is concealing within his film. From the scrutiny process that I have done thus far, I have come to acquire that there is always a more profound meaning to a movie than just the entertainment characteristic of a film. Additionally, I believe that the production of a specific motion picture could have stimulated an individual or society in different ways. The moviemaker might as well wanted to convey a particular message or document a culture’s representation in the
In the piece “Cinema/Ideology/Criticism,” Jean Luc-Comolli and Jean Narboni define the critic's job as the discernment of “which films, books and magazines allow the ideology a free, unhampered passage, transmit it with crystal clarity, serve as its chosen language” and which films “attempt to make it turn back and reflect itself, intercept it, make it visible by revealing its mechanisms, by blocking them” (753). Through their examination, seven film categories are outlined. Clue falls into the “E” category, which is defined as “films which seem at first sight to belong firmly within the ideology and to be completely under its sway, but which turn out to be so only in an ambiguous manner” (75...
Kerner, Aaron M.. “Irreconcilable Realities.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 462-83.
Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003.
The Lion King is a Disney animated movie portraying the life and times of Simba, who later becomes the greatest lion king known in the land. Simba's rise to the throne is a journey fraught with perils and hardships that make it an absolutely trilling story for the whole family! Although The Lion King is an exciting and entertaining movie, the movie is also a good illustration of several psychology concepts.
Although the movie The Lion King is often times viewed as nothing more than a child-based movie, in actuality, it contains a much deeper meaning. It is a movie that not only displays the hardships of maturation, and the perplexities associated with growing, but it is also a movie that deals with the search for one's identity and responsibility. As said by director Julie Taymor, "In addition to being a tale about a boy's personal growth, the `Lion King' dramatizes the ritual of the `Circle of Life'." Throughout The Lion King, Simba must endeavor through the cycle of birth, death, and rebirth to take his place in the circle of life, as king of the pridelands.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
John Gibbs and Douglas Pye (2005) Style and meaning : studies in the detailed analysis of film. Engalnd: Manchester University Press, pp 42-52.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
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.
"Q&A WITH THE DIRECTORS OF DISNEY'S THE LION KING!" Interview by Victor Medina. Q&A WITH THE
Many perceive The Lion King, Disney's most successful movie to date, as Disney's only original movie; the only movie not previously a fairy tale from one country or another. This, however, is not the case. While The Lion King seems not to be beased on a fairy tale, it is in fact strongly based on the play Hamlet by William Shakespeare. Disney writers cleverly conceal the basic character archetypes and simplified storyline in a children's tale of cute lions in Africa. To the seasoned reader, however, Hamlet comes screaming out of the screenplay as obviously as Hamlet performed onstage.
The film’s story does not simply shines forth, but is also the foundation of the plot. The film’s plot makes the traditional guidelines applicable...
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
Shakespeare is known for being a great writer, his play have been rewritten, re-adapted, and turned into films to keep their magic alive. However what many people do not know is that many of Shakespeare’s plays have been adapted into many Disney Films. More precisely “Hamlet” is one of the most used plays. Movies such as “Tarzan," “Aladdin," and “101 Dalmatians” used many scenes in Shakespeare’s “Hamlet” to inspire scenes in the films. The movie The Lion King by Disney, however, is one of the strongest and more closely related to “Hamlet” than any other Disney film, but how? More importantly what makes this movie more important and the focus of this essay?