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Interpretation of Mulholland Drive
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Mulholland Drive, written and directed by David Lynch tells the story of Diane Selwyn, a aspiring actor, as she struggles to advance her acting career. The film is a masterpiece with a story line that is quite complex and sometimes hard to understand. Upon watching the movie the first time, I had no idea that the first half of it was just a dream. Diane, our main character, creates an imagery world in her dream. This dream world represents the life that she wishes she had.
Mulholland Drive is the kind of film that will never be fully understood with only one viewing of it. This film demands to be watched again and again in order to really understand it. For example, before credits of the movie we can see the camera moving into an object. Upon looking closer, it is clear that the object is a pillow, signifying that what’s next is a dream. The main character seen in the first half of the film is Betty, but Betty is actually just Diane imaginary self. We know that because this actor is a very successful aspiring actor. In her dream Diane has created characters in order to fulfill her representations of herself and others. Additionally, Rita is the dream version of Camilla Rhodes that through her dream she made amnesiac, following a fake car accident, so
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In this film he again has created a tale that is both complex and confusing to watch. What makes his films different is his ability to offer story structure that really makes no sense. Though, this confusion makes the viewer want to understand more and to do that they must really pay close attention to everything that is happening in the film. Also, it is clear that there is much symbolism going on in tis film. For example, the bum we see that scares the living carp out of the man and makes him have nightmares is actually signifying Diane’s evil
The film is a fairly faithful adaptation of the book. The amateurish style of the book gives it some appeal as a more sleek and sophisticated style wouldn’t evoke a sense of angst’ desperation and confusion that the novel does.
Rear Window effectively demonstrates Hitchcock’s strong qualities as an author. The writer for Rear Window is not Hitchcock, and yet there are clearly many motifs and themes present which are well known for being used by Hitchcock. He is not merely following instructions on how to make the movie; he is providing his own creative adjustments. Now we will address a few of these from the film. First, drawing parallels between characters with a difference, usually a negative one, is a repeated concept in Hitchcock films.
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
The film Friday Night Lights, directed by Peter Berg explains a story about a small town in Odessa, Texas that is obsessed to their high school football team (Permian Panthers) to the point where it’s strange. Boobie Miles (Derek Luke) is an cocky, star tailback who tore his ACL in the first game of the season and everyone in the town just became hopeless cause their star isn’t playing for a long time. The townspeople have to now rely on the new coach Gary Gaines (Billy Bob Thornton), to motivate the other team members to be able to respect, step up their game, and improve quickly. During this process, racism has made it harder to have a success and be happy and the team has to overcome them as a family.
Film noir, by translation alone, means dark film, and by that measurement Sunset Boulevard certainly fits the genre. A gloomy story that follows a jaded and sarcastic protagonist, Joe Gillis from his initial dire circumstances to his untimely death, Sunset Blvd. earns the description “dark” several times over. But there is more to film noir than crushingly depressing plotlines. There are common motifs and icons that are found in most film noirs, such as crime, dark alleys, guns and alcohol. Deeper than this, film noir features certain visual elements, character archetypes, and themes that create a unique style of film. Although some have argued that Sunset Blvd. fails to represent some of these elements, it has become known as one of the most iconic film noirs ever made. Sunset Boulevard (1950), written and directed by Billy Wilder exemplifies the film noir style through its use of visual elements (lighting, shots and angles), memorable characters, themes and overall structure of the film.
As for his character, it reveals that he can find beauty in the smallest things in life, meaning in the smallest revelation, but that he is a down-to-earth man (at the time he relates the story) who canget his point across, but not romanticize things. He expresses things as he sees them, but he sees them in a unique and detailed way. He mak...
Friday Night Lights by H.G. Bissinger is a story about a football town. The name of the town is Odessa. It is a small town on the west side of Texas and football is the only thing that matters. Bissinger gives the reader a glimpse of what life is like at an area high school called Permian. Very few towns are obsessed with sports like Permian and Ringgold when it comes to sports programs. In this essay, Permian and Ringgold sports will be compared by their programs and values that they place on sports.
After experiencing a traumatic car crash, Michelle, the protagonist of director Dan Trachtenberg’s film 10 Cloverfield Lane, wakes up in an underground bunker owned by a man named Howard. Howard claims to have saved her from a widespread chemical attack that has contaminated the air, with his bunker being the only place to take refuge for the next couple of years. Yet as the film progresses, Howard’s controlling and threatening demeanor eventually brings Michelle to escape, allowing her to come across the actuality of the situation outside the isolated bunker. Throughout the production, Trachtenberg arranges close frames, manipulates the camera’s focus, and chooses specific lighting to create an ominous tone that mystifies and disturbs viewers.
For this paper I chose to explore Alfred Hitchcock’s Psycho because it has remained the only horror movie I’ve seen to date. I went into a couple others but immediately left; let’s just say horror is not my favorite genre of film. People may or may not always call Psycho a horror film, it may be more of a thriller to people nowadays, but I still believe the correct genre analysis is horror because it should always refer to the genre at the time the film was created and released. I chose Psycho because I spent multiple weeks in high school studying Hitchcock, and Psycho specifically, so I feel comfortable writing on it. I also thoroughly enjoy the film, its backstory, and the character development. Plus, it’s been roughly adapted into one of my favorite shows: Bates Motel, which I will also briefly explore.
The film was produced to reflect the 1963 novel by Charles Webb. The film revolves around the character called Benjamin who graduates from college when he is stressed up in life about his future. He is seduced by an old woman, Mrs. Robinson ("CHAPTER 4. Fiction and Film: Proust’s Vertigo and Hitchcock’s Vertigo" 33). At first, he rejects the proposal to make love with her when he heard the husband coming. He later calls the woman for a date in a hotel. To recover from his lost dream, Benjamin ends up marrying Elaine, Mrs. Robinson’s
Everybody knows Alfred Hitchcock is the master of suspense and is known for inciting fear in the hearts of his audience. His multiple, fast cuts directs his audience to what he wants them to see and feel. Close-ups of the actors faces clearly shows what the characters are feeling and forces the audience to feel the same emotions. With all his expert directing skills, is there any meaning behind what he chooses to portray in his films or is it all for show? Could there be a deeper meaning to his films? The answer to these questions is a firm yes. Hitchcock’s past experiences guided him to be the director he was. The inadequateness of the police, control of all details in his films, and long stretches of no dialogue all portrayed in his films are all directly correlated to Hitchcock’s early life and early professional life.
Stanley Kubrick’s “The Shining” presents the audience a twisted tale of a man named Jack Torrance and his wife Wendy and son Danny, who spend a few winter months in isolation as caretakers of the Overlook hotel. This is no typical horror movie. Viewers are slowly lead though a slow film journey following the Torrance family in their moments of horror and insanity with help from bizarre events connected to the haunted Overlook Hotel.
There are movies that make you laugh, that make you cry, that blow you away with jaw-dropping, ever-so-satisfying action sequences. And there is Pulp Fiction, Quentin Tarantino’s masterpiece, an homage to the old Pulp Magazines and crime novels popular in the 1950s. Known for their incredibly dense and complex dialogue and excessive violence, Tarantino adds his trademark nonlinear chronology and thorough character development to create a movie that celebrates the fact that chance governs all of our lives. The film consists of multiple stories that tell of the criminals, gangsters and outliers of Los Angeles, the underbelly of society. It follows Vincent Vega and Jules Winnfield as they embark on their mission to recovering a briefcase that
Mulholland Drive (David Lynch, 2001), under the background of Hollywood, it tells the story between two pairs of characters, Diane and Camilla, Betty and Rita. David Lynch, the director, made the whole film outstanding from the traditional narrative style. Starting from the story of Betty and Rita, Lynch successfully tricked on audience’s perception, as most of them would assume the first scene was the beginning of a story. In flashbacks, the dreams are presented disconnectedly. On the one hand, this draws up audience’s curiosity and keeps them focus on the story.
...n (Director) mistakenly seems to believe can carry the whole film. On the strength "based on a true story", he has rejected attention-grabbing characters, an imaginative plot, and unforgettable villains.