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The role of music in movies
The role of music in movies
The role of music in movies
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Wes Anderson’s film, The Royal Tenenbaums (2001), trails about a dysfunctional family coming together for a reunion. The purpose of this essay is to examine and evaluate Anderson’s use of various film techniques to support in building the plot and thus presenting the story. Additionally, reasons as to why the events are presented in that manner would be stated. Anderson employs sequential narrative where events are predominantly introduced in a chronological order without having to change the way the story ends (Riedl and Young, 2006). How the story unfolds is revealed chapter by chapter as portrayed by the fictional book. Prior to the execution of the opening scenes of each chapter, a shot of the first few sentences of that particular chapter …show more content…
Information has been withheld as early as in Chapter 1 as to why the divorce did not legalise. One likely inference from here is Mr Royal would probably hold an influential component of the plot since he is still, by law, attached to the family, though living in separate houses. Additionally, no one knows how Margot lost her finger. Ostensibly, how events are revealed and concealed in a film can be biased as it is dependent on how the filmmaker manipulates it in order to let audience see the characters in the same perspective as he or she does (Neumeyer, …show more content…
A soundtrack is introduced as she walks towards Richie. The purpose of the non-diegetic soundtrack which diverts audience from reality momentarily would frame the scene to be more vivid, and thus emotionally relevant. By doing so, audience would selectively focus on the music that fits the narrative (Cohen, 2001). Subsequently, mental subjectivity is achieved as the point-of-view shot is put into slow motion. Such added information through editing aids in understanding how Richie sees Margot as more than an adopted sibling; a lover. Supported by his numerous paintings of Margot displayed on the wall of his room when he was younger reinforces the expectation that Richie indeed has feelings for
The film Wendy and Lucy, directed by Kelly Reichardt, presents a sparse narrative. The film has been criticised for its lack of background story, and as a short film, much of the story is left to the viewer to infer from what is presented in the plot. However, Wendy and Lucy is able to depict the intimate relationship between Wendy and her dog as well as reflecting more broadly on the everyday, and commenting on the current economic state of the film’s setting in America. This essay will examine how film form contributes to the viewer’s awareness of the story in Wendy and Lucy and allows a deeper understanding of the themes presented. The aspects of mise-en-scene, shot and editing and sound in the film will be explored.
In the past few years, advertisement has changed significantly, and with it bringing many changes to our current society. Susan Bordo, a modern feminist philosopher, discussed in her article “Beauty (Re)discovers the Male Body” how current society has changed starting with Calvin Klein’s advertising campaign that showed men wearing nothing but underwear. Bordo argues how men are becoming the subject of the gaze, just as women were for centuries. This argument of the gaze is especially pronounced in John McTiernan’s film The Thomas Crown Affair, which focuses on two main characters, a man named Thomas Crown, who is a billionaire Manhattan financier, and a woman named Catherine Banning, and insurance investigator who is investigating Crown’s robbery of the 100-million-dollar painting, the “San Giorgio Maggiore Soleil Couchant”. The film addresses Bordo’s modern feminine and masculine gaze to target a wide range of adult audience.
Suspense is a 1913 film that portrays the story of a tramp intruding into a family’s home, where a mother takes care of her child while her husband is away. The plot is a common one that had been used previous times before the film’s release, such as in The Lonely Villa (1909). However, through taking advantage of the single frame shot, the filmmakers were able to create a masterful aesthetic of two separate stories that turn a basic plot into a complex story. The film created an inventive way of illustrating stories within cinema by allowing the audience the chance to consume more narrative in less time within just one take.
BIBLIOGRAPHY An Introduction to Film Studies Jill Nelmes (ed.) Routledge 1996 Anatomy of Film Bernard H. Dick St. Martins Press 1998 Key Concepts in Cinema Studies Susan Hayward Routledge 1996 Teach Yourself Film Studies Warren Buckland Hodder & Stoughton 1998 Interpreting the Moving Image Noel Carroll Cambridge University Press 1998 The Cinema Book Pam Cook (ed.) BFI 1985 FILMOGRAPHY All That Heaven Allows Dir. Douglas Sirk Universal 1955 Being There Dir. Hal Ashby 1979
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
1980. Warner Bros. Directed by Stanley Kubrick. Music by Wendy Carlos and Rcachel Elkind. Cinematography by John Alcott. Editing by Ray Lovejoy. With Jack Nicholson, Shelley Duvall, Danny Lloyd.
In his third feature film, following Bottle Rocket and Rushmore, Texan director Wes Anderson demonstrates what it is like to be a New Wave director decades after the movement ended. Many aspects of The Royal Tenenbaums, namely characters and themes, hark back to many of Francois Truffaut’s work, and the similarities are at the same time obvious and discrete. Both directors’ work is very autobiographical and many of the manifestations of each man’s similar experiences liken each other on screen as well. One theme that is present in The Royal Tenenbaums, as well as Anderson’s other work, is that of grown-ups who seem to be stuck in childhood. As we know, Truffaut has been christened the director of children, as well as being called a “wild child” himself.
Wes Anderson sets movies in a world of immature adults and mature children; Moonrise Kingdom uses this to reflect a tween’s frusturation in an unaccepting environment. Wes Anderson is known for his quirky films where everything is surreal and unexpected and uses of colors as well as his cinematography creates a fairytale-like world that captivates the viewer. Anderson’s movie The Royal Tenenbaums parallels his movie Moonrise Kingdom
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.
The mix of genuine charm, romance, memorable characters, dialogue and scenes makes The Princess Bride, directed by Rob Reiner, stand out from any hero’s journey movie.
In the films The Last King of Scotland by Kevin MacDonald and 12 Years a Slave by Steve McQueen, I will be discussing chapters Three "Types of Movies", Seven “Acting”, Eight “Editing”, and Nine “Sound.” These two films are great examples for us the viewers for that reason that they both illustrate humility and power.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Some people may think that filmmaking is about the big picture, not small details. The movie Paradise Lost:The Child Murders at Robin Hood Hill directed by Joe Berlinger and Bruce Sinofsky captures the big picture and exposes raw footage, interviews, court room conferences, and personal family gatherings. The filmmakers use a plethora of rhetorical devices to show the audience their perception of the court cases, whether they perceive the defendants guilty or innocent. Berlinger and Sinofsky communicate their thoughts about their subjects to the viewers. In such a way that is not blunt yet still appeals to the immense audiences with emotion, credibility, and reasoning.
Cinematography is the art of motion pictures recorded using various techniques with a camera. The essential used of cinematography in a film is to create meaning to its audience. In the movie The Royal Tenenbaums, Wes Anderson the director has applied an artistic way to present the scene where Richie Tenenbaum (Luke Wilson) suicide. Anderson has engaged this element to help captivate the audience into the world of misery resided by Richie. He has discovered the untold secrets and past lovers of his adopted, married sister Margot Tenenbaums (Gwyneth Paltrow) whom he secretly love his entire life. This scene lays its dreadfully honest illustration of hitting rock bottom.