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Movie genres ESSAY
Analyzing film techniques
Analyzing film techniques
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Hollywood Movies Compared to Other Countries' Movies
Despite the fact that Hollywood films are popular all over the world, many believe that foreign films are better. Critics’ dislike of Hollywood films’ is due to the straight-line plots of the films in which nothing is left unclear, unsettling or unexplained and every shot is justified by a link to strictest cause and effect. Hollywood films are often viewed as dulling the mind. In this country people generally view films for mere entertainment. Many recent films support this stereotype of American culture. Special effects, violence, and actors’ names (despite level of talent) are often major themes that bring Americans to the movies. While most Hollywood films are made purely for entertainment value, many foreign films are entertaining as well as forcing the viewer think and question their surroundings at the same time. This is true of many foreign films I have seen.
The first film that comes to mind is Godard’s Masculine-Feminine. One of the themes in this film is the constant questioning that goes on between the characters. Through this interrogation, Godard is able to explore the different relationships between the main characters. The interrogation that happens in the bathroom between Paul and Madeline is a perfect example of this. They spend a good ten or fifteen minutes discussing how they feel about love and relationships. Another scene where interrogation plays a major role is the scene in which Paul is interviewing the model for the magazine. In this scene, the characters discuss multiple topics. They range from politics to love. This is something that is not often seen in Hollywood films. In general, the American public is more interested in fast-pace scenes often containing sex and violence.
The interviews in Godard’s movie are not the only thing that makes the viewer think. Much of the movie is based on political discontent and the future of the next generation, which Madeline at one point refers to as “the Pepsi Generation”. The film questions people’s loyalty to each other through the various murders that appear to go unnoticed. In the very beginning of the film, we see a woman shoot her male companion at a table near Paul and he does not notice. He looks up and then returns to his coffee and newspaper. The same thing happens on a subway car. Through this Godard seems to ...
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...ed upon the battles in space and the effects associated with the battle. For instance, the “light rays”, sword that look like flash lights and when held appropriately a ray of light becomes the blade of the sword, are a part of every actors costume. Hans Solo, a pilot of a battle ship, becomes a hero for saving Luke Skywalker’s life at the end of one of the films. The special effects are so entrancing that the audience forgets to notice some of the more intellectual themes in the movie. For instance, many critics have commented that the film deals with issues such as the evil nature of Communism- Darth Vader and the Empire being the communist nation and the Rebellion being the Democratic nation. In the triology themes like this support the special effects while in foreign films trhe special effects tend to support the story line.
Eventually, Americans, as well as Hollywood, can begin to appreciate a more intellectual type of film such as the films popular in Europe and Asia. We need to learn to be willing to open our minds to new possibilities and new ideas. Once we are willing to think for ourselves occasionally, Hollywood can stand out as the film capitol it supposedly is.
We are daunted by the idea that our movies in America are not going to be as successful as we hope. With that being said, many movies are made based around the same topic. According to one article, “Hollywood has made
Darth Vader’s leitmotif is known as “The Imperial March”. ¬¬¬In contrast to Skywalker’s theme, the Imperial March appears to be more “rigid, ponderous, and above all unnatural” (Buhler 48). Williams portrayed the “evil” characters—the antagonists (e.g. Darth Vader)—through the use of “shifting tonality and chromaticism”. Because of the abundant use of tonic chords, the theme cannot be developed which contrasts Skywalker’s theme. Throughout several scenes with the appearance of the Empire or Darth Vader, the leitmotif remains the same which shows no progress or development within the characters whatsoever. This suggests the Empire’s incapability of improvement or destiny for either ultimate success or ultimate failure. However, this rigid quality is only a part of Darth Vader’s leitmotif. His musical characterization also relies on sound effects, and his breathing and mechanical speech (Rooney). In a way, the use of sound effects highlights Darth Vader’s estrangement with the other characters in the film. Additionally, James Buhler—a professor of music theory—states how Darth Vader’s character is emphasized through the use of technology: “what is frightening about Vader is the way everything that is organic and human about him is masked by technology without completely destroying the sense that something is alive in there” (Buhler 41). Therefore, Darth
Recognize that the "Culture of Hollywood" is based on motion pictures as big business as well as entertainment.
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
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.
Largely influenced by the French New Wave and other international film movements, many American filmmakers in the late 1960s to 1970s sought to revolutionize Hollywood cinema in a similar way. The New Hollywood movement, also referred to as the “American New Wave” and the “Hollywood Renaissance,” defied traditional Hollywood standards and practices in countless ways, creating a more innovative and artistic style of filmmaking. Due to the advent and popularity of television, significant decrease in movie theater attendance, rising production costs, and changing tastes of American audiences, particularly in the younger generation, Hollywood studios were in a state of financial disaster. Many studios thus hired a host of young filmmakers to revitalize the business, and let them experiment and have almost complete creative control over their films. In addition, the abandonment of the restrictive Motion Picture Production Code in 1967 and the subsequent adoption of the MPAA’s rating system in 1968 opened the door to an era of increased artistic freedom and expression.
The Latin American film genre is one of the most known genre worldwide and one of the most popular and successful of all of the genres in this business around the world. Yearly a number of productions from Latin America become favored and demanded successes, often-earning high levels of recognition and recommendation. In foreign film categories and in events and functions such as the Oscars, which are very highly respected around the world, Latin American films are awarded and praised and unquestionably make audiences sit on seat’s edge to bear mind films being produced in countries here. Latin American films are most likely to be as successful as they are because of the mixture of all of the elements, which their cinema provides, including
Gallagher, T. 2002. Senses of Cinema – Max Ophuls: A New Art – But Who Notices?. [online] Available at: http://sensesofcinema.com/2002/feature-articles/ophuls/ [Accessed: 8 Apr 2014].
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universal understanding or interpretation. This is true for the French New Wave films Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society, using sound and editing.
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
“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.
... ed (BFI, 1990) we read … “contrary to all trendy journalism about the ‘New Hollywood’ and the imagined rise of artistic freedom in American films, the ‘New Hollywood’ remains as crass and commercial as the old…”
Regardless of the barriers that plague the industry or the other mediums emerging, the film industry continues to have a special place in the hearts of many today. The film industry sparked a change in culture and society dating back to when it first started in the 1920s. There were a large number of people going to the movie theaters during this time, more people even went to the movie theater than the church on Sundays during this time (Weinbrenner 2011). With so many people watching movies every day, the way people perceived the world had changed based on the movies that they had watched. Movies had caused the people who watched them to believe that whatever they saw on the screen is rational and realistic (Weinbrenner 2011). This changed how the behaviors of people were perceived in society.