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Henry ford early life
A essay about henry ford a great life in brief
Henry ford early life
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John Ford. Dear Reader, what more can one say about the man, the myth, the legend of an artist and director? When naming the great classic movie moguls from the experimental days of cinematography, John Ford is one of the towering giants who changed movie making forever! Often, film students compare Alfred Hitchcock and John Ford neck to neck, and Alfred is usually given the title of “Best Director Of All Time’”. Oh, but what a mistake! Hitchcock is great in his own right, but John Ford brings so much style and pioneering creativity to the round table of movie experts. “why ?” one might ask, “why are you so adamant on the title of BDOAT belongs to Ford??’’ Ah my Dear Reader, patience and I will explain everything and soon, you too will
Hitchcock has characteristics as an auteur that is apparent in most of his films, as well as this one.
...ormation of novel to film, sees Hitchcock’s responsibility as auteur. Suggesting Hitchcock as ‘creator’, attributes to Vertigo’s “perfection” (Wood, p.129) as Wood argues. Stylistic features known classically to Alfred Hitchcock movies is also what defines Hitchcock as a classic auteur, his style generates a cinematic effect which mixes effectively with his use of suspense. In returning to Cook’s discussion, she references Andrew Sarris, who argues that the “history of American cinema could be written in terms of its great directors,” (Cook, p. 411) showing the legitimacy of authorship in popular American cinema. Ultimately Cook goes on to address the changes in authorship from the 1950’s until today, featuring developments in authorship within Cinema. Overall, both Cook and Wood presented a balanced discussion on the legitimacy of Alfred Hitchcock’s auteur status.
Gerald Ford was the 38th president of the United States of America. He became president right after Richard Nixon resigned in 1974. This was not an expected time to have a new president. Ford said, “I assume the Presidency under extraordinary circumstances … This is an hour of history that troubles our minds and hurts our hearts (thewhitehouse.gov pg. 1).” While Ford had not planned to be a president, he still did great tasks, served 25 years in Congress, and he did his best.
All directors of major motion pictures have specific styles or signatures that they add in their work. Alfred Hitchcock, one of the greatest directors of all time, has a particularly unique style in the way he creates his films. Film analyzers classify his distinctive style as the “Alfred Hitchcock signature”. Hitchcock’s signatures vary from his cameo appearances to his portrayal of a specific character. Two perfect examples of how Hitchcock implements his infamous “signatures” are in the movies, A Shadow of a Doubt and Vertigo. In these movies, numerous examples show how Hitchcock exclusively develops his imagination in his films.
Alfred Hitchcock’s unique sense of filmmaking and directing has allowed him to become a very famous and well known film maker of his time. He uses similar recurring themes, elements, and techniques in many of his films to engage the viewers in more than just the film, but the meaning and focus behind the story.
The movie The Quiet Man directed by John Ford is a far cry from the Westerns his most noted for directing however for John The Quiet Man “was the most personal film he ever made (it was also one of his favorites” (Berardinelli). In The Quiet Man John Ford brings together one of his most favorite Western actors, John Wayne, who is undeniably the central character, and the ever stunning Maureen O’Hara to brings to life a warmhearted, down-to-earth romantic comedy. He created a movie that is primarily focuses on characters and atmosphere, than on its plot, and is able to bring romance to life, not through the use of powerful dialogue, but through the use of glances and on screen tension. Having filmed most of this movie against the natural backdrop of Ireland in 1952, John was able to capture and bring to life the spectacular Ireland landscape by filming in Technicolor. Today The Quiet Man is truly considered a classic romantic because of the amazing chemistry between its actors, it’s cinematography that captures the truly magical landscape of Ireland, and by ending this movie with one of the longest nonviolent fight scenes in movie history.
Orson Wells’ film Citizen Kane received terrific reviews as soon as it opened in 1941. While the average movie buff would not value Citizen Kane as much, for the critics, directors and film students: it provides a technical handbook as to the nuts and bolts of how a film is to be assembled. It has now been chosen as the greatest American film in a number of polls due to the many remarkable scenes and performances, cinematic and narrative techniques and experimental innovations in photography, editing and sound.
As a filmmaker, whose individual style and complete control over all elements of production, Alfred Hitchcock implied a great deal in the motion pictures that he made.
The highly acclaimed Citizen Kane creates drama and suspense to the viewer. Orson Welles designed this film to enhance the viewer’s opinion about light and darkness, staging, proxemics, personal theme development, and materialism. Creating one of the most astounding films to the cinematography world, Welles conveys many stylistic features as well as fundamentals of cinematography. It is an amazing film and will have an everlasting impact on the world of film.
John Ford was an American motion-picture director. Winner of four Academy Awards, and is known as one of America’s great film directors. He began his career in the film industry around 1913. According to Ellis, Ford’s style is evident in both the themes he is drawn toward and the visual treatment of those themes, in his direction of the camera and in what’s in front of it. Although he began his career in the silent film area and continued to work fruitfully for decades after the thirties, Ford reached creative maturity in the thirties. Ford, unlike other directors continued to do some of his finest work after the nineteen thirties. Nevertheless, he shaped his art into personal and full expression during those precedent-setting years. (Pg.200)
Orson Welles’s 1941 film Citizen Kane, is a significant and brilliant film. They knew that it was going to be such a great film that the slogan on the original citizen Kane posters said “It’s Terrific!” it may have been on the vague side, but it was certainly accurate thanks to its introduction incredible camera techniques, avant-garde storytelling, the use of special effects make-up, and new cinematography methods. These methods changed the way Hollywood films were made.
"I would have been more successful if I'd left movies immediately, stayed in the theater, gone into politics, written, anything”(Cramer). This quote from Orson Welles during an interview in 1982 produces questions about the career of one of the most celebrated filmmakers of the twentieth century. How could the director of Citizen Kane, the movie cherished as the best movie of last century, wished for his life to be void of the cinema? How could he wish to have continued in theater when most of the critical acclaim he experienced in that medium has been long forgotten? Most people do not even realize that Welles was an acclaimed director of theatre before Citizen Kane because Citizen Kane overshadows all of the rest of this genius’ work. Yet, Orson Welles’ theatre is just as important as his filmmaking because in all that he did, Welles exhibited the same artistic tendencies. His theatre was a unique experience and a creative achievement, but it also inspired his later work in films. The theatre of Orson Welles provides significant insight for an understanding of his films and what went wrong with his career in Hollywood.
Films are about some topics or themes and involve different types of characters. Many filmmakers use a variety of techniques to convey their messages. The choice on the type of the techniques depends on the theme of the film and how effective the filmmakers want to communicate their ideas. This essay aims at illuminating theme and technique in films basing its argument on Alfred Hitchcock’s movies; Notorious movie, Rope, and Strangers on the Train. Alfred Hitchcock was a director of movies and his place in the film studies is unrivalled. He is famously known due to his brilliant plots, witty dialogue, and his ability to tell stories visually. This unique ability brought a new revolution in the film industry that made him become a very influential person in this industry.
In film studies, auteur theory amounts to a claim that the director of a film, despite the myriad talents that go into creating it, is in some sense the film’s primary author (Leblanc 19). For cinemaphiles devoted to the work of Hitchcock, Kurosawa, or the Cohen brothers, this claim feels both natural and obvious, given what they perceive as the common formalistic, stylistic and thematic elements in the films attributed to any given director. For film theorists, auteur theory similarly provides a convenient conceptual framework with which to parse and analyze these elements between films (as opposed to within the same film). For the average movie-goer the attribution of a film to a director may provide a helpful variable in the complex calculus of what film to spend their next $15 on. Yet to what extent does auteur theory accurately describe either the actual process of filmmaking or the final result? Does the director’s contribution to a film pervade and determine it so completely that she should be considered its author? William Goldman, veteran Hollywood screenwriter, answers this last question with a resounding “no.” Goldman believes that, at least for Hollywood-produced films, the prevalence of auteur theory in both commercial and academic discussions of films, marginalizes the work and talent of the countless other contributors to a film, and even degrades the director. Goldman views the attributional bias of auteur theory as a pernicious convenience that arose naturally and understandably from the realities of film production and distribution, but a convenience that inaccurately describes both films and the process of film production.
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’.