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The different genres of movies
Elements of film mise en scene
The different genres of movies
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Mamet's visual point of view gives the reader a better understanding of what makes a good movie. He uses a lot of examples about what works and what does not work. Some of the main examples of the visual point of views are Counter Cultural Architecture. For an instant, he uses his house as an example of how back in the day, people had a better understanding of the simple things. He simply states “It was built with an understanding of, wood, weather, and human domestic requirements” (Mamet 17). He expresses that more thought needs to been put into what you make. The more complex things that are in life aren't always the most efficient. In, addition to Counterculture Architecture movies also is another example Mamet gives. He explains how ‘bad
The films, The Thin Blue Line and Cloverfield are both alike and dissimilar in different film aesthetics. The aesthetics that are presented to the film’s viewers vary in many ways ranging from the type of camera used to the lighting in the films. Despite the differences both films present truths about the world using aesthetics. I think these certain aspects helps the audience give a full, undivided attention to what is currently happening in the movie. When the movie has our full attention that is when we fully understand the truths that are being presented to us from the two films, The Thin Blue Line and Cloverfield.
In the world of science there are many discoveries. “A discovery is like falling in love and reaching the top of a mountain after a hard climb all in one, an ecstasy not induced by drugs but by the revelation of a face of nature … and that often turns out to be more subtle and wonderful than anyone had imagined.” (Ferdinand Puretz). Most people in the world we live in lack to notice and or appreciate the gift of sight in life. By not cherishing the gift of sight and using it properly, many discoveries are left unfound. In the writing piece, Seeing, Annie Dillard speaks of nature and the small things that we all are unconsciously blind to and not appreciative of. Seeing explores the idea of what it means to truly see things in this world. Annie Dillard’s main point is that we should view the world with less of a meddling eye, so that we are able to capture things that would otherwise go unnoticed. There’s a science to how we view things in nature. Dillard attempts to persuade her reader to adopt to her way of seeing, which is more artificial rather than natural.
Death of a Salesman and Glengarry Glen Ross are two plays which attempt to validate the key values that have been strongly advocated for by capitalism. The two plays dwell on somewhat similar themes, but these themes are presented in different styles. Both Miller and Mamet hold a similar interpretation of success in that the success of the main characters in the two plays is measured from a material standpoint. According to Miller and Mamet, these characters will do anything within their reach to stay ahead of other members of the society (the system/principle of capitalism), but as fate would have it, tragedies befall them in the end. Nevertheless, Miller and Mamet interpret these themes from different perspectives. For instance, Miller
The American Dream is only achievable based on your motivation to succeed, your process in which you achieve your dream can be more important than your actual dream. Sometimes it's the journey that makes or breaks you and not the destination. The Great Gatsby, written by Fitzgerald, is based off the idea of the American Dream, and whether it's achievable to all Americans. Many seem to have their own opinions and thoughts on the idea of the American Dream. The idea of the American Dream is sought after by just about anyone. This topic is often mentioned during times of sorrow and death ,as well as through many platforms such as poems, speeches, novels, and essays. Gatsby
I chose to use examples from the movie "The Fundamentals of Caring" for my discussion. This is an American comedy-drama, directed by Rob Bumett. The movie is about a man named Ben, who is lived a harsh life and turns it around by going on an incredible journey. The two important parts of cinematic language in this film are the system of shots and medium close-up methods that get our attention to watch this movie with interest and active viewing.
Through materialism, Kane became a self-invested individual. The highly acclaimed Citizen Kane creates drama and suspense for 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 in 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.
...t eras shows the reader or viewer that the American Dream may or may not have progressed. I would recommend The Death of a Salesman to a friend because I like how Miller shows the symbolism of working your whole life for something, and when you finally achieve it you are too old to enjoy it. I also like how he showed that physical appearance does not always promise you a successful life because the reader can find that out by comparing Biff and Bernard. I would also recommend the movie “American Beauty” because it has deep symbolism, especially when it comes to the plastic bag in the beginning of the film. Yes, the movie may have some overly sexual scenes, but there is a lot of symbolism behind it. The viewer may not get the movie the first time around, but after watching more closely and analyzing the actions of the characters one can say that it was good movie.
These mind games reveal a lot about the politics of the sexes. How men think the female mind operates and the irony surfaces when they are wrong in their assumption. This is how the grotesque is created with the mutual understanding , or shall I say, misunderstanding between the sexes, which is a major theme in Mamet’s
“Creating a master plan for a consistent visual texture or style that is artistically suited to the film story to be told” (Petrie and Boggs 75). This is the main universal goal of all filmmakers. This blueprint for success is the way the films North by Northwest, The Third Man, and The Piano accomplished such astounding and visually beautiful performances. These three films successfully balance the use (or lack of use) of color, lighting, setting, costumes, and makeup to create a film that is harmonious from beginning to end.
Mise en scene is a French theatrical term meaning “placing on stage,” or more accurately, the arrangement of all visual elements of a theatrical production within a given playing area or stage. The exact area of a playing area or stage is contained by the proscenium arch, which encloses the stage in a picture frame of sorts. However, the acting area is more ambiguous and acts with more fluidity by reaching out into the auditorium and audience. Whatever the margins of the stage may be, mise en scene is a three dimensional continuation of the space an audience occupies consisting of depth, width, and height. No matter how hard one tries to create a separate dimension from the audience, it is in vain as the audience always relates itself to the staging area. Mise en scene in movies is slightly more complicated than that of an actual theater, as it is a compilation of the visual principles of live theater in the form of a painting, hence the term “motion picture.” A filmmaker arranges objects and people within a given three-dimensional area as a stage director would. However, once it is photographed, the three-dimensional planes arranged by the director are flattened to a two-dimensional image of the real thing. This eliminates the third dimension from the film while it is still occupied by the audience, giving a movie the semblance of an audience in an art gallery. This being so, mis en scene in movies is therefore analogous to the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame with the addition of that image having the ability to move freely within its confines. A thorough mise en scene evaluation can be an analysis of the way things are place on stage in...
Baz Luhrmann uses a postmodernist style throughout his films (Moulin Rouge, Strictly Ballroom, Romeo and Juliet, The Great Gatsby) to create a unique viewing experience. Baz Luhrmann creates films that reflect on real, emotional, moral stories that both excite and enthral his audience through a world so deceiving, while telling a story that inflicts on pain and the power of loss. He uses mis-en-scenes of shots, proxemics space and lighting that enhance his post-modern style. He embraces change through re-imaginings, capturing the youth through music and his very unique editing techniques. One simply cannot separate a director from his art. Therefore I strongly agree with this statement and I will elaborate on each film individually on his post modernistic style of directing.
It seems that Deleuze’s theory on cinema, argue Narboni and Bonitzer, aims at changing a sort of injustice done to it by philosophy. What one can conceive from modern philosophical debates is that they all neglect the importance of cinema. They either concentrate on movement without the image, or the image without movement. It is strange that Sartre, in The Psychology of Imagination, investigated every type of images, except cinema...
Abstraction was a major difference between Morris and Read. While Read advocated about it, Morris’s impression of a post-revolutionary life did not fit the aesthetic ideas that went hand in hand in abstraction. Both Morris and Read showed how there is great art in craftsmanship, and Morris especially showed that in the Red House and Green Dining Room, where they were obviously made for a purpose but still were meticulously crafted by hand to create an aesthetically pleasing work of
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.
In conclusion, Millers’ work portrays the death of the American dream while Mamets’ work takes that death and uses it for social criticism on capitalism and the world it has created. Death of a Salesman is modern in that it has a common man as the tragic hero and his downfall is during modern times, it adds irony to Aristotle’s nature of tragedy, it has a clear plot and characters, is subjective, and has a clear distinction between high culture and low culture. Overall, it is a warning to the audience to make sure they do something meaningful with their lives rather than chase the capitalistic American dream. Glengarry Glen Ross is considered a postmodern play because it doesn’t create meaning for its characters lives, doesn’t try to make any point across to the audience other than entertainment, is playful, and it doesn’t give us any catharsis.