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Narrative in film genre
Elements of narrative structure in film
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Over time cinema has adapted and developed to better entertain the audience. A lot of aspects in film have subliminal messages or specific purposes that the audience normally does not pick up on. An example of this is how different styles in cinema have made it possible to convey emotion without the characters actually speaking. This can be done by using aspects such as: sound, movement, light, and several other aspects. For the purpose of this paper, a utopia is defined as a community or society that possesses highly desirable or near perfect qualities. In Meet Me in St. Louis by Vincent Minnelli, it is evident that different styles, structures, and aspects are used in order to construct the idea of a utopic society and help develop the film’s
As it can be seen in the short clip, Vincent Minnelli’s Meet Me in St. Louis is a musical. Since the scene mostly consists of singing, there is a lot of nonsynchronous sound. This results in the background music having a significant role in portraying the emotion of the actors. In most present day films, the use of music tends to be a lot more significant than it appears to be. One specific example that can be used to illustrate this is with musicals. Musicals, like Meet Me in St. Louis, typically use song placement strategically so that the audience has no difficulty realizing emotions or where the plot is headed. Another major aspect of the use of sound is during the opening scene where everyone is outside and whistling with each other to showcase how perfect life in St. Louis is. Along with whistling, Minnelli chose to add in up-beat background music until the characters got into the house. Besides the music and sound, Vincent Minnelli uses movement in a manor that can be seen as another aspect helping to create the image of the family living in a utopia. One major purposes of movement in the scene was that it was an exposition. An exposition is the director’s way to give background information on characters or the setting of the film. Minnelli uses this method and incorporates it by adding a musical number which helps to emphasize that all
Louis uses movement, sound, lighting, and colour in order to convey emotion to the audience. The scene begins with a carriage ride where colours are significantly vibrant and create texture that seems fake. On this carriage ride the audience hears the first portion of sound which includes neighbours biking, laughing, talking, and whistling with one another; all while there is positive background music playing. The reason for this is that when the audience first is introduced to the film, it is obvious that the family is living in this perfect neighbourhood where everyone seems to be happy. Therefore, through analysis of Meet Me in St. Louis by Vincent Minnelli, it is evident that the film utilizes many different aspects and techniques of cinema in order for the audience to believe in the idea of a
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...
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Antirealism in film transcends and brainstorms the fantasies that never become reality. Even though antirealism is apprehensive with a smaller amount then actual stuff, our observation for an...
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
The music suited the movie very nicely. By the type of music playing, you could determine what sort of scene was coming up, either fast and light...
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
... movie stars like royalty or mythical gods and goddesses, viewing the drama between great archetypal characters in a personal psychic realm. By considering the statements made and their societal impact from a Marxist perspective, Benjamin’s method is highly effective, as it does not simply consider art in terms of pure aesthetics anymore, but considers art’s place in a society capable of mechanically reproducing and endlessly duplicating film, photography, and digital art. His qualm with losing the aura and mystique of an original work is negated by the cult of movie stars, the adoration of fame, the incorporation of soundtracks which embody a particular time period, cinematographic allusions, and time-capsule-like qualities of a film such as Basquiat, a 90s tribute to the 80s, produced both as a part of and resulting from the art movements and trends it addresses.
Director Max Ophüls is known for his distinctive smooth camera movements (Liang, 2011, p. 2). Frame mobility keeps the audience focused on the subject (Bordwell and Thompson, 2008, p. 203), and this can be seen in this shot. Due to the camera tracking Lisa and Lieutenant Leopold after they enter the frame, the audience’s attention stays focused on Lisa and Lieutenant Leopold, even thoug...
... In the beginning, of Contempt, Paul and Camille are talking to each other, but the dialogue can barely be heard. This is caused by the use of diegetic music. In a way, this cuts off the viewer as a voyeur but it still creates a heightened interest because the film begins after their moment of intimacy. Works Cited Berliner, Todd and Cohen, Dale J. "The Illusion of Continuity: Active Perception and the Classical Editing System.
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.
For example, in the movie The Lion king, the song “The Circle of Life”, the instruments used in the song are a piano, vocals, a small woodwind, and percussion. The music starts with very powerful vocals which grab your attention and pull it towards the screen and what is about to happen. The vocals then turn to harmonies from a choir. The music is primarily background offscreen. This means that it consists of sound effects, music, or vocals that originate from the world of the story. For examples, in the movie The Lion King, the animals talk. In real life, animals do not talk. Also in the scene where they sing “Hakuna Matata”, the music in the movie tells what is happening through the lives of the characters, but in the real life all we see is people talking and screaming but not the music expressing our feelings, like The Lion King. Another scene is where the animals sing “Can You Feel The Love Tonight”. The song is telling their love story in through the music but in real life we tell our love story by
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...
While Shakespeare doesn’t have the cinematic luxuries of lighting and shadow at his disposal, he proves that Mulvey’s argument that desire is expressed in voyeuristic and scopophiliac fashion, but also that these innate desires of an audience transcend mediums and can in fact be fulfilled and appreciated in written form as much as within the intricacies of modern film.
The importance of music in movies is highly regarded for manipulating the viewer’s emotions and helping them immerse into the story. Music is one of the prime elements in cinema. Without it a movie would feel dull and unexciting. There are three elements in a movie: one is acting, the second is picture, and the third one is music. It is a holy trinity; if incomplete, there would be a lack of sensation and excitement. Both acting and picture can stand independently from one another, but music is the one that makes the movie memorable.