The above-discussed information is to show how the cinematic apparatus enables filmmakers to make the viewer survive the transformations depicted in the movie. Furthermore, it defends a role of a proper delivering of the point of view in creating the movie. Hollywood managed to learn concept and probably the best example of it Men in Black of 1997. “In the final sequence of Men in Black, the camera flies in seconds from the known universe to an alternative one” (Douglass 104) and preferably introduced the viewer to experience this transition. This task indeed has been a topic of the considerable researchers’ and scientists’ explorations since long. In the Middle Ages, besides a research on the structure of the universe, astronomers have been …show more content…
On the other hand, every movie is a reflection of the ideologies and values shared by an entire society or a particular community. This conclusion is a natural one as is based on the nature of the cinematography. Specifically speaking, since the cinema tends to deliver the reality to the viewer, it also delivers the ideologies, values, and characteristics of this reality. Independently on the theme the movie focuses on, it portrays the particular aspect of social reality. The cinema shows the relationships between people, their decision-making while facing the obstacles, attitudes to the specific events and phenomena, and morals. The filmmakers introduce their visions of the above-mentioned manifestations and the life itself to their works. Furthermore, since the cinematography affects most human senses, the ideological representation in it has profound implications. Moreover, while considering the human nature of filmmakers, it is also easy to conclude that they introduce their ideologies to their works. In this context, the ideological representation of the cinematography is even more noticeable because filmmakers tend to depict the reality that surrounds them in their works (Baudry 42). Consequently, they introduce the spread values and principles of life to their works. It relates to a social life, citizens’ dreams, values, ideals, interpersonal relationships, structure of the society, perception of race and gender, mentality, and state of politics. More specifically, the cinematography is a reflection of the surrounding reality delivered to the audience due to an application of the technical apparatus (Baudry 43). The community’s ideologies represented in the movies are one of the aspects of this reality. At the same time, the technical base of filmmaking is shaped under an influence of the particular ideologies. Jean-Louis Baudry
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
We still consider a black person as a bad individual in today’s society. In his essay, “Black Men and Public Space,” Brent Staples describes why he had to alter his behavior in order for the public to feel safe around him. Staples uses different examples in order for the reader to comprehend as to why he needed to do this. Staples further gives us details how he is being discriminated throughout all his life. Moreover, Staples tells us his emotions and frustration at how societal is prejudice towards black people. I agree he had altered his behavior because of the way society was treating him and how he lived day by day the injustices of society.
One can gather that socialism was on the rise and supported by many of the working class. From the co-op in The Crime of Monsieur Lange to the Communist party’s support of Madame Nozière, public opinion was shifting away from supporting a patriarchal society. What was once taboo became more popular topics of discussion, such as the pornography in Baptiste’s possession, Estelle’s miscarriage of Batala’s child, fathers taking their daughters’ innocence, and ousting men of unnecessary power. A film, while not necessarily factual, focuses on culture and values. Cinema is an art form that reflects what the directors and actors, and by extension, the general public, believe.
This form or realistic cinema provided the viewer with something completely different than they were used to seeing with the Classic Hollywood Style. These films hold a strong sense of the dilemma for the ordinary individual that is affected by political circumstances that are beyond their control. These actors were no longer perfectly attractive and trai...
Richardson, Riche. Black Masculinity and the U.S. South: From Uncle Tom to Gangsta. University of Georgia Press, 2010. Print.
.... Pour une lecture sociocritique de l'adaptation cinematographique. Une publication de l'Institut de Sociocritique --Montpellier.1995.
Throughout the years, the black community has been looked down upon as community of criminals and community lesser educated and poor and have a lesser purpose in life. Journalist Brent Staples the author of Black Men And Public Spaces takes us into his own thoughts as a young black man growing up in Chester, Pennsylvania to becoming a journalist in New York City. He tells us his own challenge that he face on a daily basis along with challenges that many black men his own age faced and the way he changed in order to minimize the tension between himself and the common white person.
It should be noted that the way a film is planned, designed and the environment and culture in which the film is acted are very important in understanding the theme, message and the purpose of a movie. A poorly planned movie or film, for example, may not pass the right message. Using the movie entitled Boys N the hood, this paper will exemplify how why planning, design, environment, culture and society are crucial towards understanding the general message, theme and purpose of the movie. The analysis will be based on thesis statement that the movie entitled Boys N the Hood is a high quality movie because it is well-planned, designed, contextualized and should at that it at least express one cultural or societal issue. The key areas
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
Films provide escape from daily life, opportunity to solve mysteries, chances to identify with powerful, competent heroes and discussions of morality that are comfortingly unambiguous. By opening a window on exotica, films enable us to become voyeurs, secret observers of the personal and even intimate lives of characters, even when we know that the stories are largely fantasies. The present thesis proposes to focus its attention on film studies, subsumed within Cultural Studies, to examine Alfred Hitchcock’s oeuvre. Cultural Studies evident in the study of cultural artifacts (films, music, novels) and examination of practices (sports, national events) is a holistic approach that seeks to understand the ways in which meaning is generated, disseminated and produced through various practices, beliefs, institutions and political, economic or social structures within a given culture.
...and to stand up to issues of race relations. There are profits of utilizing film as a major aspect of a mixed media methodology to showing courses in developed societies. For example, when I attended a course of motion picture, as assignment we have had to undergo various commentaries of relevant social behaviors or situations documented in the motion pictures. Characteristic movies are utilized to show the significance of sociological deduction and to show how the sociological imagination helps us understand our social world. Through the study of sociology we understand the phenomena in the large scale and can understand the effects of such phenomena. However it is by using sociological imagination that we can take that situation and analyze its effects on the social life of individuals and how they may be affected or situated within a specific phenomenon.
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 universally 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.
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.
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...
The Classical Hollywood Style or the Hollywood Style is the amazing style of account narrating wherein movies are assembled in a given arrangement of strategies and standards. It is fundamentally based on the standard of "imperceptible" style which is the craft of altering in the extremely silly and smooth way. This paper plans to utilize analysis to find where and how the interest of film is strengthened by prior examples of interest as of now at work inside the individual subject and the social developments that have shaped him. It takes as beginning stage the way film reflects, uncovers and even plays on the straight, socially settled elucidation of sexual distinction which controls pictures, suggestive methods for looking and exhibition.