Each set of clips progressively show the development “independent cinema” through each film. Originally, independent cinema before Quentin Taratino was a refusal of Hollywood ideals. With the rise of Taratino on the independent cinema Miramax changes how independent cinema evolves as a “genre” and marketing tool. Through each set of clips Reservoir Dogs (1992), Kids (1995), and Shakespeare in Love (1998) with editing and the ambiguity of narrative closure; in order to see the evolution of Miramax brand of “independent cinema”.
Reservoir Dogs had an open interpretation within the plot within a certain point in the film. Within the clip it is showing a contrast between taking the police officer hostage and Eddie arriving to the warehouse. The editing is quick pace as it switches back and forth between clueless Eddie and the crew is interrogating and questioning what went wrong with the heist similar to a montage. The montage kind of editing gives it a quicker pace and contributes to the questionable narrative. This leads to an openness interpretation of how the narrative is going to be. As a film viewer the question arises is that this film makes a shift in Miramax approach to films. The dialogue in the clip contributes to the narrative that “Damon and Affleck were inspired by . . . nobodies . . . [and] that we started writing” (Biskind, 281). The film is also before the Disney deal which shows that Miramax was still focused on producing indie films as something of not high quality. This is marked by stars taking interest and basically how it is a stepping stone in Miramax’s history as a film that contributes to larger scale productions.
The film Kids marked a different kind of point on fitting into the Miramax brand with its pseu...
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...up with Viola. The film Shakespeare in Love being released during the “Golden Age . . . [being the third phase]” where Miramax blew most of the competition away and having “commercial success” (Biskind, 376). This is a turn-around for Miramax as a brand because of the standards they set for “independent cinema” for future films.
Miramax with each release of films the quality and standards of independent cinema. With these three set of clips we can see the evolution of how Miramax approach “genre” and tried to make each film successful profit and creating the history of the Miramax brand through each film. The films fit into the brand of Miramax because they all approach different audiences and had a different aspect of “independent film” and creating a successful brand through ideas of editing styles within the film and the ambiguity of narrative closure of a film.
It seems that modern Hollywood filmmakers are as much in love with Shakespeare's plays as were the 16th century audiences who first enjoyed them. Recent updates of Hamlet (1996) and Romeo and Juliet (1996), both highly successful movies, bear this out, as well as the two best film versions of Richard III; Sir Laurence Olivier's 1954 "period piece", and Ian McKellan's more modern interpretation (1995).
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...
In this paper I will offer a structural analysis of the films of Simpson and Bruckheimer. In addition to their spectacle and typically well-crafted action sequences, Simpson/Bruckheimer pictures seem to possess an unconscious understanding of the zeitgeist and other cultural trends. It is this almost innate ability to select scripts that tap into some traditional American values (patriotism, individualism, and the obsession with the “new”) that helps to make their movies blockbusters.
...er apparently created successful persuasive appeals for the crowd to be attracted and enjoy a movie that will be funny, colorful, and full of adventures that eventually will teach a life experience to the public.
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.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 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 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.
In this essay I will look at the Film Company and distributer Universal Studios, also known as Universal Pictures. I will analyse the logo, branding, and marketing within the corporate company.
This New Wave aesthetic solidified film as a mainstream artform, stressing that film was carefully crafted similarly to literature. Individual directors, or auteurs, were expected to “author” their films in much the same way that an author would write a novel. This auteur theory and its accompanying aesthetic became the backbone of the French New Wave and was what drove innovation. Breaking free from the screenwriter, producer, and studio driven systems of the past, and putting the creative power back in the hands of the director was seen as a crucial step in solving Cahiers’ perceived problems with French cinema before the movement.
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’.
William Shakespeare once told us, "All the World’s a Stage" —and now his quote can be applied to his own life as it is portrayed in the recent film, Shakespeare In Love. This 1998 motion picture prospered with the creative scripting of Tom Stoppard and Marc Norman and direction of John Madden. The combined effort of these men, on top of many other elements, produced a film that can equally be enjoyed by the Shakespeare lover for its literary brilliance, or for the romantic viewer who wants to experience a passionate love story.
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.
The coexistence of films in America can be broken down into two categories the blockbuster film and the independent. Blockbuster films according to Lewis is a film that is enormously popular or was so costly to make that it must be successful to make a profit. An independent film also known as indie are films that are produced outside of the typical studio systems and are distributed by independent agencies. Blockbusters usually have a large marketing campaign to ensure the success of the film. Independent films tend to have smaller marketing and look for word of mouth after they have been released. Film festivals often provide smaller indie films the opportunity to screen their films with the hope of generating a buzz for the film.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.