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Moulin rouge scene analysis
Baz luhrmann cinematic style
Moulin rouge scene analysis
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Baz Luhrmann’s Moulin Rouge is a timeless, captivating film that incorporates great cinematography and a daring endeavor by Luhrmann to reinvent a musical. Moulin Rouge is about the night club in Paris called The Moulin Rouge, and the journey of a young writer who falls in the love with the star dancer and finds himself caught up in a love triangle.
Baz Luhrmann uses different techniques to convey images to his audience. An example of this is mise-en-scene, cinematography, and editing to draw the viewer into his film. Mise-en-scene is a term used to describe the design features of film production, which essentially means “visual theme” (Wikipedia). When applied to film, mise-en-scene means the various things that are involved before the camera and its arrangement which includes the following: composition, sets, props, actors, costumes and lighting (Wikipedia). The sets for this production were mainly just a set of Paris. Moulin Rouge’s Paris was a digital creation that started as a series of Photoshop collages that were used to then build a digital Paris. The digital shots helped connect the various different sets into one total neighborhood. With a single, sweeping shot the camera could travel from “bourgeois Paris through streets of toothless rabble and into Christian’s garret,” according to Chris Godfrey (www.cinema.com). In an interview with Baz Luhrmann, he expressed that they wanted to use digital power, not to create perfection, but rather imperfection. He wanted to reproduce camera shake, deconstruct the imagery and create a sense that this film was hand-made (cinema.com).
The actors in this film were also hand-picked well. Nicole Kidman played Satine, the star dancer at Moulin Rouge and Ewan McGregor played Christian,...
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...This conveys the message that Christian’s life has drastically deteriorated since Satine died.
Some have criticized the production of Luhrmann’s film Moulin Rouge, but to most it is a timeless classic that lets you dive into a fantasy world of music, love, and sparkle. To summarize the words of Julie Talen, part of the brilliance of Moulin Rouge is that Baz Luhrmann leads us by the hand into a world that not only doesn’t exist but never could.
Baz Luhrmann is telling us we’re in his world now, which has rules. Either you take his hand and hold on tight, or you let go, like the child in a fairytale, and are lost forever. (Talen, 2002).
Moulin Rouge and Baz Luhrmann were successful in recreating the timeless classic of a musical. The right cast paired with Luhrmann’s daring and impressive cinematography skills and his selection of music created a masterpiece.
actor and best film editing. The elements in this film such as music, sound, picture, and visual
Canadian filmmaker and cinephile, Guy Maddin once said, “I do feel a bit like Dracula in Winnipeg. I’m safe, but can travel abroad and suck up all sorts of ideas from other filmmakers… Then I can come back here and hoard these tropes and cinematic devices.” Here, Maddin addresses his filmmaking saying that he takes aspects from different film styles and appropriates them into his own work. In The Saddest Music in the World (2003), Maddin uses a combination of French Surrealist filmmaking and classical American Hollywood cinema, specifically melodrama, to create his own style. In an article by William Beard, Steven Shaviro talks about Maddin’s filmmaking, and he links Surrealism and melodrama together saying, “Maddin’s films are driven by a tension between romantic excess [melodrama] on the one hand and absurdist humour [Surrealism] on the other.” In regards to The Saddest Music in the World, the relationship between Surrealism and melodrama is not one of tension, as Shaviro suggests, but one of cooperation. This paper will analyze two films by filmmakers Maddin was familiar with —Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali on the Surrealist side, and All That Heaven Allows (1955) by Douglas Sirk on the melodrama side—to showcase the important elements of each, concluding with an analysis of The Saddest Music in the World in conjunction with both film styles. Ultimately, it will be shown how Guy Maddin combines French Surrealist cinema and Hollywood melodrama in The Saddest Music in the World, to create his own unique film style.
Often regarded as one of the greatest films ever made, Citizen Kane written and directed by Orson Welles is a classic film that defied the conventional styles of the Hollywood Cinema. Welles was committed to the Mise-En-Scene of his movies by using his characters, props, settings, and even the camera to tell the story of his characters. The Lighting, the camera shots, and the character 's actions to depict the life of Charles Foster Kane. The Mise-En-Scene of this narrative creates a film that is ahead of it’s time and a genius innovation to the cinema.
“Good Night, and Good Luck” is a 2005 American drama film about how United States (US) was plagued by the threat of communism, creating a tense atmosphere within US in the early 1950s. Fear of communism was inevitable and Senator Joseph McCarthy of Wisconsin exploited those fears. CBS reporter Edward R. Murrow and his producer Fred W. Friendly challenged McCarthy and aimed to expose him of his agendas. Although their actions brought about many consequences, the two men persevered in their stance and eventually brought down McCarthy successfully.
Jeanne-Marie LePrince de Beaumont’s take on “Beauty and the Beast” is a pretty simple story. A single merchant father of six kids loses his fortune. He meets the Beast when
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
Standing out and being different can be very difficult because of the people and the world around us. Belle--from Beauty and the Beast--does not follow the ordinary lifestyle of the villagers. She wants more than just the same old boring routine in the village that her whole life has been about. The movie Beauty and the Beast is transcendental because it encourages that at heart the individual is a good person, self reliance, and trusting your intuition.
...ng able to properly diagnose the symbolic implications of the mise en scene in not only this shot but the entire movie goes a long way in being able to completely understand the films underlying message. The mise en scene of the film arguably had more impact on the story than any of the dialogue did and was medium through which this director decided to tell his story.
‘Das Leben der Anderen’ (The Lives of Others) is a striking example of how a director can convey narrative links within a film by employing various styles and film techniques. The Lives of Others relies upon these visual means to assist with the telling of the story as much as it relies upon the script. In this selected sequence of the film, several narrative links are drawn here to form the conclusion of ‘Operation Lazlo’. These narrative links are further cemented by Donnersmarck’s use of various lighting styles, diegtic and non-diegtic sound, revealing camera shots and intricate mise-en-scene.
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
In conclusion, Lurhmann uses a lot of modern filming techniques to make Romeo and Juliet appeal to a contemporary audience. By relating certain aspects to situations in modern society, it makes the audience understand the ideas behind the original play and he simplifies the complicated old English of Shakespeare by adding exciting and dynamic visuals. Lurhmann tried to create a modern version of Romeo and Juliet and he was completely successful in his aims. Lurhmann defied all odds by making his film appeal to a modern audience and not only is this film very clever, it is a must see for any film lovers.
Sex, love, depression, guilt, trust, all are topics presented in this remarkably well written and performed drama. The Flick, a 2014 Pulitzer Prize winning drama by Annie Baker, serves to provide a social commentary which will leave the audience deep in thought well after the curtain closes. Emporia State Universities Production of this masterpiece was a masterpiece in itself, from the stunningly genuine portrayal of the characters of Avery and Rose, to the realism found within the set, every aspect of the production was superb.
Breathless is in many ways the antithesis of the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.
...-en-scene to emphasize the films themes and emotions. It can even be taken into consideration that cinematographer’s use of light isn’t just important when it is used, but also when it is not used. Visually, mise-en-scene allows cinematographers to help guide the audience through the story, making the story powerful and memorable, whilst portraying the mood, tone, and dimensions of the imagery. These techniques also underscore the themes of paranoia, anxiety, and angst, as well as underscoring double identities and shifting values. In essence, mise-en-scene is successful in that it undercuts the typical shot in film, and then creates a visually unstable environment by splashing the screen with low-lighting, shadows, and ambiguous scenery. This visually impelling sequence and imagery evoke all principles of safety and security, thus creating a noir-esque atmosphere.
Baron, F., Brown, M., & Luhrmann, B. (Producers). Luhrmann, B (Director). (2001). Moulin Rouge. United States of America: Twentieth Century Fox Home Entertainment.