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Life of pi film analysis
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Darren Aronofsky’s 1998 debut feature film, Pi, helped paved the way for his illustrious career in the US independent film scene. Shot for a miniscule budget of $68,000, Pi follows an intelligent, yet paranoid man who discovers a link between numbers and reality, believing that with this knowledge he can predict the future. The drama thriller is short in length, but helps to convey its story in a number of cinematic techniques. These techniques would include the editing, soundtrack, and cinematography. A staple of Darren Aronofsky’s filmography is quick paced editing and cuts. This is no different in Pi, as Aronofsky uses the fast cuts to communicate to the audience the character's emotional state, which is mainly paranoia. An example of this technique is whenever the main character Max (Sean Gullette), leaves his apartment. We are provided with shots of his door, locked behind numerous chain locks, and every time Max slides the lock off we are pushed in closer to the locks. [https://www.youtube.com/watch?v=6_CtgelI6xU start at 0:52] This style of editing also helps to convey the grittiness of Max’s world, that his world is always moving, never stopping for anyone or anything. The use of the montage, or the so-called …show more content…
Aronofsky is famous for using the SnorriCam, a camera attached to the actor’s body that creates a vertigo effect. When the actor is walking with the camera rigged to to their body, it does not appear that they are moving, but everything else around them does. [https://www.youtube.com/watch?v=hdcKcmQESzY] This camera technique is notoriously difficult to use because of its negative effect from audiences who report becoming nauseous and light-headed having watched it. This, however, is exactly what Darren Aronofsky wants. He wants to make you feel stuck in the same state of mind and body as the
Higher Learning - Film Analysis Exposition: The Establishing Shot of the film is a full screen American Flag, the camera zooms out and points down, revealing a large crowd of people in a rally, being very patriotic. As the camera zooms off the flag we come across a statue of Columbus- indicating it to be Columbus University. The speaker on the stage gives us another indication of the setting by Shouting'Columbus University'. They are in front of a stage with Band music playing and chants rising out. Whilst this continues in the background three characters are established:
Jean Luc Godard’s Breathless is often regarded one of the earliest films exhibiting the French New Wave style of cinema due to its influence on the movement and innovation by the producers. One of the most noticeable edits that Godard does in Breathless is the jump-cuts made frequently during conversations, and other times when one would expect continuity, in order to break up the flow of story to the audience and force them to actively participate on understanding the progression of events. This is quite contrary to the typical Hollywood style of film editing as transitions between shots are usually smoothed over as much as possible so that the audience focuses solely on the plot events transpiring on the screen rather than the editing
Following careful thought on which director to study, I chose Francis Ford Coppola. Although he has directed more films than I have had the opportunity to experience, I have viewed enough to understand his progression and style of his work. Over almost forty years of work, Coppola has directed about twenty-five films, produced near forty-five, composed two, and acted in eight. He is known predominantly for Apocalypse Now (1979) and The Godfather I (1972), II (1974), and III (1990). However, he has worked in other genres, such as Horror/Romance, Musical, and even Comedy.
Niccol uses long-over-the-shoulder camera shots of Vincent looking up into the sky at rockets leaving for Titan when he is working at Gattaca to showcase his ambition as he is metaphorically ‘reaching for the stars’. This humanizes Vincent making his character more relatable to the audience and allows them to feel empathetic towards him as having ambition is a human ideal. Subsequently, Niccol utilizes close-up facial shots and unfixed camera movements while Vincent is swimming against Anton for the time. The close-up shots of Vincent’s face highlight his struggle as the audience can see the pain and tiredness on his face, causing them to empathize with him. Continuing with this the camera is unfixed, therefore it is positioned to be follow the chaos of the waves and ocean. This positions the audience to experience the same chaos and struggle, Vincent must power through, making them feel as if they will also drown if they do not swim, furthermore making the audience empathize with his character. The non-diegetic sounds of orchestral music using crescendo and layering the texture, builds the tension further and emphasizes Vincent’s struggle and his determination to overcome the obstacles he must face. This causes the audience to experience tension and empathize with his plight.
This film shows his artistic prowess, and helps inspire new film makers daily: creating storytellers that can spin tales that hypnotize audiences for generations to come.
Vertov uses montage make the viewer understand the connection between individual potential and societal potential, and furthermore, how technology is able to factor into this connection. To achieve his goal, Vertov uses one scene which begins with a close-up, eye-level of a woman cleaning her face with a towel (Vertov, 11’42”-12’11”). The use of a close-up, eye-level shot pins the viewer on the woman’s eyes. The woman abruptly peers up, and as she does so, Vertov fluidly cross cuts to a close up shot of blinds of a window looking out the city opening, successfully blending together the motion of both shots. The window of the house is a unit of the community, and by blending the motion of the woman’s eyes with the blinds of the windows house, Vertov establishes the woman as a unit of her greater society. Vertov uses another crosscut to connect the shot of the blinds to a close up shot of a camera. The camera focuses in and out on a subsequent close-up shot of flowers. Just as the woman can use
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 the film V for Vendetta the director James Mcteigue uses a range of different film techniques in order to gain the audience's attention and to make the movie more interesting. The four film techniques I’m going to focus on in this essay are editing, music, camera angles and the lighting. I am going to do this by analysing the ‘Domino Montage’ scene.
What do you think about when watching a film? Do you focus on the characters' good looks or the dialogue? Or do you go behind the scenes and think about what made the film? Maybe, it's even a combination of all three. No matter what comes to mind first, an important part of any good movie will be what you see. A camera and good director or cinematographer is needed to make that possible. Different directors and cinematographers will use different camera techniques to make you focus on what you see. Camera techniques show emphasis in films, because they make you focus more on situations and people. They are especially important in Darren Aronofsky’s Requiem for a Dream.
The use of jump cuts within Breathless and Contempt was an unconventional technique during the French New Wave and still is today because it violates one of the rules of Classic Hollywood Style. Jump cuts create “…discontinuities that the perceptual system will not ignore because the stimuli fall outside of the accommodation ranges for perceptual continuity, then spatial coherence breaks down” (Berliner). Even though jump cuts are not aesthetically pleasing, Godard uses them for the deeper meaning of the films.
freeze frames to pinpoint important moments in his movies, and he saves a few of
I chose to analyze Despicable Me, an animated film geared towards a younger audience, because I was interested in examining underlying theories and messages that this film would be relaying to its viewers. Often times, when watching animated films, children are not aware of these messages, as they are absorbed by the characters, special effects, and humor. But as we have learned throughout this semester, our brains are subconsciously primed by the various surroundings we are exposed to. Since we also studied the impacts of entertainment, such as television and video games, on children, I wanted to see how a popular children’s film might also affect them.
However, in stark contrast to The General, other films were being made around the world that did not follow a simple Hollywood structure, but rather were more experimental with what a movie could be. Man With a Movie Camera (1929), a very ahead of its time, utilized a completely different style of filmmaking that resonated strongly with the ideals of the Soviet Union. Thus, Man With a Movie Camera sought out to make the everyday people of the Soviet Union the stars of the film. This idea was completely revolutionary as well, and almost by necessity, introduced a new style of editing to fit the story—or rather the documentation—that director Dziga Vertov was trying to tell.
Stalker by Andrei Tarkovsky is one of the most enigmatic movies in the history of cinematography. This masterpiece has been fascinated those viewers who appreciate professionalism and unusual qualities of the film, but also those souls who are always looking for some deeper answers. What make this movie is so extraordinary and different from others? It cannot be just one thing, indeed it is a totality of the experience. Not only the winning combination of interesting plot, haunting images, genuine dialogues, complicated characters of the protagonists makes Stalker unforgettable, but also the eerie feeling of being touched somewhere deep down by very strange but powerful force.
The first video response that we did was the movie “Harvest”. It was about three young peoples who have been working for their families just trying to survive. It talks about the hardships they have with finding work and how they bounce around to just find work. They have some very bad lives and people feel very bad for them. Now I am going to describe how symbolic interactionism, conflict theory, and functionalism.