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Recommended: Classical cinema art
His Girl Friday, Citizen Kane and Rashomon are all very well recognized films in the cinema & media world as well as from avid movie viewers worldwide. Although all three are iconic films, they vary greatly in the film form in which they’re presented. His Girl Friday is a prime example of a classical form, whereas Rashomon can be classified as an example of art cinema. The third film, Citizen Kane cannot be grouped into either one of these distinct categories because it shares similarities that both classical and art cinema film involve. Citizen Kane belongs in a category of its own and can be seen as a “hybrid” combination of both classical and art cinema. The fundamental principle of any classical film is based off traits with clear
Did you know that living with foster parents doesn’t give you the same love than your real family. The is why Ponyboy should stay with Darry instead of the system. He would be better off with Darry. Darry has shown that he is a responsible guardian because he has two jobs so that Ponyboy could stay in school. “Darry worked on two jobs at once, made good at both of them, and his outstanding record at school…” This proves that Darry is an outstanding guardian. The foster parents don’t give them the same love as their family. On the other side darry cares about him more than other foster parents. Darry is a good guardian and watches out for Ponyboy. Ponyboy has good grades and likes to be on the track team, this is good for his health.
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
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...
Insects may be the bane of some people’s existence, but the creatures are truly strong globes of energy, going about their lives, flitting to and fro. Thoreau and Woolf both captured this essential spirit in their writing. In “Battle of the Ants” and “The Death of the Moth,” both writers observe other life forms, but the way in which they perceive the insects struggles vastly differs. According to an online biography, Thoreau’s exposure to transcendentalism as well as his friend and mentor Ralph Waldo Emerson both shaped his writing to emphasize “the importance of empirical thinking and of spiritual matters over the physical world,” whereas Virginia Woolf’s parents raised her to be free thinking which resulted
In the Discourse on the Origin of Inequality, Rousseau demonstrates that in the state of nature, man was free and equal. According to Rousseau, man’s problems started from the evil in the society that has caused inequality. During the state of nature, man was similar to an animal with no knowledge of material things, status, and money. In part two, Rousseau states, “Man’s first sentiment was that of his own existence; his first concern was that of his preservation . . . devoid of any sentiment of the heart, produced a purely animal act” (Rousseau, 851). The reliance on natural instinct during the primitive time made people equal. Mean Girls is a 2004 movie
Orson Welles’ cinematic classic, Citizen Kane, is a film that centers on a group of reporter’s investigation into the meaning of Charles Foster Kane’s last word, “Rosebud.” Through their investigation of his last words, the team of reporters, is presented with an almost, but not quite, complete picture of “Citizen” Kane’s life. By assuming that the man’s last word was as grandiose as his life, the reporters miss out on the bigger, more holistic picture, which is Charles Foster Kane’s life. The reporters’ emphasis of attention on what turns out to be a small and trivial, although they never find that out, aspect of Kane’s life, make Citizen Kane a perfect example of the pitfalls of over-interpretation.
Citizen Kane was a film that broke new ground for the possibilities of storytelling in cinema, and used every aspect of productionwriting, photography, acting, editing, and soundin masterful ways that challenged the status quo of studio films and paved the way for even greater innovation that followed. In a time of lighthearted studio films, the number of serious (what cynics might call “artsy”) movies being made was low, and often resulted in poor theater success. There was, and in many ways, still is a hesitance to place resources and money into projects for which there is no guarantee of financial return. Following the notoriety that director/producer Orson Welles’ generated from his infamous War of the Worlds radio broadcast, the Hollywood establishment took a change on the young wunderkid and allowed him unprecedented freedom in the making of his first film. The result was, almost inevitably, a financial failure (although this was due not a little to the efforts of William Randolph Hearst, who tried his hardest to see the film completely destroyed). It was simply too challenging for the audience of the time to comprehend. It bucked tradition and was never satisfied with doing things the way everyone else in Hollywood had. Because of this, Kane was truly ahead of its time.
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
This essay will be divided into three distinct sections. First, I will begin by elucidating upon the origin of the film. This is to say, I will explain the development of the film in the writing stage, and the background of the directors and
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’.
One of the most defining films in American Film history is Orson Welles' 1941 cult classic, Citizen Kane. While the film is widely regarded for several cinematic elements such as its cinematography and background score, what stands out is the narrative style employed by Welles and co-screenplay writer, Herman J. Mankiewicz. Perhaps, what is most noteworthy was the demand the film made of its audience, to follow and deduce the plot as it unraveled, something we are used to as film viewers of this generation, but for its times was path breaking. The cinematic techniques used such as telling a story through a series of flashbacks, the use of deep focus camera shots, the use of low angles and chiaroscuro lighting enhanced the viewing experience and these remain
This separates her from women in all previous era’s who often gained their attention solely for their attire. Her suit is instead used to draw attention to what she says, as evidence by the upward and diagonal pinstripes that point toward her face. When all of the journalists question her about Earl, their dark colored suits in contrast to her stripes, as well as her position in the center of the frame, maker her the center of attention.This way, in every conversation she’s having all eyes focused on her quick moving lips. The importance of this contrast points to what aspects of women are noticed and highlighted. In the traditional women, it was their physique, and in the “new woman” it is in their intellect. There is also a large glowing light above her head during her dialect with Earl as he points his gun at her, which, coupled with her attire and fluent speech, could be another symbol of her
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.
The motion picture released before 1950’s formalism resembles to each other in some way. The movies mentioned in this essay are Barsaat (Rain) 1949, Bringing up baby 1938 and City lights 1931. These movies might have different narrative, theme, genre and auteur, but the organizing concept, structure and style indicate that they are very similar. The concept and structure, arrangement of movie released before 1950 reveals similarity of combined genre, expressive totality, and formalist approach of the movie that includes lighting, sound and set design, shot composition, editing characters, performance, theme and narrative.
Cinema in of itself has always been voyeuristic due to the nature of what film is, watching others, and because of the predominantly heterosexual male creative heads and audience. As cinema developed over the years, directors incorporated the general desire and scandal of watching, specifically voyeuristic male gazes on women, to combine the audience's desire to watch with the desire of the characters watching within the film. This essay will focus on directors Alfred Hitchcock with his movie Psycho (1960) and David Lynch with Blue Velvet (1986) on their use of different filmography techniques within the films to give the audience further insight into the psyche of the male characters and blur the lines between lust and violence. This all branching