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The film industry today
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The auteur theory is a view on filmmaking that consists of three equally important premises: technical competence, interior meaning, and personal signature of the director. Auteur is a French word for author. The auteur theory was developed by Andrew Sarris, a well-known American film critic. Technical competence of the Auteur deals with how the director films the movie in their own style. Personal signature includes recurring themes that are present within the director’s line of work with characteristics of style, which serve as a signature. The third and ultimate premise of the Auteur theory is the interior meaning which is basically the main theme behind the film. Spike, born Sheldon Jackson Lee, is an American film director, producer, writer and actor known for his films that deal with controversial social and political issues. Though Lee has written small films prior, his first feature-length film was his 1986 She’s Gotta Have It and was a landmark independent film for American cinema. She’s Gotta Have It was shot in twelve days with a low budget but grossed in the box office at $7 million. This film helped Lee launch his career and create his own production company known as 40 Acres and A Mule Film works. The name of his production company came from the unfulfilled promise that many politicians made to freed slaves after the Civil War. Do The Right Thing was Spike Lee’s first landmark film. Do The Right Thing is a movie that brings awareness to the racial tensions when people in a Brooklyn neighborhood of different racial and cultural backgrounds coexist, which ends in a tragedy. The film was a great success receiving many of awards and earned two Academy Award nominations for Best Original Screenplay and Best Supporti... ... middle of paper ... ...ot where the camera follows a subject within a frame and motion of the subject or its surroundings is involved. In this movie Lee uses the double dolly shot which includes the camera dolly and the actor mounted on a second dolly so the actor is moving along with the camera. The double dolly shot signature move is one of Lee’s favorites and also plays into his technical competence for the movie. This shot stars Detective Keith Frazier and happens just seconds after a hostage is “allegedly” killed by the bank robbers. In this scene the camera tends to shake and Denzel facial expressions display feelings of sadness and anger. In addition, a small cameo of Sal’s Pizzeria pizza boxes are seen when the head bank robbers makes a deal with the officers to get food for the hostages. Lee has lots of these connections within his movies relating back to Do The Right Thing.
In the film industry, there are directors who merely take someone else’s vision and express it in their own way on film, then there are those who take their own visions and use any means necessary to express their visions on film. The latter of these two types of directors are called auteurs. Not only do auteurs write the scripts from elements that they know and love in life, but they direct, produce, and sometimes act in their films as well. Three prime examples of these auteurs are: Kevin Smith, Spike Lee and Alfred Hitchcock.
of Sal. It for the most part pawns him off as a racist. On the
The first word that comes to mind when thinking about Do the Right Thing is HOT. Everything about this movie was hot, from the weather down to the themes and issues it brought up. It’s interesting too watch this movie while living with a heat wave in NYC. There’s plenty of room for debate as to whether or not anyone did the right thing in this script, in my opinion most of the characters did the wrong thing. What’s interesting to me is to think about what Spike Lee considered the right and wrong thing to do in this screenplay. It’s not just his words as an actor playing a role, he also wrote, directed, and produced the vehicle for those words and actions to come to life. So it’s hard to separate Spike from Mookie, and I don’t think Spike would even want us to. I also wonder about some changes from the screenplay and the film, and the effect the have on the overall message of the film.
Racial tension and cultural barriers has been a constant within our county and the rest of the world for as long as time has been around. Being segregation, to racial riots and sometimes even worse events can occur which has been proven by history in the past. Director Spike Lee’s 1989 film “Do the Right Thing” is a movie set in New York City neighborhood that is filled with many different cultures and ethnic groups being an Italian pizza shop, an Asian general store, an African American housing and residents. Sociology places a main role within the film in which we see how every person goes about their day. Peace and conflict are at an ever increasing war with each other. Above this the film takes place on only one day which happens to be the hottest day of the summer. The observation that we the audience make out is the highest tension is between the Italians and the African Americans. Granted, there are some that get along but for the most part the conflict is there. Whereas the Asian family in the film is the side group in which they are not shown in many scenes throughout the film. Spike Lee does a phenomenal job in portraying the races the way he see it from his perspective. The neighborhood
Shelton Jackson Lee was born in Atlanta, Georgia March 20, 1957. Born to teacher Jacqueline Carroll and jazz musician William James Edward Lee, Shelton grew up in Brooklyn, New York where he was provided with a rich cultural upbringing that included plays, movies, and music (Gale 1). At a young age, Lee was nicknamed “Spike” by his mother who noticed his rough nature and the nickname stuck well into his adult life. He attended Morehouse College in Atlanta, Georgia where he gained an interest in film and then graduated with a Bachelors degree in Mass Communication. Lee went on to attend New York University’s Tisch School of the Arts where he created his first student film and graduated in 1982 with a Master of Fine Arts in Film and Television.
Director and actor Spike Lee presents his "truth" about race relations in his movie Do the Right Thing. The film exhibits the spectacle of black discrimination and racial altercations. Through serious, angry, and loud sounds, Lee stays true to the ethnicity of his characters, all of which reflect their own individualism. Lee uses insulting diction and intense scenes to show how severe racism can lead to violence. The biases reflected through Do the Right Thing model those of today which has kept society in a constant feud for so long. In Oprah Winfrey's dynamic episode, "The Color of Fear", Mr. Mun Wah projects his strong opinion when he states, " . . . that racism is still going on today, that we've got to stop to hear the anguish and the pain that goes with that and then we'll survive." (3) People do not realize the severity of their own words. In the scenes of the movie that emphasize the shocking reality of failed interracial communication, racial stereotyping, trust or lack of trust, and acrimonious violence mirror the current concerns about race in America as reflected in "The Color Of Fear."
The first thing we see is Christian Bale’s almost surreal beer belly, similar to an overdue pregnant stomach. He stands in front of a mirror and adjusting one of the most complex comb overs I have ever seen, which includes artful interweaving of glued hair extensions. Add to this a pair of smoked colored pilot glasses and a sophisticated outfit that screams out our worst nightmares of the late 1970s, and it is dangerously tempting to expect a continuation of a hard groomed freak show, populated by thoroughly ridiculous people who make and says ridiculous things. Especially as the second thing we see is one of Amy Adams countless, magnificently deep necklines. But if that's what we believe will happen, we will become thoroughly
“Do the Right Thing” is a film directed by Spike Lee, which was released in 1989. The film takes place in a small predominately African-American neighborhood in Brooklyn, New York. The protagonist of the film named Mookie works in a pizzeria located in his neighborhood named, Sal’s Famous Pizzeria. Throughout the film, we see different characters who visit Sal’s pizzeria, including Buggin ' Out, who is a neighborhood local who feels offended when he sees the lack of diversity on the pizzerias wall; which only displays famous Italian-Americans. The lack of African-American culture in the neighborhood leads to a building up of tensions, which eventually explodes into a fight between the owner of the pizzeria Sal, his two sons and the locals.
Do the Right Thing is a dramatic comedic film that was directed by Spike Lee. The movie was released in 1989. Lee served in three capacities for the film: writer, director and producer of the movie, Ernest Dickenson was the cinematographer and Barry Alexander Brown was the film’s editor. For this film, Lee garnered together some notable actors and actresses, including Ruby Dee and Ossie Davis, Rosie Perez, Samuel L. Jackson, John Tuturro and Martin Lawrence. The setting of the movie is in Bedford-Stuyvesant; which is a neighborhood in Brooklyn, New York. This particular neighborhood is made up of several ethnic groups that include African Americas, Italians, Koreans, and Puerto Ricans. The movie takes place on a particularly hot day during the summer time. The extreme heat causes tensions between the different races in the neighborhood. In this paper, I will attempt to show how mise-en-scène, camera work, editing, and sound are used to convey “explicit” and “implicit” meaning in one scene in Do the Right Thing.
Spike Lee is brand name when it comes to the film industry. When you try to ask any group of people their opinion about this man, you will probably receive numerous positive responses from the film community as well as the African American community. Do the Right Thing (Spike Lee, 1989) is a film that illustrates how racial conflict can become a reality while showing the repercussions that come with racial segregation. Spike Lee uses a number of tools to write and produce the film in order to ensure the message reaches his intended audience in the best way possible. The use of location, soundtrack, and dialogue is abundant in this film. Therefore, this film analysis paper is for Spike Lee’s Do the Right Thing (1989). It is a film in which racial segregation ignites riots in a neighborhood dominated by the black population. The heightened scene of this film analysis is where Spike Lee throws a trash can and it is from this that hell breaks loose and riots begin.
During the 20th century, racism was a prevalent issue throughout the country. It often caused social tensions between people of different races living in the same community, resulting in violence and disruptions. In the film Do the Right Thing, the director, Spike Lee, portrayed racism accurately by addressing the discrimination against black people. Throughout the film, characters were transformed, stereotypes were broken, and the audience knew more information than the characters in the movie. Lee’s theme was to show people that blacks should “fight the power,” or superiority, caused by racial supremacy of white people by establishing a balance of power, fighting the stereotypes, and uniting together against the white people.
The film Do the Right Thing is a film written, produced, and directed by Spike Lee. In the film the main character is Mookie, is played by Spike Lee. Mookie is a black male in his younger twenties who delivers for the neighborhood pizza parlor Sal’s Famous Pizzeria. The film takes place in the Brooklyn, New York neighborhood of Bedford-Stuyvesant, also known as Bed Stuy. Throughout the movie we do not know if the weather plays a role in the story, but the tension between racial groups’ increases. We see tension increase within the Blacks and Hispanics, Blacks and Asians, and most importantly between the Blacks and Whites (Italian.) Sal 's Famous Pizzeria is a pizza parlor in the neighborhood that many of the kids in the area grew up eating.
Auteurism or the auteur theory is the idea that a director puts so much of himself (his style, personal experiences, etc) into a film that he is basically it’s author. “Film should ideally be a means of personal artistic expression for it’s director bearing the signature of his or her personal style.”(Lewis, page 11) For a film to be “auteuristic” for lack of a better word, it should clearly be a product of its director.
Prolific director Spike Lee is looking to work with some of music’s biggest names to star in his upcoming film Chiraq. The director claims that he is attempting to recruit rappers Kanye West and Common alongside actors Samuel L. Jackson and Jeremy Piven to fill out the cast list for the film, which is believed to be shot and set in Chicago. The title Chiraq comes from a song by a Chicago based rapper Lil Durk. It is believed that the film will detail the rising prevalence of gun violence that the city has been experiencing.
The auteur theory was originally "an invention of French critics who maintained that directors are to movies what poets are to poems" ("Knockin' on Heaven's Door"). As expected, the auteur theory also made its way to America and had begun its influence on Hollywood. A key person in the influence of the auteur theory in America, Andrew Sarris, expanded upon the ideology as a "novel idea that the director is the sole author of his work, regardless of whatever contribution the writers, producers, or actors may make" ("Knockin' on Heaven's Door"). This ideology, more or less, then began to be subconsciously adopted by both the public and industry. People began ranking directors in hierarchies, differentiating them, analyzing them, and coming to realize each director's distinctive touch. Specifically, people began to do this by seeking out an auteur's "common stylistic traits, formal permutations, and thematic constructs" (Gomery and Pafort-Overduin 182). At the time, though, Hollywood directors still had to stay loyal to the Classical Hollywood Narrative Style, otherwise, they would "be forced out of the system altogether" (182). At the end of the day, however, directors were still able to "thrive within the rigid constraints of the Hollywood studio system, regularly turning out intense, moving films"