In the film, The Big Lebowski, Joel and Ethan Coen use their resources to add to the film aesthetically. The Coen brothers are known for their art with films like Fargo and True Grit. The Big Lebowski is no different. Although the genres may differ, the amount of details in each of these films is well thought out and placed carefully. With “the Dude” as the protagonist, the story takes wild turns that are enhanced by the camera and the script. Techniques using the camera add an additional layer to the story. At the beginning of the film, the Dude’s house is invaded by two unknown men, who demand their money. In their surprise attack, they throw the Dude into the toilet in attempt to get him to talk. During this scene the high angle while the Dude head is being shoved in the toilet, shifted the power during the scene to the intruder. By placing the intruder on top of the Dude at this angle, the viewer sees him being venerable and under the control of the intruder. Another example of the techniques used in the film was during important change. During the climax of the film, when …show more content…
Big Lebowski was telling the Dude about Bunnies kidnapping, the lighting in the room is very dim and coming from a single source, the fire place. The fire place only lights parts of the face, making the mood of the scene serious and grim. The serious mood of this point in the film would cause the viewer to pay attention to the dialogue, which is important to the story. Lighting and camera angles are important techniques that add to the viewers experience. The actions of the characters were important to the story.
After the Dude’s car, which held the briefcase with one million dollars, is stolen, he reports it to the police at his house. During this conversation he leans back in his chair and sits crooked. This action which is repeated at various points in the film, is considered lazy, especially in the presence of law enforcement or even just guests. By not sitting upright in the chair, the Dude is showing he does not care what others think about him and does not abide by societies norms. This aspect of the Dude’s character is proven at many different points in the film, starting at the beginning with the image of a man in a bathrobe drinking half and half in the middle of a grocery store and his milk stained mustache. A character’s actions and words are the first thing a viewer notices and how these are conveyed are important to the
story. The content and the technical aspects of the film are well placed and improve the viewers experience. Most of the details in The Big Lebowski will go unnoticed by a general audience, as many are subconscious. From the Dude’s actions to camera angles and lighting, the way the film is viewed is different for every person. By looking in closer detail, each one of these details enhance the story, providing another way to look at the film.
Spike Lee does many fascinating things from a directorial standpoint, which makes his film (dare I say, joint), Do the Right Thing so interesting to watch. Writer, director Lee makes much use of the high and low angle shots. He does this to draw clear contrasts between the two elders of the block, Da Mayor and Mother Sister and to make conflict more apparent.
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
When given the task of comparing the sound design used in Raising Arizona and Drive, the task is fairly simple. Drive, which came out in 2011 and is a crime drama, is in no way like the sound design used it Raising Arizona, a black comedy film that was released in 1987. Given the nature of, Drive, the soundtrack for this film is understandably, intense while the soundtrack for Raising Arizona is noticeably, campy. I believe that these particular soundtracks, while different, are perfect for their respective films. In Raising Arizona, the music of the film has a folksy and goofy vibe that fits with all of the particular scenes in the film such as the mugshot scene and the diaper robbery. However, the soundtrack for Drive is prominently dark, powerful and intangible, something that fits most of the scenes of the film such as the numerous fight and driving scenes.
In the documentary “Bowling for Columbine” directed by Michael Moore there are two scenes that share the same idea of questioning the laws they have in the U.S.A. The first documentary that captivated my attention was the Columbine High School massacre, where Michael Moore examines the culture of guns and violence in America. He used archival footage, camera techniques and sound to give authenticity and strength to the disturbing event. Michael Moore uses specific techniques enabling the audience to empathize with the survivors and their loved ones in order for the viewers to feel their emotions.
In 1939, Charlie Chaplin was a world famous movie star who released a movie that would be very controversial, The Great Dictator. The movie was meant to ridicule Hitler, as at that time he was at the height of his power. At the end of the movie, Chaplin delivers a speech as a Jewish barber mistaken for Chaplin’s Hitler- like dictator. Chaplin uses speech rhetoric to convey Chaplin's message of hope and light. The film did very well in the theaters and was Chaplin's most successful movie. The speech in the film, The Great Dictator, used it's influential place in society with cinema to convey a message of peace, hope, and independence.
I believe that the film does indeed conform to a certain type of narrative structure expected by other films of this style. This film, through and through, is a Western, even starring one of biggest names in Hollywood Westerns, John Wayne. We’re thrown into a world of sturdy, rugged men riding around on horses, decked out in cowboy hats and belt buckles. Wayne portrays the archetypal man, honorable, reliable and
In one particular scene, director was truly a great one, featuring special focus on his dad life and the Colorado River. It was so cool to highlights of the movie by one of his favorite poem written by his dad when he was born, the Important Place. Also, this film was a good length, not excessively long but long enough to tell the story. This is really important today there were no such unwanted scene in the film, which literary the most closely and accurately delivered. In my opinion, this film is forced to possess the characters of a great aspect, and turns to make for quite the adventurous. There was no special character encounter rather than his dad, learned something from the secret Colorado River. Another great aspect of the film was the special footage that were introduce in this film was an enjoyable aspect to be a good documentary film, and that’s how this film is different from the rest.
When I watching this movie, I notice that I felt less separation from the movie. Initially I could not find a reason for that but, soon after I realize that the camera is not static but it wobbling slightly. In most movie, camera does not move and it creates the frame. In the other hand, this movie’s handheld camera type of camera works imitate the human eyesight feeling and make people feels like to experience the event in a movie as a one of the character. In this perspective, do not explain too much about the detail is emphasizing this experience. Consider these things, I really excited and enjoyed couple of scene which are the running through battle field and engaging to the baby. In the every day world, both scene is pretty rare to experience. For the battle field scene, majority of the people have avoiding to be in there so that is rare. The engaging to the baby experience is quite normal event for most people and of course it is grate experience but, in this movie setting, baby is extremely rare and seeing baby is truly miracle event. To emphasize and provide this miracle event, this camera work is perfect to apply.
With every film, there are purposely intended details which are used that may seem unnecessary or irrelevant, but are vital components of the diegesis. For most, it can be helpful to re-watch a movie to get a better understanding for what is going on. To appreciate and completely comprehend a film to its full extent, one must look to identify the five principles of form. When analyzing the plot of Get Out, these principles must be addressed because of the significant details that captivate this entire story. When considering how the aspects of function, similarity and repetition, development, difference and variation, and unity/disunity shape the film, viewers can get a grip for why the director uses certain tactics to compose each scene for
Instead of aiming to create smooth and steady shots, the cinematography was shaky, as though it were a home made film. I felt this approach was more effective because it gave the film a stronger sense of realism and made it seem more like a documentary. To portray the documentary-like movements, the camera moves up and down and is often jerky at times. There is also fast film stock to create a grainier effect. For example, when Eldridge is looking through his gun; the picture is grainy to demonstrate to the audience Eldridge’s position and viewpoint. The speed of the sequence varies; there are moments where slow motion is used. There are moments of fast-paced shots to lead up to explosions and as the bomb explodes, the speed slows down. The use of slow motion in this sequence emphasises the extreme impact of the explosion on
Then the question is posed to Mr. Lockwood, "How did it all begin?" The answering of this question is what my paper will explain. I will attempt to break down the opening scene and show how it all started. By using tools of film such as sound, editing, mise en scene, and cinematography, this paper will show how the scene was made as well. Mise en scene played an important role in this movie as with any other movie.
The 400 blows is a masterpiece of the French new wave era. The moviemaking skills, as well as the literary and dramatic aspects of the film combine to make a prefect artwork. The shots in The 400 blows are edited together smoothly using the first person perspective to tell the audience a powerful story, which Truffaut did a great job doing that. The scene that stands out to me is Antoine’s jail transfer scene of the movie. It evokes a lot of power with little dialogue. It allows for the images speak for themselves as the film intended to be. The director also uses tracking shot a lot in The 400 blows. The camera sort of flow along throughout the movie almost like it is on a cloud. Same as Fube said, “the perfect lens choice, when combined with
Then people start to appear in his life forcing him to interact with the other story that is happening at the same time. First the thugs soil his rug, then the Big Lebowski asks The Dude to be the courier for the ransom money. The dude botches the ransom delivery and could care less so he goes to the bowling alley with the money in his car. This again shows how the dude truly does not care about what is happening around him. The Dude sits in the bowling alley as if he didn’t just come from a shoot-out filled, and failure of a ransom delivery. A new character, Maude Lebowski, now interjects herself into the story. She explains that she is the one who stole his rug, the second time, due to its sentimental value, and then explains her theory that Bunny Lebowski kidnapped herself. Maude offers The Dude a portion of the ransom money if he can retrieve it and he can then use this money to buy a new rug. This is yet another person who has no relation to the dude except for a rug. Each aspect of the dramatic side of the film somehow ties into this rug and thus rug symbolizes The Dude’s identity. The rug itself Is visually appealing, mirroring The Dude’s interesting appearance and personality, the rug is passive like The Dude they both simply exist in their surroundings. Another common characteristic of both the rug and The
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on