Roland Barthes, a French literary theorist, suggests that a city is an object that requires multiple reading (92). A similar city setting can generate different feelings for numerous people. Wong Kar-Wai’s The Fallen Angles (1995) and Tsai Ming-liang’s Vive L’Amour (1994) was shot in Hong Kong and Taipei respectively and turn their attention to the loneliness among citizens, but the films generate opposite city texture owing to the use of different cinematic techniques. Wong shows Hong Kong in a passionate and romance way while Tsai emphasizes the coldness around Taipei, his movies are more natural and literal with black humor filled in occasionally.
Wong and Tsai’s difference in city representation could be due to Auteurism. Auteurism is a term arose in French during 1940s by the cinematic theorists André Bazin and Alexandre Astruc purposing a film should bear
…show more content…
As Wong and Tsai take different creative visions on the city, so their movies also being shot in a dissimilar way. Wong is more links to the French Cinephilia. He is passionate to filmmaking but he never attends formal film school, so his movies follow the Hong Kong New Wave and remove from the classical narration (Yau 31). I would consider his films’ structure in a manner like the French filmmaker Jean-Luc Godard’s 1960s movies. Both like to experiment with the formal possibilities of a film’s medium, so a gangster genre likes The Fallen Angles interestingly focuses on a hard-to-related theme about human relation. The Fallen Angles also seems to pay homage to the film noir. According to Shin and Gallagher, film noir is to use a dark tone to tell thing (125). The film is set in the dark so a
Auteur theory is an important mode of film criticism that indicates the extent of the director’s involvement in the final output of the film. As it has been previously mentioned, Spike Lee’s films express certain notions about race that emerge from his personal viewpoint as well as from his political and aesthetic beliefs. The focal point of this chapter is the auteur theory and its relativity to Spike Lee. In order to prove the connection between the theory and his works, it is necessary to refer to Lee’s biography, since both his background and distinguishable personality have contributed to his technical skills as well as to his unique style as a film director. The particular chapter will also include the synopsis as well as the technical analysis of each film correspondingly.
Throughout “Stories We Tell” there are many questions and uncertainties pertaining the truth behind Sarah Polley’s biological father, and the affairs that her mother Diane may have been involved in. As we get deeper in the story we found out there have been multiple accusations of Diane being with other guys during her unfaithful marriage with Michael. The real question is who is the creator of this documentaries, Sarah Polley’s, biological father and why did Diane hide such a colossal secret from her family? From the dinner table jokes of Sarah being adopted, to the friends views of Diane 's affairs, there should have been more certainty from an earlier time to who her father
A Raisin in the Sun PBA Unit 2 Cinematography and filmmaking are art forms completely open to interpretation in many ways such lighting, the camera as angles, tone, expressions, etc. By using cinematic techniques a filmmaker can make a film communicate to the viewer on different levels including emotional and social. Play writes include some stage direction and instruction regarding the visual aspect of the story. In this sense, the filmmaker has the strong basis for adapting a play to the big screen. “A Raisin in the Sun” is a play by Lorraine Hansberry that debuted on Broadway in 1959.
The film 13th directed by Ava DuVernay targets an intended audience of the Media and the three branches of the United States government with an emphasis that mass incarceration is an extension of slavery. It is intended to inform viewers about the criminalization of African Americans and the United States prison boom. 13th uses rhetorical devices in its claim to persuade the viewers by using exemplum in the opening seconds of the film. President Barack Obama presents statistics, saying “the United States is home to 5% of the world’s population but is home to 25% of the world’s prisoners.” Also the film uses a hyperbole in talking about the movie Birth of a Nation produced in 1915 which portrays a black man as a violent savage who will kill white women.
Perhaps arguably one of the most influential and controversial directors in American Cinema History, Spike Lee's filmography has become woven into the fabric of urban cinema. Like fellow directors such as Martin Scorsese and sometimes rival Quentin Tarantino, Lee's unique style of cinematography has both transcended and placed emphasis on appreciation for his respective cultural aesthetic. Many urban directors can attest that their respective styles in film and even music videos all come from or are inspired by Spike Lee. Aside from his ever creative filmography, it can be said that Lee's personal perspective shines most in his documentary work. Known generally to be outspoken, Lee's documentary work has historically touched on socio-political
In 2015, HBO aired a six-part, true crime documentary series titled, The Jinx: The Life and Deaths of Robert Durst. Writer and director, Andrew Jarecki, examined the details of three crimes associated with Durst, including the disappearance of Durst’s first wife Kathy, the murder of his dear friend, Susan, and the murder and dismemberment of his neighbor, Morris Black. While the mini-series was met with acclaim, many – including myself – criticize The Jinx for its storytelling approach. The series seemingly blurs the lines of storytelling – for entertainment purposes – and journalism; raising many questions regarding ethics. Initially, Durst approached Jarecki regarding an interview after he saw All Good Things, a film Jarecki had released
EALC 125 Midterm According to Kyung Hyun Kim, what is the role of “landscapes” in Korean films of the 1990s and 2000s? Choose one of the Korean films we’ve watched so far (Chihwaseon, Shadows in the Palace, or The Handmaiden) and discuss how the film does or does not fit the pattern described by Kim. In chapter one of Virtual Hallyu:Korean Cinema of the Global Era, Kyung Hyun Kim tackles the dynamic role of “landscapes” in Korean films, and he defines the dichotomy that exists between certain films of the time period.
The directors of both films main goal is to capture national pride through the performances of the main
The film stands apart from Hsien's previous filmography, equally in themes and technique. For the first time he examined the lives of young individuals in the contemporary
: For my presentation I have chosen to examine Steven Spielberg and what stylistic features he uses to make himself considered as an auteur. An auteur is a director that has a unique style in filming and has complete control of the production process of the film. The three films that I have chosen to focus on are E.T. The Extra-Terrestrial (1982), A.I. Artificial Intelligence(2001) and Close Encounters (1977). These are three of Steven Spielberg's most known films.
Film noir, or neo-noir is cinematic term used to describe the heavily stylised Hollywoods crime films set in the 50s and 60s alongside The Great Depression. These generally black and white texts emphasise cynical attitudes, sexual motivations and dark themes, using the monochrome element to reflect the mood of the film. Whilst not defined by the conventions of setting and conflict, distinct characteristics of the sub-genre include recurring dark themes and dark tone. Showcasing the classic elements of the neo-noir, Sin City is a highly intense crime thriller anthology, detailing the ugly urban dystopia of Basin City; where corruption and immorality paves the streets for an underground devilish world. Following the classical hardboiled neo-noir
Citizen Kane (Welles, 1941) challenged traditional narrative and technical elements of classic Hollywood cinema through techniques in cinematography, mise-en-scene and lighting. The mise-en-scene build of Citizen Kane is the pivoting point of the narrative forthcoming and Welles uses every technical element encompassed in this build to span his narrative across 60 years of Charles Foster Kane, the main character 's life. The beginning of this build is founded on the black and white shooting choice which sets an ominous almost 'film noir ' lighting and feel of the opening scene of the castle in Xanadu. This where we see end of Kane 's life, but every aspect of the film 's narrative will revolve around these frames and including the questions of 'who has died '?, 'what was the significance of the snow globe? ', and 'Who is rosebud? '. The camera angle in the deathbed scene is deliberately shot from a low angle, which further implies the importance of the person lying in the bed as well as providing mystery as the viewer is not yet privy to whom has just
A story about a guy new to the city gets robbed by his cab driver, misguided by street hustler and then uneventful lady, only to recover his belonging accidentally. The script, by E. Albert Bansom and Angela Branstrom, was not constructed to be a movie. It just appears like a sequence of co-incidences. The movie was recorded outdoor, probably using camera mic, with a lot of background noises cutting the actual dialogues.
Abstract: Iranian films have a unique space in the realm of cinema. They are exceptional, simple, innovative and inspirational. Abbas Kiarostami is a prominent figure of Iranian cinema whose films received international acclaim. His extremely minimalist directorial mode, experimental style and unconventional narrative patterns make his films oppositional to the traditional feature films. He is one of the pioneers of Iranian New Wave cinema.
There are many things that make a film interesting. This include historical context (ex. social, government, econ, etc.) and the theory around it. Films represent their times and everything that comes with it. On the other side, is the aesthetic.