It would seem obvious to consider Bigelow an auteur, however, she lacks the greatness that most auteurs have earned. Great auteurs seem to capture magic through their recurrent techniques and themes. Alfred Hitchcock puts the audience on edge building tension and suspense and using silence in Psycho (1960) while making them reevaluate their morality as he makes voyeurs of his audience in Rear Window (1954). Quentin Tarantino’s obsession with blood and gore gives his movies a deeper element of intensity (or, in some cases, comic relief). Kathryn Bigelow has the iconography of an auteur- she employs recurrent themes and film techniques- however, she is not on the same level of artistic depth when compared to other auteurs; therefore, the jury is still out on whether she is fully considered an
What makes the revenge possible whilst also giving The Bride super-human strength and conditions for the successful achievement of a practically irrational goal, are fighting techniques and strategies that originated in the Far East. Either the action choreography and martial artistry is spectacular and short or the emotional violation and response are compelling. To be “scary” a protagonist must possess either convincing martial skill or convincingly cruel conviction. Having initially characterized “The Bride” as scary, Tarantino argues that the audience ends up liking and admiring her since she is unstoppable. It is an interesting scenario comparing Tarantino's films to either western action films or to the films he chooses to homage in Kill Bill, Asian action films most notably of which are samurai themed pieces.
Second, I investigate the cinematic techniques Alfred Hitchcock utilised in order to create the seeming superficiality of his blonde protagonists. My claim is that through this framing the male protagonists and the spectators are misdirected about the blonde’s passivity. Finally, in order to argue this case, I will discuss how the superficial masquerades of the blondes Lisa Carol Fremont and Madeleine are deconstructed in the course of the films and what this reveals about the blonde heroines and the post-war society in general. I find that Hitchcock makes use of blonde iconography and a strong focus on female fashion and make-up in order to construct his blonde heroines as superficial characters and objects of the desire of the male protagonists, who want to hold power over them. However, Hitchcock’s heroines must not be underestimated and reduced to passive objects.
Movies will also have something different than the book, since you need to be hooked onto the movie to actually enjoy it. James Fenimore sure made us hooked onto his book. Who thought a book would be more exciting than the
There are various arguments when it comes to film adaptation. People would give their praises as well as their critics. In many cases, audience who has read the book before rarely satisfy with the adaptation, because it did not come out as they expected. The quotation “A (film) director should be seen as a creator of an original work, not as someone who has adapted someone’s else work and whose film is thus constantly being compared to original text” is used as response to answer those critics. As for me, I both agree and disagree with the statement.
In the film adaptation of the novel, Hitchhiker’s Guide to the Galaxy by Douglas Adams, some of the original aspects that make the novel so timeless are not included in the movie. However, due to the vastly different medium that film is and the abstractness of the novel, it makes sense why some things would have to change in order for the story to transfer to the screen successfully. While many die-hard fans of the novel denounce the film version of their beloved story, others celebrate the presence of Adams’ wit in the movie especially through the cartoon representations of the guide entries. First of all, the Hitchhiker’s Guide is pictured much differently in the movie than in the novel. The creators of the movie portray the guide as an informative cartoon sequence, which really helps in moving the story along for those who are unfamiliar with the story.
Not just a temporal re-ordering of a film, but rather films of a more avant-garde style that cannot be interpreted by previous experience. In a general sense, avant-garde cinema will break conventions and as such it could be explained as their use of unique semiotics, often being what differentiates the films that fall under that category. The conventional production techniques are still used within the Avant-garde, but the stark differences to what normative spectators expect is where we find this kind of disconnect. Usually this comes from the vision of the director, but the issue here is that if it truly is Avant-garde, a spectator can then only truly learn the codified semiotics per director and thus has to re-learn a style with each different director to comprehend the film. Hence a semiotic explanation to this could be argued to be too simplistic, it is not merely acquiring the new code-based schemata, because truly avant-garde films will not have the same codification.
Cinematic Value: Acting and Dialogue: 7: One of my fears of this films was that Will Smith would hog the limelight, he doesn 't surprising. He might not have stolen the limelight but he brought a lot of himself to the character of Deadshot. There were a good amount of Will Smith-ism that made Deadshot feel less like Deadshot. I thought Will Smith had
And even the history of relations between Deborah and Noodles is one of the most interesting scenes in the film from a psychological point of view, is absolutely not as straightforward as it seems at first glance. Leone always expertly conveyed all sorts of subtle psychological nuances - how of the story (he wrote scripts for his films, even when originally ordered scenes from some famous authors), and with the help of the actors. Personally, I think all these bloody and naturalistic scenes, which many in the film and which has deprived the American public, not superfluous, but rather simply needed for a proper understanding of the ideas of the Director. Because it is life - real life that is not clean and smooth. It has everything - blood, sex, betrayal, friendship, love, deception, crime and sacrifice.
It is amongst the discourse surrounding the original and creative that adaptations spark debate. They tend to occupy the ‘gray area’ that exists between the innovative and the derivative. Amongst adaptation theory, there has been much discourse surrounding specifically film adaptations, with some critics deeming films to be failures due to the parameters the source text places on the film. On the other side of the debate, there are those who subscribe to the thought that in order to be faithful, one must replicate the source text exactly with no room for variations, as they would taint the ‘memory’ of the source text. However, I shall argue that adaptations, whilst drawing on themes and plot from their original source text, cannot simply be