The concentration is on comparing and finding the changes that history made to this movie genre, especially considering the gender roles. Results will clearly explain the psyche of society in two different periods, which confirms that people reflect the movies as movies have an impact on people. The Introduction It is often said that the element of surprise makes the movie more interesting and leads the plot. There are many masters of storytelling
This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday
“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).
As has already been discussed in this essay, the central controversy surrounding Stage Fright is the opening flashback’s divergence form Classic Hollywood Cinema norms. In
From the cinematic techniques to the plot line, the film incorporates many elements of the style of film. Despite being set in an older period of time and adapting the elements of the spaghetti westerns, it appeals largely to the modern audience due to the certain things which capture their attention. Director Jocelyn Moorhouse
The American obsession with spectatorship is a phenomenon created by the inaccessibility of timely and relevant knowledge. This oddly leads to an increase in the demand and likeability of terror. In her piece “Great to Watch”, Maggie Nelson explores the origins of this fascination with horror and gives an
The world of film is a complex web of discourses that try to understand, in a cinematic manner, the past without tarnishing it. Many films, especially historical films have tried to operate on a level that not only accurately tries to represent the past with all its intricacies, but to do it in a fashion that addresses real life truths and feelings that correlate with that specific historical figure, event or issue. While historical films may distort details about certain figures or events from a specific history, these films, however, reflect and expose truths that could be applied to the past. In the first two course films, Breaker Morant and La Grand Blanc de Lambarene it is clearly understood that the filmmakers are fictionalizing moments
She argues that the act of moviegoing satisfies these voyeuristic desires in people. She writes, “The mass of mainstream film portray a hermetically sealed world which unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic fantasy,” (pg. 186). In this essay, I will further discuss her viewpoints on cinema and voyeurism, and how it connects to the film Rear Window by Alfred Hitchcock. Rear Window is a film that follows the
In this essay, I will discuss how the film is about film itself. The notions of gaze will also be analysed, through a discussion of voyeurism and Jeff and Lisa’s relationship. This brilliant film about watching the neighbours simultaneously represents a self-reflexive film about the cinema and filmmaking. “[…] Jeff embodies the activity and passivity of both the film maker and the spectator; the director creates and waits, while the viewer
Film takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love.
Over the fifteen weeks of the first semester of film school, we were taught many interesting types and styles of early world cinema which were extremely informative and influenced the filmmaking style of the whole class and made us better filmmakers instantly. One such ‘ism’ which inspired me the most was German Expressionism which is a unique characteristic of Weimar Cinema. In this essay I am going to talk about the history of this ‘ism’, its impact on cinema, some significant works and how it inspired me and influenced my filmmaking style. German Expressionism is one of the earliest artistic genres to influence filmmaking, and one that ostensibly prepared for some other cutting edge artistic styles and techniques. It is an artistic genre
1928 began a transitioning period from a cinema of “socialist emotions/feelings,” replacing the cinema of “concepts/abstractions that dominated the previous decade. There is a unique distinction between “feelings” and “emotion” in this psychology. Socialist cinema, according to Emma Widdis, worked to eradicate emotions using sensibility. Emotion was seen as a bourgeois antiquity which threatened the new order. This prospect was a cataclysm for the political superintendence of the sensory faculty.
From Lurhmann’s first film Strictly Ballroom these techniques were very prevalent and instead of out growing these brash techniques he actually evolved and developed his techniques. And thus resulted, resulting in the creations of very successful films. In this essay I will be discussing how Lurhmann has evolved these cinematic techniques beginning in Strictly Ballroom, continuing in Romeo and Juliet and finally in The Great Gatsby. Strictly Ballroom was made on a very limited budget but this did not stop Lurhmann using very audacious costumes.
Kant’s subjectivisation of aesthetics was brought about by his discovery of certain a priori elements which went beyond empirical universality. In both taste and in aesthetic judgment, there is a “supra-empirical norm”. Models of judgement help, but they, in themselves, cannot replace the experience of taste “In taste nothing is known of the objects judged to be beautiful, but is stated only that there is a feeling of pleasure connected with them a priori in the subjective consciousness” (ibid., 38). Aesthetic appreciation therefore, for Kant, is a free play of the imagination; a subjective relationship which equally has a claim to universality, and it is valid in itself. Taste is valid in the conception of Kant for two fundamental reasons: