After reading the critical essay “Neon Gothic: Lost in Translation” by Wendy Haslem, her central argument was found to be that of how Lost in Translation (Coppola,2003) presents a nontraditional approach to a romance in comparison to the expected. Haslem goes on to support her claim of an unconventional romance by using examples of scenes from the film, such as the scene where Bob and Charlotte share a goodbye kiss. In traditional romantic films, there is no mistake in understanding the intent of a kiss. However, in Lost in Translation, the intent of the kiss shared between Bob and Charlotte is not very direct and arises a lot of questions to its meaning. Another piece of textual evidence found to support the claim is the connection made between the two main characters throughout the film.
Men were also presented as reluctant to taking action, until they got pressed by the women’s desire to solve the mystery. Hitchcock presents the basic roles for both men and women in the movie Rear Window. The women are presented as sexually appealing objects. For instance, this is seen in Miss Torso’s dressing, which can be described as scanty and revealing. The movie also stresses the idea of superficial beauty in women, which make them more desirable by men.
As previously stated, Stella is obviously the voice of reason in Rear Window, and urges Jeffries to marry Lisa. She tells him that, "when two people love each other, they come together - WHAM - like two taxis on Broadway". Hitchcock likely thought that as possibly the most sensible character in the film, Stella's attitude to class should be just as sensible. Jeffries' initial reluctance to marry Lisa because he can't see her being adventurous and accompanying him on his work trips abroad is shown to be invalid and shortsighted, which indicates that Hitchcock thought of such attitudes as baseless. Lisa proves on multiple occasions that she can be daring and get things done, all while wearing the expensive dresses she likes.
Along with strong and recurring symbols, Hitchcock heightens the true nature one can hide and how one’s moral stance can change, this being due to the duality that resides in us. Mise en scene is important in Psycho additionally, as it further displays the idea Hitchcock is trying to press onto his audience, this being
After seeing the panic in his eyes and sweat on his face, one might conclude that he has a fear of heights. It is shortly thereafter revealed that this is indeed the case. Quick cuts and close-ups are two more techniques that Hitchcock used frequently in this psychological thriller. As Scottie trails Gavin Elster’s wife, Madeleine, he followers her to
Naturally, the focus of the bride and maid of honor is thrown, therefore, the photographer might get pictures of the bride looking in one direction and the maid of honor looking in another direction. For quality portraits, keep the focus on the professional photographer. 4) Distracted Wedding
As a result, weddings now, are just romantic desires for the wedding day and there is no association of the wedding to the marriage of two people and the married life. Thus, Boden argues that due to consumerism, there is a greater emphasis on the wedding as being a cultural event involving romance rather then a religious celebration. Subsequently, Boden presents the wedding fantasy of a bride as a transformation process that allows brides to stage their weddings into socially constructed events despite not feeling them to be authentic and romantic. Boden regarded these transformations of brides into Cinderella-like princesses who depended on industry professionals for their beautification and appearance. Furthermore, the emotions experienced by the brides were depicted as overwhelming, however, they were regarded as inevitable and it was seen at a more fantasy level symbolizing the wedding
According to Maria Semple, a contemporary American novelist and screenwriter, “There 's something uniquely exhilarating about puzzling together the truth at the hands of an unreliable narrator.” As Semple explains with this quote, novels often times utilize unreliable narrators as a means of pressing forth thematic depth while grasping at an interaction between the audience and the author. Both Kurt Vonnegut and Sherman Alexie utilize unreliable narrators in this exact fashion with their novels “Slaughterhouse-Five” and “Flight”. Throughout Flight and Slaughterhouse Five, both authors utilize unreliable narrators in order to push forth their intended theme of anti-violence. Throughout their respective plots, we can see evidence of Billy Pilgrim, the main character of Vonnegut’s novel, and Zits, the protagonist of Alexie’s story, both being unreliable narrators. Furthermore, we can
While watching Rear Window by Alfred Hitchcock, I was able to notice two distinct themes throughout the film. These two themes are a quote about actions speaking louder than words and suspense. Hitchcock also had many different elements in his film to make it successful. My favorite element he used was sound with the radio in the background, street noise, and other ongoing conversations. One main theme that was shown through out the film was the quote “actions speak louder than words”.
Shot Analysis: Citizen Kane Orson Welles, director of “Citizen Kane”, is well known for his unusual directing methods that defied conventional cinematic techniques. Welles provided his audience with original forms of cinematography, narrative structures, and music. The scene I chose to analyze is extremely important to the plot of the film because Kane begins to realize that he is going through some serious financial problems. During the scene, Kane maintains a sarcastic mood, until he finally decides to surrender and signs the papers that transfer the ownership of his media empire to Mr. Thatcher. Throughout the film, Welles uses unusual arrangements of music that creates suspense for the audience.