Themes And Techniques In Kathryn Bigelow's The Hurt Locker

For a director to be an auteur, he or she must exert their own creative insight throughout all aspects of their cinematic works, such as the cinematography, all the way to the characterisation of each role. Anderson is a perfect example of an auteur because he communicates his stories through a signature camera style, and a narrative that conveys the humanness that one does not expect to find underneath the pompousness and flamboyant cinematic elements. Despite create a form of detachment from the viewer to the film (such as meticulous use of symmetry and miniatures), the current events that surround him allows him to create hidden links that we can relate to. He uses his films as a form of social commentary. In a world where brutality is commonplace, Anderson uses the obscure violence in his films to raise questions about society’s own ethical issues, while also relating the struggles the characters personally face to his audience.

In the poem “The Hurt Locker”, Brian Turner illustrates images and emotions associated with war, many of these emotions are similar to those experienced by an addict fighting their internal war on addiction. The term “hurt locker” is a military term for a tragic and painful place. Many addicts find themselves in a tragic and painful place while in the deepest throes of their addiction and/or when they hit rock bottom. Addiction, like war, is something that is fought against. Many soldiers join the military because they want the thrill and the rush of being on the battlefield. Soldiers on the battlefield are responsible for death, the death of the enemy, the death of their fellow troops and sometimes, their own death. While the thrill

The Auteur Theory, a theory formulated by François Truffaut states the idea that the true author of a film is the director. The Auteur Theory revolves around how the director leaves an implicit mark on the film and because of this cinematic, literary, or thematic signature or motif, they are credited as the author of the film. While there are numerous people involved in the production of a film, with some directors it is truly prominent who can be described as the author of the film such as with Mel Brooks. Mel Brooks, renown comical director and screenwriter is one instance of the undeniability of the Auteur Theory. Despite Mel Brook’s complete involvement in his films, writing, co-writing, directing, and even starring in many of his films,

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.

The Hurt Locker shows the madness, insanity, and total recklessness of soldiers trapped in the downward spiral of the Iraq war. The film itself does not take on a political stance. Kathryn Bigelow decided against the spoon-fed political message of previous “War on Terror” films of the time, leaving out the typical war ideology, and chose to focus on a specific team of soldiers. The Hurt Locker, like all film according to Cormolli and Narboni, is inherently political. “Film is part of the economic system, it is also part of the ideological system.” To determine the true ideology of the Hurt Locker and where it fits within Cormolli and Narboni's film categories, one must first understand what ideology means. "Originating as a philosophical term,

Before diving into the film itself, we can visit discuss about the film’s creator; Kary Antholis. Kary won an Academy Award and an Emmy for this film he made. This HBO production was not in theaters or advertised about much, so to win two major

The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own.

Similarly, she discusses how many female directors were afraid to even attempt to direct a Wonder Woman film (149). Altogether, Howell argues many valid points along with examples of the gender bias in popular culture. With her focus on DC Comics and their failed attempts to market and produce a film for a character, such as Wonder Woman, was a solid representation of the gender bias that has and continues to exist in popular culture. Charlotte E. Howell argued many great points in her article, “Tricky” Connotations: Wonder Woman as DC’s Brand Disruptor.” Just as DC Comics had

In every scene, Anderson’s attention to detail shines through the story and allows the audience to look for understanding

His background alone, lends to his directing style in that he has history as a dancer, actor and choreographer. This is seen in his work by the exact placement of the characters and the exact movements and of course the dancing. In doing some research, his movie Bringing Down the House was a box office hit bringing in $31 million on its opening in theatres.

Flannery O’Connor was very influential to many American filmmakers and directors. One of these directors was Quentin Tarantino, one of America’s inspirational filmmakers. He is very famous for his bloody and gory productions. Reading one of O’Connor’s stories readers can tell that she heavily influenced much of Tarantino’s work. One of Tarantino’s films that seem to be influenced by O’Connor is Pulp Fiction.

French director Jean-Pierre Jeunet was born into the world in France’s Liore region on September 3, 1953. Beginning in early childhood, Jeunet had a very intense imagination that later brought him major success from the beginning of his film career to now. As early as eight years old, Jeunet began experimentation in filmmaking when he rented out a small theater for a short story he wrote. Around the age of 17, he began to extensively watch movies and TV to analyze details of film language. He especially enjoyed picking apart American films, which he believed were a bit too tacky for his taste.

Auteur theory (Sarris, 2004) is explained by way of the director as the author of the film, who gives the film its distinctive quality. An auteur uses a tool called the “camera-pen”, which is a different medium to create and adapt a story, without it being rewritten. Technical competence (Sarris, 2004) is therefore crucial for the technique of the auteur. A tool used in the film, The Great Gatsby, is Luhrmann’s sound design, and more specifically, the use of diegetic and non-diegetic sound.

Baz Luhrmanns contribution to the art of film, brings about a flamboyant and revitalizing side to the industry. Through the use of cinematic language, his story telling techniques and belief in the theatrical cinema come to life. Baz Luhrmann has a very distinctive directing approach with particular techniques that define his style. He presents his films as if he were telling a story, which he invites you into. His stories are simple and he tends to give away the ending at the beginning of the film, which intrigues you to find out more about what had taken place.

Baz Luhrmann’s films are known their ability to make a watcher feel as if they are part of the show. Between his use of camera angles, shots and the use of a narrator, it’s no wonder he is able to keep viewers on the edge of their seat. But how does Baz Luhrmann pull off this spectacular feat of his? This is probably explained best by referring to Baz Luhrmann’s films and how he himself has evolved as a director.