modernity and films in the later half of the last century. Its important literary feature is its emulation on the close connections between textual criticism, history and theory. On Film Theory and Film Form, The first section of the book contains the theoretical aspect of the cinema-making. New after-war film narrative dimensions have been criticized by Bazin and Telott, while innovations in cinema of the 1960s and the question of modernism has been responded by Metz and Birch. Changes in film technology
Whether it’s chaotic scenes from the Moulin Rouge filled with outrageously dressed characters or the revolutionary remake of the classic Romeo and Juliet film, Baz Luhrmann is yet to come short in terms of excellences in creating cinematic masterpieces. ‘Theater, circus, film – to me it’s all one’ says Baz Luhrmann. [Bergin; 2016] Some critics label Baz Luhrmann’s work as ‘Over the top’ and others fiercely state that his unique style is justified when one looks at the full meaning, message and context
natural that Disney has not only more movies, but that its animation and the way they tell stories has progressed a lot in its almost 100 years of existence. Also, it helps understand one of the major differences between the two: the question of auteurism. Having become this gigantic company, running for almost a century, Disney has seen a great number of animators, directors and screenwriters parade through its studios, most of them unknown to the public. Why? Because they all had to follow a similar