Film creators strive to create a reality as captivating to the audience, and the sound plays an important role in this. Sound shapes this made reality directly and subliminal (Holman, 2010, XI-XII), it ensures its continuity as a presence and an ambiance. Humans have a very accurate auditory sense – a legacy of skills in survival from prehistoric times – which detects and alarms at the smallest disparity. For this reason the quality and matching of the sound with diegetic environment are essential for authenticity of the created filmic reality. Therefore, is required an iconic relation between a sound and its source, symbolic sound, as a poetic reference to the source, holding a small share of the film’s soundtrack.
The role of theory in semiotics is to make things visible to understand to create a model. A model is and independent object.so the first step to understand a film semiotic is to crate a model a system that the film is talking about using the film language. According to Stam Rbert : language by definition is a semiotic process through which thought may be used, but a language system enables a response to that thought to use signs and
Viewing films from the auteur perspective creates a new paradigm to evaluate cinema, and ultimately creates a new means by which to place films in a historical and creative context. Another very conscious function of the theory is the emphasis on a director 's body of work as a whole, rather than individual films. The topics of analysis derived from this objective will cover the use of narrative structure, sound and silence, filming techniques and characterization themes that challenge the audience illustrating tragedy, changes and terror of the characters. Themes include reactions to consequences or fate and fear through sickness, injury, or loss, universal to all humans. Inarritu presents these themes with clarity of realism that result in empathy.
This film became revolutionary in the way it used techniques of film editing such as; constructive/linkage editing and intellectual montage and how it helped narrate the story without a storyline. 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
There is some truth in that claim, and some sections like the stargate scene could have benefited from more advanced graphical effects. However, 2001 is brilliant because it used its limits as its strengths. Instead of making a film hampered by primitive special effects, Kubrick created a film that uses that limitation as another means of creative expression, proving that less is sometimes more. It employs visuals and audio in such a meaningful way that the story does not work as well in any other format, which is a feat that few films can
Wings of Desire contains the fundamentals of magical realism to specific details that no likes other films before, or since has managed to accomplish. While simply containing such traits does not automatically make a film superior, Wings of Desire works as a result of these magical realist traits to better illustrate the grander ideas at hand. In the following paragraphs, an investigation and explanation of the magical realism in Wings of Desire will fall into two distinct categories, namely, the technical detail (cinematography, direction, sound and setting), and the narrative detail. As stated before, one of the primary foundations of magical realist art was the changing of perception regarding objects, to see them in a new light. Film can achieve the same target, although it has to work within the added dimension of time and the qualities of actual movement, something that painted art did not.
Lakoff and Johnson also note that metaphors may differ from culture to culture but argue that they are not arbitrary, being derived initially from our physical, social and cultural experience, whereas metonymy is a function which includes using one signified to stand for another signified which is directly or closely associated with it. Moreover, metonyms are based on various indexical relationships between signifieds, notably the replacement of effect for cause. When compared with metaphors, metonyms may be visual as well as verbal. In film, which Jakobson regarded as a basically metonymic medium, 'metonymy can be applied to an object that is visibly present but which represents another object or subject to which it is related but which is absent ' (Hayward, 1996).The indexicality of metonyms also tends to propose that they are 'directly connected to ' reality in contrast to the mere iconicity or symbolism of metaphor. TV Chandran has predominately used metonyms to bestow a 'grounded experience ' to the viewers by visualizing the protagonists’ anguish, fear, worries, fantastical liberation, mental agony and stereotypical lives in experiencing alienation than metaphors as they usually involve direct associations (Lakoff & Johnson 1980).
In this paper, I shall discuss the ethical framework of utilitarianism, as described by Jeremy Bentham and John Stewart Mills, and how it is the best lens to describes the actions of Cassian Andor in Rogue One. I shall explore how and why Cassian embodies this theory in his actions throughout the film and how he veers away from this utilitarianism towards Soren Kierkegaard’s “infinite resignation” with the help of Chirrut Imwe and Jyn Erso. I will also briefly compare Cassian’s actions to Galen Erso, who also employs a utilitarian logic in his actions. Utilitarianism, defined by John Stewart Mills and Jeremy Bentham, is a theoretical frame work that explores morality in choices (Buisness Dictionary). The philosophy of
Easy A, is not just a “chick flick” movie it expands beyond being a film that has a ridiculous unrealistic ending. This movie introduces sociological concepts like manifest and latent functions. Moreover, this movie gives examples of the power elite demonstrating who has a greater sense of control. Overall, I will be discussing the difference between manifest and latent functions and showing the importance of power elite in two scenes of the movie. Manifest and latent functions are two controversial topics.
Bednarek (2014:126) supports that claim by suggesting that title sequences are to establish the characters, setting, storyline and overall ethos of the film. According to Stanitzek (2009:44) title sequences make use of “distractedness” and “diverging” to allow for an easier transition into the film. Title sequences divide the focus from the play of the film narrative to documenting the production crew (Stanitzek 2009:44). Stanitzek (2009:44) suggests that it achieves this by separating itself from the film as a “film within a film”. Stanitzek (2009:44) explains that title sequences have their own structure; a beginning, middle and end, thus establishing their individuality and coherence from film.