“Mad Max: Fury Road” (2015) Figure 25: https://www.pinterest.com/pin/562035228474360925/ Mad Max was directed by George Miller when he was 71 years old. The director’s experience was evident in the framing, cutting, and blocking choices made for the film, and those helped it top our list. Miller adapted “Mad Max” from his “The Road Warrior,” but then populated the world with rich, dense details. The movie is, at different times, thrilling, gory, smart and subversive. It’s unlikely another film will be done this well before the century is over, but we’ll keep an eye out for you!
Breathless is reflexive in the way that it copies and uses elements of various genres (especially American gangster pictures. Movies had always done this, but filmmakers had usually tried to hide it, to pretend that each film was created in a vacuum, independent of what came before it. However, the New Wavers, and especially Godard, put their influences out in the open. The film begins with the interesting exposition of Michel’s character, but is a serious of display throughout, slowly developing in a complex of role exchanges. Patricia Franchini is depicted as a naïve twenty-year-old woman who depends on her parents for money, and Michel is the gangster who steals and murders.
Neruda undertakes to bring attentiveness to these discriminations brought upon local Central and South American populations, who were dominated by dictators and American companies. The irreverent attitude that North American corporations display in regards to the culture and history of the demoralized lands, which hide behind the term “Banana Republics” (Schmitt 179), reveals a sense of shallowness in the interests that corrupt humankind’s perception, or to sum up, its acquisitiveness. In
Accompanying Charles Kane success, failure, and death the music in “Citizen Kane” is an indispensable factor for its triumph. Citizen Kane is one of the greatest films to ever be produced believe many critics. Well, it is definitely a 1941 American Masterpiece attributed to Orsan Welles. In addition to directing the film, Welles produced, co-wrote, and starred in Citizen Kane. It is praised for its innovation in visual techniques, narrative methods and of course music.
A fight for power, for the position of king is changed into a fight for the ownership of a small fast food shop in a small town. And the play is even changed from a tragedy to a comedy. The movie gives an “uneasy combination of "high" (Shakespeare) and "low" (popular consumer) culture”(Hoefer). However, this modernized version of Macbeth is practical when we consider the marketing purpose, the two similar time periods (the movie set in and the play set in), the seemed different but similar two special time in the history of capital development, and the effect that the social change in 1960s to 1970s on early twenty-first century. When we compare the original period which the play set, seventeenth century, and in which the movie is set, 1970s, there are similarities in elements or matters such as the capital expansion, social change and people’s desire.
In The Great Gatsby, Baz Luhrman has reinvigorated the 1925 classic novel by introducing many modern filming technology such as lighting and colour; sound and music and editing. While Joe Wright has attempted to do the complete opposite by taking the modern novel, Atonement ,and attempting to recreate the harsh reality of the past by using the same filmic techniques as Baz Luhrman. However Joe Wright is more successful in recreating the past and showing the harsh realities of the era in Atonement. The lighting in The Great Gatsby tends to be theatrical and illuminates the characters by bringing the focus on them and not on the background. An example of this would be when we are introduced to daisy for the first time, she is the focus of attention and is given almost a dreamlike quality by using soft lighting.
This is thanks to the fact that Eisenstein established ideas of film editing and montage that were completely unprecedented. An example of these notions was the use of a spatial correlation between complementary or corresponding shots. The spatial relationship of editing is when there is a almost identical space between Shot A and Shot B. This is distinguished when the Cossacks fire their guns and the succeeding shots show the effects of the same guns being fired. A third component of editing, the graphic or visual relationship, can be exemplified when looking at the shower scene of Psycho.
The artistic choices made in the production of cinema have a great impact on the way the audience will perceive certain aspects of the performance. One director may choose to highlight a certain scene, while another director may push it aside as trivial. A majority of the symbolism behind theatre lends itself to open interpretation, but some underlying messages have a widely accepted truth. In Nicholas Hytner’s 1996 interpretation of Arthur Miller’s The Crucible, lighting and camera angles help accentuate the importance of particular moments throughout the film. I chose to analyze the courthouse scene in which Deputy Danforth asks Elizabeth whether or not John Proctor committed the crime of adultery.
NEW ASIAN CINEMA French New Wave brought up the term New Wave. Truffaut and Godard were the pioneers of the movement and their two movies 400 Blows and Breathless made an influence and were the birth of New Wave. It brought forth hand-held cinematography and jump-cutting technique. As a consequent, its effect spread out such as Asia. In the context of New Asian Cinema, I would like to talk about New Wave Hong Kong, Taiwan, and Japanese Cinemas.
Other important themes in the films of Anjan Chowdhury and others of his school were the domestic servant’s romance and marriage with his employer’s daughter (or generally a woman above his own class), and the aged domestic help as the father-figure who keeps the middle-class family together; themes which were relevant with reference to Bengali cinema’s crisis of viewership as it had emerged in the 1980s. With Calcutta’s urban middle-class public favouring Hindi films, or turning away from the film theatres to television, the industry had started to look at other audiences for its primary viewership. It reached out to the lesser sectors of the film market, and aggressively targeted the rural hinterland, with films now opening in smaller theatres in the districts. To find a niche market in these parts, the industry had to offer a product that targeted specific constituencies of filmgoers there, and the 1980s Bengali cinema accordingly focused on mufassil and lower middle-class milieus, with greater emphasis on issues of social equality and social justice. Though Shatru, and some other films of Anjan Chowdhury as well as the others of his school of thought, did good business in some Calcutta theatres during these years, their audiences were now more appreciably made up of a class of patrons who differed from the erstwhile middle-class patrons of Bengali films.