He creates beautiful compositions, but more importantly, he uses shadows to define and redefine the mood, and to tell the story. Shadows aren’t a decorative ornament, they’re a fundamental aspect to how the story plays on screen. Without them, the film wouldn’t work. *Out of the Past* starts off bright and sunny. Tourneur doesn’t particularly enhance shadows in Bridgeport; it would feel wrong for
The true tragedy of Richards is that he is the only, lasting survivor of The Running Man. He has knowledge of the corrupted air pollution; yet, he has no power to enact real change. Thus, Richards becomes crazed. His filial duty and the promised money no longer binds him to his duty of “The Running Man” show. Therefore, Ben directs his rage to enact revenge against the Games Federation, the
Christopher Nolan has a set style of directing which we see echoed throughout his films. The films are filled with ambiguity and unease, which are partially transmitted through journeys of identity construction and endings. We get the recurring central question of hero or antihero.The antagonist and protagonist in Nolan’s films are mostly mirror images of each other. Nolan is known to create great juxta positioning, especially in showing good vs. evil. We can see how his directing skills are used in the films of the Dark Knight Trilogy and the Dunkirk trailer.
“...Dick squanders his emotional capital and becomes unable to respond to the things that are worthy of deep emotion” (Tate 218). Dick also begins to realize the negative impact his temperament has on others. After he and Nicole have an argument, Dick says, “‘I guess I’m the Black Death,’ he said slowly. ‘I don’t seem to bring people happiness anymore’” (Fitzgerald 219). He also identifies how much he has changed.
Known for producing one of the most renowned and successful depictions of Hamlet, director Kenneth Branagh has transformed the world of Shakespearean films. Within his film, Branagh placed a fair amount of emphasis on accuracy, and rarely altered any component of the play. The style of language used within the film is similar to that of the play itself, and can be especially heard during a character’s soliloquies or interactions. In using this “true-to-text” style of language, Branagh’s film demonstrated an essential underlying theme of Hamlet: self reflection. Deeply rooted in the arts of classical plays, Branagh possesses the ability to develop a film that can capture an accurate embodiment of Shakespeare’s intentions.
It states in “Poe Museum”(2017) that “Poe’s reputation today rests primarily on his tales of terror as well as the haunting lyric poetry.”(p.5) His poem “The Raven” is a big example of that as he uses his frightening settings to proclaim his “tales of terror.” He uses a raven in the poem as a symbol for good luck. The expression “nevermore” is said repeatedly by the raven. The story is dedicated to a loss one of Poe. In “Poe Museum,”(2017) it says “Most famously, poe completely transformed the genre of the horror story with his masterful tales of psychological depth and insight not envisioned in the genre before his time and scarcely seen it since.” In Poe’s story “The Raven,” he gets in the reader’s head with his recurring themes and his way of portraying the sense of fear with his poetic lyrics. The mood he creates with his setting makes it seem very down because the story takes place in a dark room where the raven flies in through a window.
However, Punk does the same thing to Titania suggesting it doesn’t matter whether you are a human or a fairy magic only works when you are asleep. punk simply chooses victims for his pranks by the fact that they are asleep and available as that is the only chance he gets to weave his
The director provides emphasis to the antagonist as something abnormal and separate from humanity. Through setting, Harry Potter evokes fear in the audience. Certain elements build towards the feeling of darkness, with the foreboding world used to emit fear. The setting scares audiences, inhabited by ghosts and spirits. It evokes a malign presence, evident in these scenes.
Although branded as comedies, Tati’s films are not the conventional laugh-out-loud box-office hits. In fact, some might not even consider Tati films to be particularly funny. But though they may be devoid of laughs, they certainly aren’t devoid of meaning. Packed with recurring themes and symbolism, they were often - among other things - satires on modern society and the advancement of technology. Although these, along with the element of play, are recurring themes throughout his 6 films, I’ll be looking at 2 films in particular: Mon Oncle and Playtime, to see how Tati uses his unique style of sound design, visual gags, geometry and colour to bring comedy and meaning to his films.
The visuals itself tell a story, as it creates an overbearing counterbalance to the simplistic stance of the narrative. Miyazaki’s elegant drawing strokes, animation and use of color emphasize the lack of darkness and the sparseness of the elements that are supposedly contained in a wholesome narrative. The visuals have the ability to express unresolved tension lasting throughout the movie, preventing the audience to go back to the comfort of passivity. It’s almost as if Miyazaki purposely creates a critique for the conservative fantasy story by juxtaposing it with his phenomenal visual stylistics—or doing the story justice by laying down some valuable elements to enhance the quality of the narrative (but of course, I might be