Directors who, around the Second World War, propose a cinema that moves away from the traditional forms of narration, where instead of making transparent the cinematographic device makes it evident, putting in evidence its textures, its noises, its traces. A cinema that goes from the psychological to the plastic (according to an epistolary dialogue between Godard and Antonioni- dialogue quoted in the first pages of the book. In this segment he reviews Bresson from three of his most important films: Pickpocket (1959), The Process of Joan of Arc (1962) and Money (1983), to place from them, three lines of reading: the material, the spiritual and the nefarious. On Godard (in the chapter: "Going so far for beauty: Godard's Lyricism") he makes a sort of sweep through his filmography, which begins with the films of his first era, revising those filmmakers who illuminate it; until his contemporary work and his poetics of recycling and re-contextualization of both cinematographic and historical elements of the 20th century, describing his film histories as statements full of hopes and astonishment, but also of disappointment, disappointment, anguish. A third and last moment is installed as a cartography of the cinema of the present, where Ruiz, Apitchapong Weerasethakul, Naomi Kawase, Manoel de Oliveira, Aki Kaurismaki and others gather at the same
98). In a coming of age narrative, such as Y Tu Mamá También, the main characters are the characters who accomplish a series of goals which eventually change who they are as a person. Moreover, there should be a barrier which these characters must overcome in order to complete the coming of age quest. As Bordwell and Thompson put it, in a classical Hollywood film, there should be “an opposition that creates conflict” (Bordwell et al. 98).
Second, there are two types of conversational implicature in the main character’s speech, i.e. generalized conversational implicature in which the main character’s intention is explicitly uttered, and particularized conversational implicature in which the main character’s intention is implicitly uttered. In Winda Ayu Citra Dewi’s thesis titled ‘Speech Act in the Great Gatsby Movie Script’ (2015), the research objectives of the study are to know the illocutionary act based on Searle category that is used by the main characters which is found in “The Great Gatsby” movie script and to find out the strategies that is used to realize the illocutionary acts by the main characters in “The Great Gatsby” movie script. The research design on this study was library research with qualitative approach. In this research, the writer found
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.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film. Self-reflexivity is employed in Romeo + Juliet by immediately drawing attention to the fact that the film is represented as a news report rather than the original format of a Shakespearean play.
Aspects of the camera including shot scales and editing will also be discussed. Finalizing with the elements of light and sound that contribute to the overall concept of creating a popular classical cinema film. Narrative structure is present within any genre of film, although how it is structured and presented varies impacting the entirety of the films screen duration. The story first began to develop with flashbacks of Mildred’s past that further
Film and video production is the procedure of making a movie film. This method includes those activities in the initial development towards the final distribution stage. As the process is different from one Production Company to a different, you will find certain stages by which film and video production goes. Typically, you will find the pre-production, production, and also the publish-production stages. Although the production stage may be the occasion once the actual filming happens, other stages, specially the pre-production stage, considerably influence the whole process of film and video production.
Cinematic animation constitutes a pre-history of animation that was to emerge in a televisual context. The advent of cinema per se was preceded by the development of various devices with such classically intoned names as thaumatrope, phenakistoscope, and kinetoscope. In the United States, Stuart Blackton and Albert E. Smith stumbled upon the technique of stop-action animation, in which three-dimensional objects or drawings are shot frame-by-frame, slightly adjusting the position of the object between frames – thus creating the illusion of motion. As an example of the latter, Winsor McCay, an early American animator, serves as a transitional figure, since he drew on both of the primary sources of early American animation: vaudeville and a newspaper-based comic strips with the revolutionary transition from newsprint to celluloid. (Stabile and Harrison 2003: 2-4) Over the course of the first two decades of the twentieth century, new technologies and studios emerged.
A New Attitude: The 1940s With the 1940s came a paradigm shift in the attitude to cinema, with film makers increasingly adhering to cinematic norms of acting, as opposed to the theatrical and demonstrating a willingness to address everyday reality. The film that can be said to have been instrumental in bringing about this change was Udayer Pathe, made in 1944. Its writer, Jyotirmay Roy, was responsible for the streak of social awareness that informs the film, while director Bimal Roy, later to find international recognition with his neo realist Hindi feature Do Bigha Zameen in 1953, showed great vision in doing away with stars, getting his amateur performers to emote with restraint and structuring his script tightly. Though marred by its at times stilted dialogues and a tendency to oversimplify, there is no doubt that Udayer Pathe was a trendsetter. The
When seeking the adapter’s moral or political view of the text, Ang Lee had to seek its manifestations in other production choices such as casting and choice of setting. The question of the audience’s historical relationship to the literary/filmic text is striking if we take the 1990s as a case-study and note the high-budget TV and film adaptations of 19th century novels. In the case of classic serials of 1990s, the past is not only ‘brought to life’, but the artefacts of the adaptation’s production themselves also serve as links to previous era: the costumes for Lee’s Sense and Sensibility and the BBC’s Pride and Prejudice have been touring stately homes and museums in Britain side by side with the ‘genuine article’, as if they stand as testimony to their historical accuracy. The settings for classic serials – particularly stately homes – have themselves become objects of nostalgic homage for the cinema/TV audience, improving their contemporary fortunes