As you develop this summary, remember the differences between a film’s story and a film’s plot and how these differences can lead to the inclusion of genre elements. The film Goodfellas is a movie of the gangster genre. The criminal kind is depicted by dealt with bad behavior. Not at all like the westerns where the immense people and dreadful people are easily portrayed, gangster films are more tangled than this. In a gangster film, it can be typical of the gathering of spectators to have sensitivity for the criminal saint.
For their dystopian ideas they both made them having some kind of rebel, who believes in more than just black and white or normal. They saw more to life and tried to make it better. The movie “The Giver” and the book “Anthem” both had a dystopian lifestyle, because they both had rules to follow and was under control by the upper class. The book “Anthem” by Ayn Rand was a good book. This book was all about a lie of a life.
The conventions and attributes make the genre more distinctive towards organized crime and what one will do to obtain it. This film is gruesome and intriguing to the audience for the realism but also fantasy of committing crime without the punishments included. Thesis: The gangster crime era is very distinctive to films and to portrayal of what organized crime has done throughout history. The genre of gangster crime
The Hanging Garden, while not a true fantasy film, uses elements of the fantastical in order to tell a story and to present a spectrum of masculinity. The film, in my opinion, best uses mystery and the extraordinary to present this spectrum. Specifically, the simultaneous existence of the Sweet William who commits suicide, the Sweet William who leaves as an adolescent, and the even younger Sweet William really allows the viewer to compare the types of masculinity that are presented in The Hanging Garden as they all have different dynamics to the other masculine figures in the film. One of the first scenes that exemplifies this dynamic is when we see, or rather just hear, the alcoholic father hit William. This shows the father as a bullying
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.
Decisions to Escape the Pipeline: Portrayal of the Urban Ghetto in Boyz n the Hood In different genres, from different perspectives, there is a definitive subset of city-bazed movies that are united around the theme of the urban environment as a determinant of personality. The stories of these movies center on thinking through the role the cities and sociological entities play in a life of a person (Mennel 23). In some cases, a protagonist may be in an angry conflict with a dark underbelly of the city, as in Taxi Driver (1974), in other he may be a comical embodiment of his surroundings, like Woody Allen in virtually all of his movies, including Anny Hall (1975). Either way, the urban regions, and communities appear to be a natural environment
France was also one of them and it was inevitable for French cinemas at that time to act as a mirror of the French society. Culture, social life, alienation of the younger generation along with loneliness and confusion of identity were all spread and penetrated into most of the French New Wave films. Among them, the vast spreading consumerism (and how this affected the individuals), and the importance of the roles of institutions were the aspects of the French society that were focused on in this piece of paper, during this particular time period analyzed through the works of three different directors. The films of Breathless (À bout de souffle), Cléo from 5 to 7 (Cléo de 5 à 7), and The 400 Blows (Les quatre cents coups) encouraged the audience to identify with these state values and social atmosphere that were prevailing from the mid 1950s to the mid 1950s
Band of Outsiders is an intoxicating interplay between romance and criminality. The three lead characters – Odile, Franz and Arthur – plan to rob the house Odile is lodging in. Like any film of the French New Wave, there is a sense of honesty in Band of Outsiders; it’s so honest about what it is – a film. For example, the voice-over throughout the film is spoken by Godard himself: the director speaks over the film, even explaining parts of it! As for honesty within the narrative, there is an amusing lack of it – which is made all the clearer by the contrasting honesty of Godard’s cinematic style.
Ridley Scott’s film Blade Runner is known for its incredible use of very low key lighting, the dark appearance of the film not only exemplifies the futuristic L.A city but also ties the film in with a modernized film noir style. The low key lighting in combination with the neon lights and signs creates a correlation between the light and the dark, this represents the conflict throughout the film between humanity and the replicants. Investigating the lighting throughout the scene when Deckard, played by Harrison Ford, retires the replicant Pris, Played by Daryl Hannah; this scene incorporates a well placed combination of blue, white, pink, and green light to develop a dark but colorful environment. This mix between high key and low key lighting is vital to the visual development of the films central conflict and dangerous mood of the city. The scene opens with Deckard slowly moving through the doorway with his gun drawn as a light blue light rotates past in the background.
Black humor is a mode of artistic expression in literature, drama and film in which usually serious or tragic subject such as war, death, atrocity are treated in darkly comic fashion in order to express the cruelty or absurdity of the contemporary world. Humor can also be a natural outcome of fear and it is not surprising if some dire events in Vonnegut’s narratives incite laughter rather than tears. Then, Vonnegut believes in laugh less jokes or what some critics prefer to call „black humor‟. “True enough,” Vonnegut admits, “there are such things as laugh less jokes, what Freud called gallows humor. There are real-life situations so hopeless that no relief is imaginable.” Vonnegut chose dark or black humor to describe a reality that goes beyond human imagination.