There will be an analyzation of one of the most well known movies there is, it’s of course The Wizard of Oz. Overall, the hero’s journey has fallen in place in many movies, leading towards how I will analyze the movie The Wizard of Oz to relate more of how it
This movie detained the top position for the fifty years until it cut down to succeeding following Vertigo (1958). The movie “Citizen Kane” is typically admired for its obscured plot, packed with the flashbacks that drag feet of the viewers towards the chronology of the life of the Kane, its astonishing performances; its spectacular technical stunts and aerial tricks and its deep-concentrated photography. A small range of if any among the technical possessions are completely unique to the Kane, although Orson Welles and his crew’s masterly use of the so many of them in single movie has built the “Citizen Kane” and weight on almost the whole things that came later than. (bj_kuehl,
More than any director Hitchcock depended on his actors for his films. Hitchcock’s ambivalent films required complex characterisations and we have seen the most brilliant performances through Teresa Wright as Charlie in The Shadow of a Doubt (1943), Jessica Tandy as Mrs Brenner in The Birds (1963). Hitchcock utilized the flexibility and range of actors like Cary Grant and James Stewart which made the characters memorable. Excellent character delineations of Cary Grant can be seen in films such as North by Northwest (1959) and To Catch a Thief (1955). And James Stewart in films like Rear Window (1954), Vertigo (1958), Rope (1948) and the American version of The Man Who Knew Too Much (1956).
As discussed in The Cinema of Martin Scorsese, many of his films have a documentary styled set up: voice over narration, date captions, and historical references (Friedman 170). These documentary derived techniques can be seen in his movies such as Goodfellas and Casino. Another of Martin Scorsese’s frequently used techniques is the use of freeze frames, when the camera suddenly freezes it adds further drama to the scene (Friedman 170). Not only does the techniques used appear often, but the themes conveyed in his movies are also recurring. Dougan says in Martin Scorsese Close Up The Making of his Movies that “His films are an almost anthropological study of what it means to be Italian, Catholic, and repressed in post-war America (7).
Hitchcock was a great screenwriter although he took a writer’s credit only once after 1932 for the film Dial M for Murder. His guiding intelligence was behind all his scripts. He also contributed dialogues and his narrative abilities, sense of plot, pacing remain unparalleled. Hitchcock also had a genius for colloquialism. Hitchcock claim not to care about his deft scripts and cautious working habits belie this pretense of indifference.
The scene at Myrtle and Tom’s apartment seemed slightly overdone. The book never said that the party became wild and out of control, just that Nick and the others drank to the point of intoxication. The modern music mixed into the movie stands out. The movie, like the book, is set in the 1920’s era. Nevertheless, the audience listens to Jay-Z, Lana
Not only does Romeo manage to kill Tybalt, but he also turns the law against himself, as the Prince declares Romeo’s banishment. This banishment is just the beginning of the dominoes laid on the board by Shakespeare; it becomes the physical barrier that separates Romeo and Juliet from each other. In the last act, this barrier then separates their minds as neither of them are on the same page, which is the cause of their
Charles Dudley Warner said, “People always overdo the matter when they attempt deception.” Hamlet is a play that is filled with deception. Nearly every character within the play has lied to one another or committed a form of deception, making almost every character a master in the act. Lying and secrets are prominent from the very beginning of the play. When the ghost, said to be the late King Hamlet, is introduced, it is very secretive and kept quiet. Hamlet is very secretive about the ghost, until he tries to convince Gertrude he is there, and fails in the process, which only causes her to believe he is more crazy.
Firstly, in the plan making process Montag and Faber are not on the same page, although Faber admitted "we're twins, we're not alone anymore"(Bradbury 106), which brings a positive side to the serious and panicked emotions Montag is feeling. The rowdy fireman then ignores all of Faber's advice and reveals his secret and illegal book stash to Mildred's friends while in a heated argument with them. Bradbury uses the metaphor "the room was blazing hot, he was all fire, he was all coldness"(Bradbury 102) referencing the past section and his continuous internal conflict and its transition to the argument. Montag loses the argument and it results in his house being called to be burned for books. The Sieve and the Sand represent the big plans that Montag had and how his newly discovered emotions put holes in the plan, like the grates in a sieve.
The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own. Before this markable period, film authors were generally self-directing with open stylistic aspirations and full management over their films.
The movie demonstrated how institutions defined womens through showing how the men in the movie more or less went “we don’t like this about women, so anyone has these traits must have a disorder.” Charlotte repeatedly told Dr. Granville what she realized was “wrong,” with the women and the absurdity of treatment of it. However, every time, Granville brushed her off, informing her that because he was a doctor, he knew more about women than her, a woman. The men of the movie were too blinded by their own notions and ideologies to look past their ignorance. Granville soon became what he had fled from at the beginning of the movie. He left his job due to his superior’s willful ignorance, and soon became just as ignorant himself in the pursuit of his dream.