The director Martin Scorsese’s characterizes the New York mafia in the film Goodfellas on the basis of a true story, and the commonality that Scorsese has with the director Baz Luhrmann’s film, The Great Gatsby (2013), is that they share a depiction of characters in New York organized crime which creates the cinematic mood reflecting different eras. The cinematic language of both directors’ communicates to viewers by way of their artistic use of mise-en-scène, staging and design, as well as composition in a drama genre. The film Goodfellas departs from the consistent violence of a gangster film genre through the way Scorsese portrays the characters. For example, the scene where Henry’s (Ray Liotta) voice-over point of view shifts to his wife Karen (Lorraine Bracco), she describes her average lifestyle, and later the film depicts mise-en-scène in the expensive parties, family gatherings, poker gambling games, and restaurant/night club gatherings. Moreover, they seek the most extravagant lifestyle quietly at times, not to bring attention to themselves.
Buñuel diverted from this typical ‘pleasurable’ progression of classical cinema throughout his entire career. The Spanish director “was a singular figure in world cinema, and a consecrated auteur from the start.”(Russell, 2005) His narrative experimentation was consistently ahead of its time with his films resonating with audiences due to their provocative nature and rebellion against the stylistic and narrative conventions of classical cinema, which were cemented into the normality of society. Born into the foundation of cinema itself; “his work moves from surrealist experimentation in the 1920s, through commercial comedies and melodrama in the 1950s, to postmodernist cine d’art in the 1960s and ’70s.” (Russell,
Mistakes and failures from one’s past can be discouraging and disheartening and can even make one too afraid to ever attempt the same feat again. This is especially true in the case of love and infatuation. In “For That He Looked Not upon Her” by George Gasciogne, the speaker’s tone shifts from a wary to a bitter attitude. This shift is signified by the vivid imagery in the examples of the mouse and the fly and by the increase in intensity of the speaker’s diction. The speaker starts off with a distrustful attitude towards women.
For instance, Disney 's 'Aladdin ' in 1992 is an example of how he established his talents as a voice actor the role of the Genie, it showed is genius and how he can come up with so many voices. The performances from him shook the entertainment world generated a lot of revenues. Even more pleasurable moment was perhaps of his years and career came in the year 1997. This was his best year and he was able to stand out as one of the best in the world through several awards. He starred in ‘Good Will Hunting’ which was a great film and this lead to him winning accolades as the therapist.
Also, since it is soliloquy, no one can stop him to think excessively, so it makes him to lose his mind. As he starts to manipulate himself that the prophecies from witches ‘cannot be ill’, the dramatic irony makes the audiences feel anxiety because they know the deception leads him to destruct his life. Another great example of this is ‘a dagger of mind, a false creation…’ in soliloquy of Macbeth. The adjective ‘false’ obviously links the theme deception as
Weirdly enough, part of the immersion we want from a film is to make us not notice we are seeing a film. We like getting into its fictional world and looking through the characters’ eyes in a way that feels natural, even in the wildest and craziest stories. When we talk about great films, we get into abstract territory: technical, original, controversial, or just fun. Entertainment is key, and while a lot of times comedies lack deep characters and are filled with generic storylines and clichés, writer/director Wes Anderson comes to prove us all wrong. He presents his story in a way that it lets you know you are watching a work of fiction, more in the fashion of a moving painting than traditional film some might say.
He even discovers a murder plot, of all things. But we aren’t sure if it really is a murder plot at first. In fact, we, the audience, are given much more reason to doubt there is a murder than Jeffries. By using subjective narration and only placing the camera within Jeffries’ apartment, the film takes on a much more entertaining story than if we had an objective viewpoint. In fact, subjective narration is the only thing that makes Jeffries the hero of the story.
All of them cheat. They’re all wicked!” This shows that the Nurse states her opinion in situations that don’t “help out”. She is saying to Juliet what she thinks about most men even though it won 't particularly help Juliet. Moreover, the Nurse also plays a vital role in Romeo and Juliet as a result of her comic relief all throughout the play. Why did William Shakespeare even add comic relief?
This then made Hermia mad at Helena, because now Lysander loves Helena. Now Hermia is wanting to get at Helena but Lysander keeps stepping in the middle to protect Helena and insult Hermia. He says, “Away you Ethiope...Get you gone, you Dwarf; you minimus, you hindering of knot grass made; you bead, you acorn.” (3.2. 228, 329-331). When Lysander calls Hermia an “Ethiope” he is making a racist joke.
By doing this, he not only tells a story, but he adds to Juliet’s character by showing that people by nature are never perfect. Everyone gets confused sometimes, even Juliet, the heroine, who thought she had everything figured out; likewise, nobody has complete control over their life. This humanization helps the audience relate to her imperfection and is one of the reasons that make the play, Romeo and Juliet, so relevant even after its original