Traffaut scenary choice was intended for Antonie since he was always isolated in Paris but now he has finally found the freedom to discover himself. Hitchcock used the setting and characters actions to produce a horror genre movie. These two filmmakers produced unique movies, which follows the Auteur Theory. A lot of filmmakers have interepreted the auteur theory is based on the scripts in which the director chooses to make. Its does not matter whether a film director writes his own movie, because these film will illustrate the film makers visions through the creative choices that they make in their
Kylie Mawn Professor Rodais CINE 121 Midterm 4 March 2018 Question 1: Citizen Kane (Orson Welles, 1941) is a film that is well known for pushing cinematic boundaries in many ways. One commonly recognized technique in Welles’ film is deep focus photography. Deep focus photography is used in films to allow everything in a shot to be in focus at once. Typical, only specific characters or objects are in focus in any given frame in order to guide the audience’s attention in a scene, but deep focus can bring a new level of sophistication to a shot. While using deep focus photography, a cinematographer may have to rely on framing, lighting, or composition to guide an audience in a way that typically would be done by focusing on objects or characters in the foreground of a shot.
While not the first filmmaker to use it, D.W. Griffith helped pioneer the editing technique of crosscutting or parallel editing, alternating among multiple strands of the simultaneous story action. The concept of editing as montage is closely associated with Soviet filmmaker Sergei Eisenstein. While montages simply the French word for edit,the term has come to designate a theory of editing which emphasizes the breaks and contrasts between images joined by a cut.  The coming of sound technology in the late 1920s served to solidify Hollywood’s commitment to continuity editing, an approach which emphasizes spatial and temporal clarity in order to present a story to an audience in a logical and coherent manner. In the 1940s, cinematic realism became established as one of the primary aesthetic principles in film editing influenced in part by Italian neo-realism and documentary filmmaking
Throughout the essay, many references and comparisons are made to other films. Also incorporated in the essay is the use of advance terminology; Giving indication that the author is very knowledge about film. Haslem mentions in her essay “Neon Gothic: Lost in Translation”, “In many ways Coppola’s film exhibits marks of classic European art cinema. Specifically, in her interest in stillness rather than action, Coppola recreates a similar impressionistic resonance that was initially established by filmmakers like Carl Dreyer in The Passion of Joan of Arc (1928) and elaborated by Michelangelo Antonioni in films like L’Eclisse (1962) and L’Avventura (1960)” (Haslem 2004). This example from Haslem’s essay provides strong evidence of her theoretical writing style and advanced knowledge in the study of
As I stated, Tim uses cinematic techniques to specialize certain scenes of his films against the others. He uses lighting and camera angles to point out visual elements, and he uses composition to point out audial elements. Overall, Tim Burton has a very differentiated style compared to most modern American directors. He uses the cinematic tools given to him in unique ways and that is why so many people love his
The main focus of movie posters are to draw the audience to watch the movie. Due to the rating of R, the main audience of the film Focus is anyone above the age of 17. A lot of thought, money, and time are put into the design of a movie poster. In the movie poster of Focus, there’s elements of pathos and ethos throughout the movie poster’s designs. The main appeal is pathos; however, some may argue that the main appeal is ethos because of the authority and creditably of the co-stars of
Baz Luhrmann’s films are known their ability to make a watcher feel as if they are part of the show. Between his use of camera angles, shots and the use of a narrator, it’s no wonder he is able to keep viewers on the edge of their seat. But how does Baz Luhrmann pull off this spectacular feat of his? This is probably explained best by referring to Baz Luhrmann’s films and how he himself has evolved as a director. This is best done by comparing two of his films, namely, Romeo and Juliette and The Great Gatsby.
“Hitchcock grants us with information which is not available to the characters on screen” (McLaughlin 2003:12) which allows us the audience to act as analysts. Hitchcock employed the dolly zoom technique, in which the cameraman zooms in while moving away from the actor, or zooms out while moving in, to accomplish a disorienting ‘falling’ effect. Freud placed great importance on dreams involving falling; the repeated use of the theme has been interpreted by some to be a manifestation of Hitchcock’s obsession with death. Freuds concepts were employed almost regularly by Hitchcock in his films, which still retain their influence, despite the displacement of Freud’s theories by biological explanations of mind and behavior. Madeleine’s death can be described as melancholic.
First of all, sound is an important concept in any movie. Although there are silent films, sound adds a whole different aspect. Non Diegetic sounds create emotion through what type of music is playing. Deep toned sounds create a bad vibe for villains or bad guys while light, upbeat sounds create good vibes and joy for heroes or good guys. For example, in the movie “Edward Scissorhands,” Director Burton uses Non Diegetic sound in the scene where
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