Is Reflexivity In Analyzing Ingmar Bergman's Persona?

(Emanuel and Fuchs, 2005). References Emanuel, E. & Fuchs, V. (2005). Solved! Washington Monthly, Vol.

One aspect of film theory, the auteur theory, has been debated and critiqued by many film theorists since it was first introduced. The auteur theory is the idea that the director is the main creative force behind a motion picture; that similarly to the author of a novel, a director constructs a film through camera movements (akin to an authors pen). In this theory, the fundamentals of the film, which include blocking, lighting, camera movement and placement, are more important than the plot itself. The director, in a sense, makes the film great because of his/hers creative control over every aspect of the filmmaking process. The theory, however, has raised many concerns; it puts ‘great directors’ into this group of ‘auteurs’ and once you make

Jiahao Huang
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25 March 2016 The Film “No Country for Old Men” Similar to any other kind of art, films can scrutinize the inner works of humanity and the interaction of people in the universe. With the viewpoint of human nature besides the current critical state of the film-philosophy, the film No Country for Old Men by the Coen brothers has succeeded as a philosophical medium. No Country for Old Men is the twelfth film by the Ethan and Joel Coen brothers.

The scene of Betty’s audition for a movie role in Hollywood, is a crucial juncture where we elements of dramatic moments unveil in the film. Reading them along with scenes of Adam’s helplessness as director whose creative freedom is taken away we get a sense that we feel certain familiarity with what we see. The dialogues, the exploitation of the female gender, the patriarchy, cynicism towards the working of movie industry are all played before us

These symbols are powerfully involved with the experiences and emotions of the characters, the thematic impressions inculcated by the director and the impressions and expressions of the spectators. In the films of Bergman, there is a repetitive use of certain distinct symbols. In Persona (1966), Hour of the Wolf (1968), Through a Glass Darkly (1961), The Seventh Seal (1957), Shame (1968) the island is a very important symbol conveying isolation, emotional destitution, a sense of sterility and the whole idea of being distant from life, love and convictions. Similarly, in The Silence the train can be interpreted as a constant image of movement and alteration that eventually settle in human relationships. The unnamed city, the language, the strange waiter whom Anna seduced at the bar are all symbolic of alienation and insecurity.

Second, I investigate the cinematic techniques Alfred Hitchcock utilised in order to create the seeming superficiality of his blonde protagonists. My claim is that through this framing the male protagonists and the spectators are misdirected about the blonde’s passivity. Finally, in order to argue this case, I will discuss how the superficial masquerades of the blondes Lisa Carol

Auteur theory is an important mode of film criticism that indicates the extent of the director’s involvement in the final output of the film. As it has been previously mentioned, Spike Lee’s films express certain notions about race that emerge from his personal viewpoint as well as from his political and aesthetic beliefs. The focal point of this chapter is the auteur theory and its relativity to Spike Lee. In order to prove the connection between the theory and his works, it is necessary to refer to Lee’s biography, since both his background and distinguishable personality have contributed to his technical skills as well as to his unique style as a film director. The particular chapter will also include the synopsis as well as the technical analysis of each film correspondingly.

I have chosen to write about crime films set in 70s New York and their historical accuracy, because I am an aspiring filmmaker. Thus studying about the worlds most renowned movie set, New York and analyzing to what extent filmmakers got inspired by the reality of the “Big Apple” is a very fascinating and intricate topic. Specifically crime films are very interesting as they were made by the great directors of modern cinema. With this paper I wish to deceiver how much the filmmakers grounded their films in reality and how much of the films were pure artistic interpretation.

Introduction of the task  My task for this project is to construct a film study about a movie know as “Schindler’s List”. The point of this task is to show how much I understood of the movie, and how much I remember. The main focus point of the film is to choose two Formal Elements of the Film, which were Narrative, Cinematography, Mise-en-scene, Editing and Sound. 

Reflexivity is a common device used in order to tell a story through modern day documentary filmmaking. Stories We Tell (Dir. Sarah Polley) is a formidable example of reflexive storytelling in a way that expresses itself well enough to hide the small details of fabrication that make the film tell such an intriguing story. Stories We Tell is a prime example of applying the narrators voice into the documentary because, for one, the material is a personal subject for Sarah Polley, but it lends a hand to telling the story in a way that speaks to the true meaning of the film which is slowly unraveled throughout the entire piece. Sarah Polley's Stories We Tell is unique in the way that for a documentary, the Filmmaker is much more than just one role in the film.

In 1950, Akira Kurosawa came up with a film that dispersed all over the world. The film went on to win the US Oscar for Best Foreign Film and Golden Lyon at the Venice Film Festive, Rashomon. For today, a film just has 88 minutes can be called the short film, but compare to some blockbuster’s plots, it has a more strong clear claim and quirky twist plots, otherwise, this film can not win so many awards in international. On the surface, it isn't a picture of the sort that we're accustomed to at all, being simply a careful observation of a dramatic incident from four points of view, with an eye to discovering some meaning—some rationalization—in the seeming heartlessness of man, but it is true that Roshomon concern about all of dishonest of human

The cinematic adaptation of a work of fiction must address its source 's account voice, if simply because the device of filmic narrating is so in a general sense not the same as that of verbal narrating. Eugenides ' novel presents extraordinary troubles. The questionable 'we ' voice is urgent to the perplexing impacts of the novel, particularly concerning the perceptual and moral position in which it arranges the peruser in respect to the describing viewpoint (Shostak 180). The balance of plurality with singularity in portrayal empowered by every medium concerns the speakers as well as their objects of investigation. At the point when the storytellers destroy their distinction in Eugenides ' novel, declaring their own particular combination inside a social gathering, they get ready for their impression of the Lisbon sisters as in like manner de-individualized (Corte 06).

Over the fifteen weeks of the first semester of film school, we were taught many interesting types and styles of early world cinema which were extremely informative and influenced the filmmaking style of the whole class and made us better filmmakers instantly. One such ‘ism’ which inspired me the most was German Expressionism which is a unique characteristic of Weimar Cinema. In this essay I am going to talk about the history of this ‘ism’, its impact on cinema, some significant works and how it inspired me and influenced my filmmaking style. German Expressionism is one of the earliest artistic genres to influence filmmaking, and one that ostensibly prepared for some other cutting edge artistic styles and techniques. It is an artistic genre

( Bigelow,1994;Onosko and Jorgensen ,1998;Lewis and Batts

Film takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love.