“The Skin I Live In” Looking from the film title “The Skin I Live in,” and the film poster which presents a gentleman behind a bald woman looks frightened covered with mask, the first image of this film that I got is a cliché horror-thriller film selling disgusting scenes—cutting the body and showing blood splashing which have in general horror film. However, it does not like my expectation; likewise, it is totally beyond what I have expected. The director Pedro Almodovar can make audiences feel creepy without these things. First of all, I will defend that I am a person who is always attracted by picture; that is why I love the pleasing pictures and composition in this film. Pedro uses blue tone to cover all along the film is not only raising
The distinguishing of the progressive horror wave from other horror movies (which can be seen as the alternativeness) is completed by the actions of their creators and the innovation they bring to the time’s cinematography (which makes them autonomous) and by the themes represented in a innovative way (making them authentic). Wood succinctly describes it by comparing it in opposition to a Hollywood horror movie by words such as low budget, unpolished, non-bourgeois exploitation, bad family, traditional values negated, and, what is the most important, parent figures destroy
Until now, the audience has only heard about Dr. Lecter; his butchery, his brutality, his danger. Through the use of perspective, Harris is able to to convey the psychologically dominating aura of Lecter, creating the precise tone and mood to develop the infamous character. To set the tone via perspective, the narrator steps inside Clarice’s shoes. “For a second, she thought her gaze hummed, but it was only her blood she heard.” The morbid connection between environment and blood darkens the tone and directly attributes Lecter and death. Harris’s use of free indirect style guides the scene; the most effective way to convey an emotion as subjective as fear is to see from the perspective of the character.
For instance, the very first sentence of Hollinger’s essay starts off with this quote, “As Stephen Neale suggests, an intimate relationship seems to exist among the filmic presentation of the horror monster, the castration anxiety it evokes, and the cinematic representation of the female form.” (Hollinger pg. 243 of the Monsters book), in which she uses to intrigue the reader and to give the reader an idea about the work. Hollinger tells the reader that Neale thinks that the usual origin of a monster in a film is due to a relationship that went wrong and also claims that men are more vulnerable to certain anxieties. The placement of her reference to Neale’s essay allows the reader to conduct an idea of what the essay is going to be about and makes the reader think about what is more threatening between feminine monsters or masculine monsters. I think it was creative of her to reference a well-known philosopher and that she was able to use it to have the reader thinking about movies they’ve watched and figure out whether they’ve actually seen any movie at all with a feminine monster and if they did, then they’d compare them to the masculine monster causing the reader to think even more!
In his review of the film for The Guardian, Peter Bradshaw called the scene “scalp-pricklingly disturbing.” The Coen brothers used various elements that gave the scene that effect and contributed to its overall importance in the film, especially the characterization of Anton Chigurh. This scene is very important to the film, less in that it advances the plot but more in that it establishes Chigurh. That’s very much because of the striking dialogue; in his review of the film, Roger Ebert said that the dialogue was “as good as any you will hear this year.” Sometimes a genre of a film can be generalized in oppositions. This scene has its oppositions too; it’s Anton Chigurh vs the proprietor, and Chigurh gives him an option albeit the proprietor doesn’t know what it is; life or death decided through heads or tails. The coin toss is a recurring motif and is repeated by Chigurh again at the end of the film with Carla Jean, though she rejects it.
“I believe whatever doesn’t kill you simply makes you stranger” (The Dark Knight, 2008), this is the stand out sentence that the main antagonist, The Joker (Heath Ledger) speaks in the opening scene of the movie. Not only does this line set up the suspense for the rest of the movie but it also sets up the suspense for the opening scene of the movie. ‘The Dark Knight’ is a film directed by Christopher Nolan that builds suspense and intrigue throughout the movie, the director uses mise-en-scene, mise-en-shot and editing to put a seed of meaning for the viewer to draw from. This essay will analyse the opening scene of ‘The Dark Knight” mainly focusing on mise-en-scene, mise-en-shot and editing, where meaning can be taken away from the movie. This can definitely be seen in the opening scene of the movie, it has all the components to make it the perfect scene and the viewer will be able to
The most critical part of a horror movie, is the suspense. The Shining did a satisfying job when it came to each scene, having its own little twist. These little twists added up in the end to make the film as striking as possible. With these little twists in mind it brings an example out from the movie. This is shown by the scene in which, the little boy named Danny is in his bathroom talking to his invisible friend Tony, in which lives in Danny’s mouth.
The techqniue used in order to connect the scenes in Slacker, were done through a circulation of ideas and the conceptions of slacking. The lack of narrative structure made this film expeirmental , and by using the medium to play around. Quentin Tarantino, a director who finds great pleasure in form and motion, music and violence and mixes and matches. Pulp fiction (1994), a four-part film with a montage of bizarre characters which emphasis the focus on the Negativism of an American. This film makes use of its character-based plot, including two mob hit men, a boxer, a gangster’s wife and diner thieves all intertwined into four stories to represent on how the director viewed the world, corrupted with violence and redemption.
Spielberg continues to create tension in the action sequences with the shark by suggesting its presence once more with the yellow compressed air barrel, and the prosthetic shark is only fully seen when it attacks Quint. This scene focuses on shocking the audience with the graphic scene of Quint being eaten, as the creature that summoned so much suspense and dread earlier in the film, is arguably no longer frightening in its full form. In conclusion, the cinematography in Jaws functions as a way of creating suspense, the shot choices made are able to manipulate the audience into believing there is a shark, when the real animal is not fully seen on screen until minute 81. The shots used throughout
Likewise, the film left its audience mind-blown by its exceptional choreography and mastery of various creative special effects that made the experience unique and realistic. The movie creators utilized well these effects to efficiently evoke the element of thrill and surprise to its audience. To demonstrate, the last scene of the movie displayed a lifelike depiction of a shark that had gone rogue and had started to include humans in its diet. The shark viciously attacked the humans and Quint was slaughtered in the process. As a result, the other humans had been left cowering in fear and were frightened of the dark possibility that awaits them.