“He was not the worthless, broken, forsaken man that the Bird had striven to make of him. In a single, silent moment, his rage, his fear, his humiliation, and helplessness, had fallen away. That morning, he believe, he was a new creation” (Hillenbrand 383). After this moment of forgiveness, Louie was able move past the horrendous events that occured at the POW camps, and forgive his tormentors. In fact, many years after the war ended, he visited prisons for the convicted Japanese criminals that held some of his previous guards from his POW camps, and forgave them.
This results in the captivated tone being seemingly careless while being supportive at the same time. Furthermore, as an act of rebellion, while Andy played music through the prison’s speaker system, Red comments: “I tell you, those voices soared. Higher and farther than anybody in a gray place dares to dream. It was like some beautiful bird flapped into our drab little cage and made these walls dissolve away...and for the briefest of moments -- every last man at Shawshank felt free.” (277). Without directly conversing with Andy, Red utilizes a metaphor to compare Andy to a “beautiful bird”.
After watching The 39 Steps (1935), I realized that Alfred Hitchcock really did have a talent for establishing suspense through films. Even though suspense was the primary focus, Hitchcock managed to effectively and intelligently mix humor, romance, and thriller. He uses a variety of techniques to convey these feelings to the audience. According, to some of his interviews with Francois Truffaut, Hitchcock mentions his love for The 39 Steps, specifically about the techniques he uses to create a bewitching experience throughout the film. In this film, he uses a variety of themes that he continued to constantly use throughout his later films.
“For the first few punches. Louie stayed upright.” (209). He got punched in the face 220 times. Even after the Bird made all the prisoners punch Louie, he still defied him. My final reason is he always finds a way to get through the bad things.
He never takes anything very lightle, he finds almost every situation as a life lesson for Jem and Scout. When Atticus gives Scout and Jem guns for christmas and explains to them that they may shoot birds but only bluejays and no mockingbirds. He says, “Shoot all the bluejays you want but remember its a sin to kill a mockingbird” (90). He takes this small event of giving the children guns and makes it the overall theme of the novel. The mockingjay is now used as a symbol for many different situations in the novel.
Winning multiple awards, this movie has achieved the status of being one of the greatest French movies ever made. Throughout this entire movie, the effects of adversity on an individual’s decisions, lifestyles, perception, and so on have been emphasized. For these reasons and more, this movie has managed to capture the hearts and minds of a wide demographic. More than just a simple made-for-money film biography, The Intouchables, presents and effectively portrays the real-world forms of and responses to adversity, specifically in terms of handicaps, loss of family, and depression. The Intouchables starts out on a strong point by showcasing the handicaps both Philippe and Driss have to face in daily life.
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. Thus accomplishing what I call, the art of a making a film look like a film. The Grand Budapest Hotel is his artistic manifesto, combined with masterful storytelling and one of the most aesthetically pleasing cinematography one can ever
This is something which has always intrigued me as a filmmaker, as I have always loved watching films with two or more dimensions, and learning about German Expression has made it clearer to me. One thing that I have learned from this form of expressionism is that film becomes art only to the extent when the film image differs from reality. The constant use of crooked shapes in larger than life and artistic sets, the overexaggerated movements of the actors, and focusing on making the film a more visual fest to the eye of the audience while having a deep metaphorical layer has really inspired me. This new information could really influence my filmography as prior to learning about German Expressionism, I always used to think that having a metaphorical layer is enough for your film to be poetic but now I have learned that to make that metaphorical layer more believable to the audience, you need to support it by creating a world which would emphasize on the metaphor and also with the help of artistic visuals, just like in the German Expressionist films. This would help in making the audience connect with the story and the characters more easily.
The evolution of the director Baz Lurhmann Andrew Venter Topic two: “Lurhmann’s films are not so much adaptations as re-imaginings” Baz Lurhmann is a very distinctive director who is both loved and hated for his bold cinematic techniques. These techniques allow Lurhmann to recreate famous titles such as Romeo and Juliet in a way that very few people could have ever imagined. From Lurhmann’s first film Strictly Ballroom these techniques were very prevalent and instead of out growing these brash techniques he actually evolved and developed his techniques. And thus resulted, resulting in the creations of very successful films. In this essay I will be discussing how Lurhmann has evolved these cinematic techniques beginning in Strictly Ballroom, continuing in Romeo and Juliet and finally in The Great Gatsby.
“Only in dreams can men be truly free,” says Robin William, a famous actor. From time immemorial, human never ceased to pursue freedom, but in fact, many impossibilities exist. However, this still cannot stop their aspiration to freedom, in this case, movie come into the world, for from a very large extent, movie satisfied people’s fantasy. Especially when the technique of special effect at present age grow more and more mature these days, human can create any visual effects they want, and even in the past, when the technique has not yet matured, people use simple theatrical properties and cut the films to create special effect. Hugo, a movie that brings people back to the old days, contains a large number of elements that demonstrated people’s