: For my presentation I have chosen to examine Steven Spielberg and what stylistic features he uses to make himself considered as an auteur. An auteur is a director that has a unique style in filming and has complete control of the production process of the film. The three films that I have chosen to focus on are E.T. The Extra-Terrestrial (1982), A.I. Artificial Intelligence(2001) and Close Encounters (1977).
This essay, primarily offers a concise synopsis of a film, more specifically The Fault in Our Stars, which depicts various themes and elements of the above-mentioned philosophy. Furthermore, through this synopsis various aspects of the narrative is identified as relevant to further discussions. Subsequent is to this is a critical engagement with the salient features of existentialism in reference to the above-mentioned novel as well as the film adaptation. Consequently, this leads to an analysis of the film, which illustrates the extent to which it reflects the existentialist pursuits of revolt, passion and freedom. Ultimately, a conclusion may be offered that suggests how the narrative of the film relates to the phenomenon of globalization and the current environmental crisis while referencing various texts as well as conclusively suggests an appropriate personal recommendation in relational to the philosophical deficits that are highlighted, which may be imminently applicable.
Reflexivity creates a hole, so to speak, in the texture of the fiction through which the viewer is directly connected to the aesthetic apparatus of the fiction […] The ultimate goal of reflexive procedures is to create a direct discursive relationship between the auteur and the audience, whereby the auteur may say something not only according to the aesthetic rules of a genre but also about the rules themselves according to which the work of art in question was made”. (A. B. Kovas, 2007. P.225) ‘Persona’ as a film has no clear or linear period, however there is a typical beginning, middle and end present in the film, Roger Ebert states in his review of ‘Persona’ that “Persona is starting at the beginning, with the birth of cinema. The break in the middle shows it is turning back and beginning again.
First of all, 3Andrew Sarris suggests that a director should have technical competence and elementary flair for the cinema. If the director cannot fulfill it, he or she is automatically cast out from the pantheon of directors. 4The second premise of the Auteur theory is the distinguishable personality of the director as a criterion of value. A director must exhibit certain recurrent characteristics of style, which serves as his or her signature. The way a film looks and moves should have some relationship to the way a director thinks and feels.
Azami’s scar on her forehead is representing the power she has over men, while also describing how the author uses the objectification the scar to connect it to the foreseeing spirals of the book Uzumaki. Ito’s book Uzumaki includes different stories from different perspectives while still maintaining a major factor, which is the concept of the spirals. At the beginning of the book, the horror
In this essay I will try to analyse the use of metaphors and film genre as means to deal with profound life matters in the cult TV series Twin Peaks. Initially, I will refer to the use of surrealism, a technique that is used extensively by one of the two creators of the series, David Lynch. The notion of surrealism will be used in comparison to the melodrama and soap operas genre elements in order to explain how it was manifested in the series. The second part of the essay will entail the analysis of the metaphors that were used throughout the show as means to explore profound themes such as incest, family violence, rape along with the pastiche of the American family model and the American society as an idea. In order to fully analyse these themes, I will talk about the main characters of the series: Laura Palmer, Leland Palmer/BOB and the Palmer Family.
Pulp Fiction is a film that revolutionized the way movies were made, and since its premiere has left lasting influences on cinema as an art form. This essay will focus specifically on the popularization of non-linear story telling and use of postmodernism in mainstream cinema. In addition, it will examine use of cynicism and irony within the film to speak to the disenchantment of Generation X and the responses to the film which solidified it as a cultural phenomenon. Pulp Fiction not only impacted the beliefs and values which defined mood of the period they were born into, the film techniques and distinct aesthetics of both films are what made postmodernism in mainstream cinema not only possible, but popular. In Pulp Fiction, Tarantino champions the postmodern aesthetics of past imitation and intertextuality.
They are axes of reading, around the concept of authorship, or about the question that the title indicates. In the chapter homonymous to the book, Martin is reviewing what is what distinguishes modern cinema from classic. Using Barthes to Antonioni, and from this to Godard (the last two as paradigmatic filmmakers of modern cinema), a tendency that confronts the modern to the classical and redefines it as aesthetic, formal searches is descaling; “Overcoming an old problem / formulating an old question”. The modern
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.