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.
An adaptation of a story usually accurately portrays the original work but may have its inconsistencies. The short film adaptation of The Lady, or the Tiger? portrays the original story 's characters, setting, conflicts, and plot transitions precisely like how Stockton intended it to be but with its own twist, making the film subconsciously different. The most important and influential adjustment in the movie is the plot transitions, which changes the perspective on how the film and story are viewed. The film has to create their own transitions in because a movie is visual, whereas a reader interprets a story their own way.
For one, neo-noir used more “modern circumstances and technology, which were typically absent or unimportant in the classic film noir.” (CITE). Additionally, neo-noir films usually employ unconventional plot devices and camera movements. And unlike classic film noirs tendency to draw the viewer into the protagonist 's life and building a relationship, neo-noir constantly reminds the viewer they are just watching a film. Themes of “identity crisis, memory issues and subjectivity” are all common in neo-noir
PGT went to a private school in New Orleans, until his parents sent his to a French School in New York City, New York. In New York he learned how to speak english and he eventually enrolled at West Point. Beauregard graduated from the U.S military Academy at West Point in 1838. He was second in his class at West Point.mIn 1861 he resigned from the U.S army to serve in the Confederate army. On April 12th, 1861 Beauregard’s troops fired and 2 days later made Robert Anderson surrender.
Tokyo Story might be a cut off life kind of film however it additionally invokes a portion of the certain issues in life, for example, how we manage passing, change, maturing, and melancholy. The movies needed wistful triggers and created feelings; they turn away from minutes a lesser film would have abused. They wouldn't like to drive our emotions, yet to share their understanding one notification that a significant portion of the film's assemblage of work, including here, are more fundamental perceptions of what is going on in the movies than real basic investigation of the more profound implications and ethics of the work. Be that as it may, on the other hand, what else is there to the state? Ozu puts all that he implies in the films, no illustrations, no contemplations, is what they are what makes one feel he feels, and that makes the race otherworldly (Jonathan,
Color archetypes encompass tons of colors such as black, red, green, white, orange, blue, violet, gold and silver. To put it differently, these colors have specific symbolic representations of such words that are relevant to its color and subject matter as black symbolizes chaotic, death, and the unknown while the opposite white symbolizes purity, peaceful, calm and innocence. Whereas dark vs light had only two contrasts of differences, colors have more contrasts that are more empathetic or diverse. Aside from Romeo and Juliet, other pieces of literature or art forms bespeak color archetypes. Films insinuate these utterly often.
Hence a semiotic explanation to this could be argued to be too simplistic, it is not merely acquiring the new code-based schemata, because truly avant-garde films will not have the same codification. It is given that it might be possible to construct a semiotic theory that could deal with the Avant-garde, but it would only work in retrospect, as there would have to be produced enough films within a period of time that are considered Avant-garde for their time, to then gather the data to give some sort general overview of semiotics to look for. However, a kind of inferential-based model is likely a better fit for the abstract Avant-garde (Peterson, 1996, 112-113), as Peterson argues because this could - within reason - give parameters for spectators to identify so as to discuss the Avant-garde with at least some sort of common understanding. That it would be necessary to somehow alter the approach of the schemata from Bordwell, provides further evidence that the spectator does not simply apply real-world
According to Brian Tyler, the composer of the score of the movie Truth, “ A great score invisibly gets the audience to feel what is unspoken while at the same time clarifying and streamlining storyline” (Tyler). A good score does not get in the way of the movie, it blends in with the scene, creating the right atmosphere that the movie wants. The Hunchback of Notre Dame, being a musical film, also has musical numbers with lyrics. These songs should have lyrics that either furthers the plot of the movie or clarifies and reveals to us something new about the characters, like how they feel and what is going on in their minds. Many of the tracks in the movie has two parallel contrasting sides to the song, a part that is happy and light, and a part that is
As Tolkien himself was apprehensive of his works being titled as fantasy, we can see that it is rather true that the works goes beyond the genre or restriction of being a fantasy literature. In the literary jargon, the genre of fantasy is that of an imaginary universe, which is far removed from the real world, endowed with magic and supernatural elements. Tolkien’s narrative however deals with problems that are greater than the magic which may be found. It is not a parallel world that exists with ours rather it is a world which has the conviction of our supposed long lost
They are not interchangeable terms. Invoke is to bring a entity,spirit, archetype or deity into your own body unlike evoke where you bring a entity,spirit, archetype or deity into your circle, not your body. To be confused in this area could cause trouble because if you are saying one thing but intending something else entirely you will not be effective or you could get very unexpected results, not really a good thing when working magic! Evoke is an important part of paganism and wicca, as well as a wonderful tool to help us make the most of our magical workings and achieve better results. It’s simple enough for new pagans and wiccans to use but at the same time so powerful and mysterious.The possibilities you could explore in using evoking are endless and exciting.
In The Elegance of the Hedgehog, the film and the novel differ in several ways. One noticeable change in the film was not only the change of narration, but also the obsolete motivation of Renée hiding her intelligence. Not only is this change obvious, but it also affects the development of the film compared to the novel. One way it does this is that it removes the aspect of class differences in the film. The viewer still sees a few class differences such as clothing differences, and the treatment to other classes, but they’re not as noticeable.
Burton has directed things like Edward Scissorhands, Alice in Wonderland, and Charlie in the Chocolate Factory. Tim Burton uses his films to show how when one overcomes his or her fears of being different they have the potential for success. Color contradictions are used in many of Burton’s films in order to make things stand out more than others. For example, in the movie Edward Scissorhands, Edward wears dark clothing and does not fit into the brightly tinted town. Burton does this to show how Edward is different from other people.