Cinematography is a major part of production however it is inter related with post production. The art of joining the various shots in a desired manner is commonly known as editing. There are different types of editing styles, that i will discuss later on in this essay. For this essay i will compare and contrast two different movies namely, Lawrence of Arabia(1962) & The Matrix(1999). Will the editing style of Lawrence of Arabia still work in todays generation?
This helped to add to the already-strong storyline crafted by writers Oh In-chun and Park Ji-young where it blends the fictional with the realistic. Portraying the original movie as a document of what really happened and then adapting the new movie from these events has quite a unique
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.
‘The Hunger Games’ trilogy is arguably a dystopian literature that has not just won the hearts of many, but is a bandwagon that has the powerful ability to carry out its message with much articulation, just by its screenplay. It is able to inculcate the awareness of existing problems in the society through visual communication. Other films like ‘Lord Of The Flies’ and ‘Spartacus’, also focuses on the uprising and rebellion on youths, but ‘The Hunger Games’ series created narrative that had a different kind of concept - the juxtaposition of imaginary stylization and conspicuous contrast, (Phua, n.d.) making a revolutionary coherence to the audience in the current
MANAGEMENT THEORY ON CELLULOID JANARDHANREDDY.K1 & A. PHANIRAJA KUMAR2 ABSTRACT Films in today’s age are a really powerful way of sharing information and not only one way information but two ways. Sharing one’s opinions and ideas about particular are portrayed in an entertaining yet informative manner. Once the movie is made and released, the audience’s reaction and opinion about it makes it a two way communication process. And especially with all the internet-socio activities being so in these days, it is not at all difficult to share one’s views about a movie. Wegner of U.S is the pioneer of using films as a medium of teaching organizational behavior as well as management theories and concepts.
4.the Modern Trend in Bollywood It is widely believed that the charm of Urdu constitutes a crucial part of film making in Bollywood. However, there are signs of change we can see that love rather than pyar, mohabbat, or ishq, as the representation for the privileged effect in the modern context in films. In other words, English is challenging the ideological work done by Urdu once as the meta-language of romantic love in culture. Furthermore, the abundant use of English phrase and proverbs establishes a web of discourse which the characters possess. In the film Fanna 2006, (Kunal Kohli), it is evidenced that the Urdu gradually became nostalgic sentiment rather than interpreting the theme as it used to be.
The practice of adapting is central to the storytelling imagination. Adaptation theory, the systematic study of films and television based on literary sources, is one of the oldest areas in film and television studies. Although the study of literary adaptations on film and TV is becoming more common and more acceptable as a feature, it is still surrounded by knee-jerk prejudice about the skills such study affords, its impact on the value and the place of the literary ‘original’ and the kind of critical approach it demands. Apart from analytical work of narratological perspectives, auteur theory and genre, there is little that unites the study of visual and written narratives in academic work – even though there are clearly shared processes
It has been argued that the experience of reading the books is akin to watching a film (Cartmell and Whelehan, 2010); Harry’s control of the gaze through the emphasis on his glasses, the influence of the blockbuster, especially the obligatory action sequences, and the intertextual references to Star Wars, in first volume, call attention to the ways in which Hollywood has shaped popular fiction. While the first film, albeit successful, disappointed its audience due to its excess and lack of fidelity. The last two films seem more independent of the books while reinforcing the books’ cinematic qualities. For instance, the influence of the road movie genre, implicit in the novel, is made explicit on screen in penultimate installment, Harry Potter and the Deathly Hallows, Part 1. Rowling’s translation of Hollywood genre to fiction may be part of her recipe for popular and financial success and it has been observed that cinema’s financial lure is too much for some novelists to resist, with the contemporary novel reduces to a first draft of a
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.
The budding of inestimable varieties promising literary texts in India is owing to her linguistic assortment. Multilingual India with its repository of literatures has the potential for becoming an inspiring practicum for literary translation and comparative studies. It furnishes abundant scope for comparative scholars to study Indian Literature based on history, ideology and theology. According to 1981 census 221 spoken languages were recorded in India excluding languages of speakers totaling less than 10,000. In addition to the 18 languages recognized by our Indian Constitution as major languages four more are recognized by the Sahitya Akademi for their impact in literature.