Stanitzek (2009:44) explains that title sequences have their own structure; a beginning, middle and end, thus establishing their individuality and coherence from film. Additionally, the usage of a variety of techniques i.e. live action, animation and typography, makes it possible for a title sequence to gain its distinguishing characteristics and thus be seen as separate from the film (Stanitzek
Genre theory is a break down of different types of films. It is a recipe that is put together to make it a whole. When you break down the type or category of your film, that will become a formula for your character types/conventions, settings, and visual imagery, which is called iconography (Goodykoontz & Jacobs, 2014). When this is used, it will help the viewers to understand the prediction of the movie they are watching. A lot of genres falls alongside with sub-genres, which have a more defined formula.
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.
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.
In any way, the retelling of a story shows not only the time in which it was created, but also the narrative aspects that survive through the centuries. Ridley Scott considered Exodus was ready for a contemporary renewal. The story has been updated keeping some aspects intact while completely reworking others. In this paper, I will explain how the movie Exodus: Gods and King and the biblical text differ in their portrayal of God 's composure and ambiguity, but both depict God’s power through devastation to appeal to the different intended audiences for which these works were created. God’s composure in the movie Exodus: Gods and Kings and the biblical text are opposites.
Memory is deployed in Distant Voices, Still Lives and My Winnipeg to enable the exploration of film form and narrative style within the texts. Through an experimentation of form and narrative both directors rely on memory to link their personal stories to wider themes within their films. The themes of society, the individual, and the overarching theme of memory can then be approached in an alternative manner by the art cinema style and the more avant-garde depiction of personal and public history. Both films represent memory in similar ways but use it as a means of experimentation with the classical cinema style of representation. Experiments with film form allow for an exploration of memory within both films that does not conform to classical
The Magic of Digital Storytelling: The Tale of ‘The BFG’ told through Film Introduction Without any doubt, we are the generation that bears witness to the Digital Age. In the midst of its progression, from using traditional periodical and broadcast means to using present digital cooperative media tools, entertainment has become the driving force behind a majority of daily communication processes (Pastor, 2012), including how we convey stories. Nowadays, it is no surprise to find out that your favourite book or series has been adapted into a film, and for Hollywood Films to be popular with international audiences, especially the general Hong Kong population. Many of us, specifically avid-readers, would agree that most of today's’ adaptations
What does it mean for something to be self-reflexive? In film terms, it means that the film has a varying level of self-awareness. This film will often attempt to make the audience aware of the film creation process, taking the viewer sometime by surprise as they are yanked directly from the world the movie had started to construct. There are several movies across the expanse of genre that attempt to pull of this sense of self-reference that range anywhere from Kelly and Donen’s Singing in the Rain (1952) to Jones and Gilliam’s Monty Python and the Holy Grail (1975). However, as time marches on and the “superhero” genre gains more and more popularity from the film-viewing public, a new face has taken the reigns of self-reflexive films and has
Other short films classified as new wave including John-Luc Godard’s Operation Beton, Truffaut’s Une Histoire d’Eau, and several more. They experimented with various editing and visual styles and techniques similar to that of the Italian Neo-realists By the late 1950’s the new wave directors had gained enough acclaim to move up to feature films. Elements of the French New Wave have been absorbed by the modern film industry and many unique styles and techniques are still present today. However, the New Wave did more than just contribute some new film techniques. The French New Wave created a societally and intellectually engaged cinema experience.
These insightful interviews at once establish the fact that a feature film is a complicated collaborative effort with different roles played by several people, and yet lends credence to the auteur argument that the director is the person who ‘orchestrates’ various part of production to achieve a specific result. These interviews reveal that much. The volume closes with renowned Nollywood scholar, Onookome Okome’s afterword, giving readers his perspective to the foregoing discourse on neo-Nollywood and auteur criticism. Auteuring Nollywood… is an important book that breaks new ground in the discourse on Nollywood. It is a pacesetter and an ‘indispensable’ (425) contribution to both film and culture studies.