Film Analysis: The Revenant

The Revenant is a novel by Michael Punke originally published in 2002. Punke’s story is one of history, and it has been previously adapted into a movie in 1971 titled, Man in the Wilderness. All media and book did not stick to the original historical figure of Hugh Glass. Most recent adaptation in 2015 by Alejandro G. Iñárritu. Despite the fact that the movie was made famous based on inaccuracy of the actual true story, it still presents wonderful cinematography. There are many strays from the true story of Glass and the factious character in Punke’s novel. To start with, the setting of the true story was not of mountainous landscapes, it was mostly flat terrain. The events occur in the summertime, but the movie depicts them in winter. Putting the true story aside and focussing on the novel and movie “in part adaption”, both were great for their own standards. In this sense I would like to categorize the book and movie with a historical fiction genre.

The Revenant is a story based on the historical life of Hugh Glass, his journey of survival and revenge. Set in the 1820s, Hugh Glass a fur trapper on the Missouri river is attacked by a gruesome bear, suffering many injuries appearing to be life ending. With his throat slashed, scalp torn, and, arms and legs mangled, Glass suffered on the brink of death. Abandoned, left for dead, and stolen from by his companions Glass is forced to rely on himself in order to survive.

These three versions have similarities that kept alluring audiences to this story written in the 19th century. By looking at three versions of this film at different times in history, we can see some methodologies like semiotics and rhetoric analysis, the filmmakers have changed over the years. First, we will look at some of history to give an overview of why this film can be remade so many times. Next, we will use rhetorical analysis of how different production techniques were used to send the audience messages. Finally, we will be looking into casting and how that relates to a movie’s

This film also has a great aesthetic way of presenting characteristics of the movie as a whole, for example when filming Brenton Butler, they made sure that almost throughout the movie entirely he did not speak to put more emphasis on the first impression of Lestrade and Poncet’s of Butler as a completely detached individual; showing how Butler’s voice was denied by the injustice of the Florida legal

“Raging Bull” displays great work of cinematography which basically means the art of making motion pictures. Its the recording of light that

This movie was first released in theaters in 2000 and was directed by renowned German film director, Roland Emmerich. The film focused on historical events that occurred during the American Revolution,

Dickerson, the cinematographer, won the New York Film Critics Circle Award for Best Cinematography for this film. He was given this award for his ability to make it look like the same, excruciatingly hot day, even though it was filmed over a course of seven weeks with differing weather. From the character’s outfits to filming at the exact same time every day, he convinced the audience that it was the same blistering hot day. After I learned this, it made me rethink my view of his cinematography as a whole. While the angles might have been awkward, Dickerson did an impressive job persuading us it was within one 24-hour

Most teenagers complain about not having enough freedom. To be able to sit and eat ice cream out of the box at ten in the morning for breakfast or blast their favorite music as loud as possible. For most, college provides that, opening its campus to their students with gates of gold granting young adults the freedom that they dream about. Unfortunately, a new danger that once was cloaked from young minds is being revealed, making this freedom less obtainable. That danger is rape.

The visual reenactments along with varying narrations of the events provided an engaging format that accurately and effectively informed the viewers of the struggle by French Canadians and rebels to overcome British colonial powers. The content also provides an objective view of the events by discussing first hand accounts of both British and French Canadian during these dark times. Moreover, the chronologically formatted order helps the viewer maintain a sense of progression and setbacks made the Parti Patriote rebellion. For instance, it establishes the motives for rebellion in the beginning of the film by describing the colonial imposed hardships faced by French Canadians within urban and rural areas of Upper and Lower Canada. Sequentially, the rise of the Parti Patriote follows the lack of support from the British monarch, and the rejection to establish a republic and self-governing state.

This essay will examine the functions and effects of cinematography in Steven Spielberg’s Jaws Jaws follows the police chief Brody, along with scientist Hooper and shark hunter Quint, in their attempt to protect the town of Amity against a Great White shark that is terrorising beachgoers. It was adapted from Peter Benchley’s 1974 novel of the same name. Following its release in summer 1975, Jaws became the highest grossing film As Jaws was one of the first motion pictures to be shot partially on water, the production came across issues with the prosthetic shark, and as a result, Spielberg decided to only suggest the appearance of the shark as often as possible, as opposed to showing the prosthetic body during attacks. This sparing use of the prosthetic, and primary focus instead on creating suspense and dread without the shark visibly present, proved to be an inspired decision, as Jaws is considered a pioneering achievement in the horror genre.

O Brother Where Art Thou? is a film that will take you on a perilous journey with Ulysses Everett McGill and his simpleminded cohorts. This film may be set amidst the early 1930’s Great Depression era, but it still has a Homer’s Odyssey feel to it. Down in the dusty and highly racial south, Everett recruits a couple of dimwitted convicts, Pete Hogwallop and Delmar O’Donnell, to help him retrieve his lost treasure and make it back home before his wife marries another suitor. These three convicts manage to stay one step ahead of the law while finding themselves in all sorts of trouble. It was nominated for 35 other awards, one of which was for best screenwriting. Released in December of 2000, this film won 7 awards, some of which for best soundtrack and score, album of the year, as well as best cinematography.

Rex is brought to life in this movie, as we truly see with description and we can see/hear with our own eyes and ears what he is like, which is not possible without the help of the

The artistic choices made in the production of cinema have a great impact on the way the audience will perceive certain aspects of the performance. One director may choose to highlight a certain scene, while another director may push it aside as trivial. A majority of the symbolism behind theatre lends itself to open interpretation, but some underlying messages have a widely accepted truth. In Nicholas Hytner’s 1996 interpretation of Arthur Miller’s The Crucible, lighting and camera angles help accentuate the importance of particular moments throughout the film.

In The Great Gatsby, Baz Luhrman has reinvigorated the 1925 classic novel by introducing many modern filming technology such as lighting and colour; sound and music and editing. While Joe Wright has attempted to do the complete opposite by taking the modern novel, Atonement ,and attempting to recreate the harsh reality of the past by using the same filmic techniques as Baz Luhrman. However Joe Wright is more successful in recreating the past and showing the harsh realities of the era in Atonement.

In 2010, a poll taken from over 1000 people named Darryl Kerrigan of The Castle as the favourite Australian movie character with 23% of the votes (Hayes, 2010). The accolades kept flowing for the 1997 film, with over a third of those interviewed thinking The Castle best represents the real Australian culture (Hayes, 2010). These results raise an interesting question. How does a film taken in 11 days with a budget of half a million dollars capture the hearts of more Australians than a Hollywood blockbuster? What is it about Darryl and his family, and the story of the Kerrigans that Australians can relate to? One possibility is that there are a wealth of crucial ideas in the Castle which relate to our Australian identity.