Hess uses film techniques of sound and editing to emphasize the difficulties and rewards of being weird. The difficulties of being bullied by others, and the rewards of becoming president of the school. Hess follows truly strange characters, but the audience, beyond the laughs, can begin to relate to these characters and understand their
J.D. Salinger fully utilizes the literary device of symbolism in characterizing Holden Caulfield in the novel, Catcher in the Rye. Whether through a red hunting hat symbolizing a desire for individuality or ducks representing an escape from life’s challenges, Salinger conveys Holden’s struggles deftly, his traits elegantly, and his character development insightfully.
As a result of this novel, Richard Brooks created his own adaption in order to make the words on the pages truly come alive. While Brooks’ film gives a subtle nod to the text in many ways, he is somewhat hesitant in his representation of the themes presented in the novel. Through
Tom Buchanan is Fitzgerald’s masterpiece of creating a character who portrays the life, and characteristics as an alpha male. Through the vision of character’s surrounding Tom we began to see how his loftier masculinity characterizes him in the story. I begin with a quote from Tom’s wife Daisy that embodies the intimidating masculine characteristics of Tom, “I know you didn’t mean to, but you did do it. That’s what I get for marrying a brute of a man, a great, big, hulking physical specimen of a-----” (Fitzgerald 12). In this quote from Daisy we view a list of characteristics that are associated with Tom’s masculinity.
Through an in depth analysis of Alfred Hitchcock's ‘North by Northwest’ (NBNW), it becomes evident that in order for films to be able to entertain their audiences they must ‘weave’ or manipulate images, characters and issues. This is evident through two particular scene within the film, including: chapters 5 and 26 (clickview). Hitchcock's manipulation of issues and characters in NBNW to entertain the audience is exemplified through the severity of the issues faced by the protagonist, Roger O Thornhill (R.O.T) and his comical response and attitude towards the adversity he faces.
Conceivably, this hypocritical relationship between Tom and Nick may be used by Fitzgerald to generate criticism to the contemporary lack of social values and this idea of social decay that prevailed in the 1920s. Furthermore, the readers – as mentioned before – feel disgust and antipathy for Buchanan due to his racist and male chauvinist sayings and behavior.
Symbolism in The Adventures of Huckleberry Finn John Green states, “ one of the reasons that metaphor and symbolism are important in books is because they are so important to life. Like, for example say you’re in high school and you’re a boy and you say to a girl: ‘Do you like anyone right now?’- that’s not the question you’re asking. The question you’re asking is, ‘Do you like me?’” This quote is significant to Mark Twain’s novel, Huckleberry Finn because Twain uses many examples of symbolism through settings.
Doubt, a film taking place in New York during the 1960s, focuses on the accusation of a priest, Father Flynn, being a child predator by a nun, Sister Aloysius. The credibility of Sister Aloysius and Father Flynn are often brought into question throughout the film. As the evidence gathered was mostly circumstantial and created through assumptions, Father Flynn did not harm Donald Miller at any instance despite the constant pressure from Aloysius to admit his guilt by leaving the parish.
Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.
“Essential for the movie is the time and the years; here I’m more interested in realistic and allegorical. The most important thing is the feeling of hallucinations, travel in dreams, born because of opium, which begins and which ends the film.” – Leone. This essay is an attempt to investigate how Leone, in his film Once upon a Time in America, created a narrative that involves the spectator, gives more impact, tells a number of stories, and moves between time frames.
Tim Burton’s distinct style became evident in his very first films and stayed clear in his later film, while the plot of Burton’s films vary greatly his style stays pronounced. This can be seen across his many movies from Charlie and the Chocolate Factory, Edward Scissorhands, “Vincent”, and “Frankenweenie”. In all of these films his distinct style is developed through the use of a strong contrast of high and low key lighting to show contrast between characters and circumstances, a recurring motif of mobs antagonizing the antagonist, and the frequent use of shot reverse shots to show the development of the relationship between the outsider and the people on the inside. With the use of a contrast between high and low-key lighting, a recurring mob motif, and the use of shot-reverse-shots Tim Burton develops his hopelessly bleak style. One of the most evident cinematic techniques that Tim Burton uses to develop his hopelessly bleak style is the use of a strong contrast of high and low-key lighting or colors.
The novel ‘Jasper Jones’ written by Craig Silvey and the film ‘Dressmaker’ directed by Jocelyn Moorhouse have connected to the audience and use of narratives conventions in very similar ways. The ways that they have succeed doing this is through characteristics, plot and setting. By looking into how they are used by the author/ director widen the knowledge and have deeper in-depth understanding on how authors and directors use them to connect with the audience. The author and director have used characteristics to connect with the audience by using relatable situations like peer pressure, disliked by people, challenges and traumatic experiences.
This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday
“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).
From the perspective of a Southern writer, this piece provides detailed information on the Southern culture that the film portrays. In addition, it explores the countless influences that the film draws from Southern stories, myths, and traditions. This article will help me explore the Southern aspect of the film and the ways the Coen brothers paint a canvas of this culture. Thoughts and quotes from this article will be integrated into my discussion of Southern culture as I forward these thoughts into discussing the Coen brother’s subtle critique of this same