Response Essay W5 In “Battle Royale”, the first chapter of Invisible Man by Ralph Ellison, the chapter uses a variation of dialect in the narrator’s tone of voice throughout the reading to carry out his position of a past he was naive of. The narrator takes his reader on a flashback of a time he was invited to give his high school graduation speech at a gathering where he unknowingly would be a part of a circus act in a room full of white citizens before he may present his speech. “I wanted to deliver my speech and he came at me as though he meant to beat it out of me.” (1216)
There are many things that make “Citizen Kane” considered as possibly one of the greatest films every made; to the eyes of the passive audience this film may not seem the most amazing, most people being accustomed to the classical Hollywood style, but to the audience with an eye for the complex, “Citizen Kane” breaks the traditional Hollywood mold and forges its own path for the better. Exposition is one of the most key features of a film, it’s meant introduce important characters and give the audience relevant details and and dutifully suppress knowledge in turn. “Citizen Kane” does not follow this Classic Hollywood style exposition, instead going above and beyond to open the film with revealing as little information as possible and confuse/intrigue
One of the most difficult challenge, a director can do, is making a short story into a film. Two iconic films that originated from the short story is, It’s A Wonderful Life, is directed by Frank Capra and originated from, The Greatest Gift, written by Philip Van Doren Stern, and 2001: A Space Odyssey, is directed by Stanley Kubrick and originated from, The Sentinel, written by Arthur C. Clark. These films differ from their short story by having a twist that challenge’s and question’s the audience on what they saw, so it could leave a lasting effect on them. Yet, both films stay as hard as possible to stay loyal to the source material.
Two films, although created years apart yet have a lot in common, including their content of it’s narrative techniques. Both films, even though black and white with strokes of genius of cinema offer a vast stretch for study. I will be looking at Sir Orson Welles “Citizen Kane” (1941) and Akira Kurosawa’s “Rashomon” (1950). We see in Citizen Kane he values for the American life. The three abstract themes that constantly follow through Citizen Kane are Wealth, Power and Love.
Every now and then the art world is struck by a wave of change that leaves a strong impression, which can last for a long time. Visual arts saw the rise of impressionism and cubism, surrealism and realism took literature to an opposite direction, and film has evolved over the years through cultural and artistic development such as expressionism, auteurism and film noir (House, p.61). The 1940s and post World War II gave rise to a new style of American film, these films appeared pessimistic and dark in mood, theme, and subject. The world created within these films were portrayed as corrupt, hopeless, lacked human sympathy, and “a world where women with a past and men with no future spent eternal nights in one-room walk-ups surrounded by the
Many films of the silent movie era are melodramas, which was a term used back then purely as a descriptive word to describe a movie and not a ‘negative’ term the way we use the term today. Chaplin’s film is a melodrama that invokes the emotions of his audience. Some elements of melodrama are present in Chaplin’s film The Gold Rush, the characteristics of a melodrama aid in analysing how melodramatic a silent movie is. An element of melodrama is, a situation - an occurring conflict in the film created by the screenwriter to evoke an intense emotional response from the viewers.
Storytelling has been a part of people's’ lives since the beginning of time. It started with just verbal communication, then it was translated into written word, and now there hundreds of ways to tell those same stories. Movies and books, for example, are two very different ways to tell stories to an audience. A story can be a book, but not a movie or vice versa. Many books are made into movies, but lose major elements in translation.
Part of the way through the Call Of Duty: Black Ops III battle, your blunt accomplice Hendricks—a kindred CIA agent—signals to some unimaginably inconceivable gorge in the frontal area. "You comprehend what they say in regards to gazing into the void… " he says not long after communicating questions in regards to your allocated mission. Why, yes, Mr. Officer Man, I do comprehend what "they" say. It's a well known line from German rationalist Friedrich Nietzsche, who cautioned that one could turn into a beast by battling them ("for when you look long into the pit, the chasm looks likewise into you"). It was a great reference, yet that mindfulness vanished a couple of scenes later, leaving your character and Kendrick to gush off cerebrum dead activity legend standard lines, similar to "We should do what we excel at: murder awful folks," before coolly striding toward your umpteenth firefight against furnished terrorists and executioner robots.
After reading the Hunger Games book and watching the movie in my english class I was astounded by how different but not to different the movie was to the book. The Hunger Games is a "challenge of change" in a world where politics has gone awry and bipartisanship cannot be met. The power struggle results in a Panam in which an elite group benefits at the expense of the ever-suppressed majority. The movie was thrilling and superbly acted, The Hunger Games captures the dramatic violence, raw emotion, and ambitious scope.
NAME: EMMANUEL RAHEEM STUDENT NUMBER: 201603445 TABLE OF CONTENTS Introduction Definition of Subtext Importance of Subtext Conclusion INTRODUCTION AND DEFINITION OF SUBTEXT In the film world, subtext has always been part of telling a story. Writers have no perimeter, free to explore any actor's point of view and share his or her inmost idea, wants or idea with the reader. Most of the time words are nothing and everything for the actor, sometimes it’s not what you say but how you say it.
Narrative “Movies are a combination of art and science” (Field, 2005:2), which means that without the correct science behind art, art is just an idea. When looking at films, it is apparent that there is a huge amount of structure behind it and is further evident when observing the art as you perceive what the artist saw before actually creating the artwork. In story-telling, the script writer/author has a picture of the end product before it is written. Narrative usually connects with actions or events that affect us as humans.
In this paper I hypothesize that A Voyage to the Moon was most innovative in cinematography and editing. Although mise en-scene was the main focus of the film, I hypothesize that mise en scene wasn’t as innovative as the other two. As mentioned earlier, mise en scene made A Voyage to the Moon easy to understand and follow along. In the first scene of the film, this power
This essay will discuss the uses, strategies and the meanings that are generated by editing in cinema. The films that this essay will be focusing on are Psycho and Singin’ in the Rain. Both of these films are very different to each other and therefore use editing in varying ways in order to give the audience a different perception of the characters as well as the setting that these characters are involved in. Psycho focuses on building suspense for the audience throughout the film using editing, camera work and sound. This essay will be primarily focusing on editing with the discussion of camerawork where relevant.
Films today usually forego character development and story progression as improvement in technology and visual effects would be the only effective instrument in catching the eye of the audiences. It is rare nowadays that films would tell great epic stories, without the extensive use of visuals. Therefore my full praise can only go to the innovative technical aspect of the film balanced well with concise story