The Maltese Falcon takes advantage of the continuity system to make each cut leave a lasting impact and push the plot forward. The film, while not devoid of cuts, makes
His complex cinematic body of work cannot be summarized with only a few terms. His films are an “eclectic mélange of subjects and styles” (Lax 274), as they do not follow a common thread. His writings range from silly, slapstick comedies such as Bananas, Zelig, or Sleeper, over romantic comedies such as Annie Hall, and Manhattan to family and relationship dramas such as Interiors or Hannah And Her Sisters. Since all his films deal with universal and personal themes like hope, sexual desire, love, morals, and the meaning of life, his films are thought provoking to everyone. Each period, which I will define in the next chapter, seems to have a different focus, and a different effect on the writing of Woody Allen without being directly addressed
All directors have the unique ability to manipulate their thoughts and ideas and make it a reality. Tim Burton, an award-winning director, is one such person who’s abnormal ideas find their way onto the big screen. With the use of stylistic techniques, Tim Burton crafts dark and intriguing movies. In the films Charlie and the Chocolate Factory and Edward Scissorhands, Tim Burton uses low camera angles to intimidate the audience, and close up shots to make them experience what the characters are feeling.
“Genre Type A with just the right mix of Genre Type B, and the twists of Genre Type C.” Cabin in the Woods (2012) is just this type of genre melting pot, ranging multiple horror subtypes (teen, monster, zombie, slasher,) while even still spanning other genres (thriller, mystery, comedy.) Staiger argues that film genre cannot be “pure,” and never has been, as, the organization of genre study is excessively subjective, and that there is too much variety present in Hollywood. Moreover, what the studio sees is vastly different than what the audience sees, and that until “everyone—from the authors to the distributors and exhibitors to the audiences and critics—agrees on how to categorize films, no hope exists for genre study” (Staiger 188). Although
Hitchcock was a great screenwriter although he took a writer’s credit only once after 1932 for the film Dial M for Murder. His guiding intelligence was behind all his scripts. He also contributed dialogues and his narrative abilities, sense of plot, pacing remain unparalleled. Hitchcock also had a genius for colloquialism. Hitchcock claim not to care about his deft scripts and cautious working habits belie this pretense of indifference.
These characters can be the protagonist or someone who is at first assisting the protagonist. They often start off as heroic or seem like they have good intentions, but by the end of the film are anti-heroes. The Dark Knight creates an ambiance of unease throughout the film by constantly shifting identities and allegiances. There is no clear good guy or bad guy, with the Joker standing up to the crime lords, Dent dissolving into Two-Face, and Bruce retreating into Batman. In the final scenes of the film, the Joker and Batman ultimately refuse to kill each other, while Dent attempts to shoot a boy.
Tim O’Brien never lies. While we realise at the end of the book that Kiowa, Mitchell Sanders and Rat Kiley are all fictional characters, O’Brien is actually trying to tell us that there is a lot more truth hidden in these imagined characters than we think. This suggests that the experiences he went through were so traumatic, the only way to describe it was through the projection of fictional characters. O’Brien explores the relationship between war experiences and storytelling by blurring the lines between truth and fiction. While storytelling can change and shape a reader’s opinions and perspective, it might also be the closest in helping O’Brien cope with the complexity of war experiences, where the concepts like moral and immorality are being distorted.
The most prominent similarity was the fact that Liesel still adored to steal and read books. Without this trait, this would be an entirely different book. The two most salient differences between the book and movie were the fact that Max Vandenburg didn’t give Liesel and books and that Death didn’t give any, or almost any, comments and narrations. Without these, there are noticeable differences between the film adaptation and book. All in all, I prefered the book better.
The music often supports wide shots, like scenes with landscapes, or the most important dialogues, like the moment when Danny asked Jack if he wants to hurt him or Wendy (“The Shining” 56:30); or when he called Wendy and looked in the room 237. Such type of the soundtrack is quite unusual for modern movies, where the music is the major (if not the main) part of the development of the plot. In The Shining music only supports the intension created by the acting, dialogues or background sounds. For example, Jack’s burst of anger (“The Shining” 1:19) started without the background music; man’s feelings were demonstrated with his face expression, aggressive movements and the sound of falling saucepans he threw off the table. Filmmakers also did not use the “pattern” of quite dialogues and loud, “dramatic” music accords in speechless scenes, which is a common choice for modern horror
The unwillingness to be vulnerable depicted in his poems can often be found in film with the anti-hero archetype. From Gosling’s Driver, to Gibson’s (and Hardy’s) Mad Max, DeNiro’s Travis Bickle and now Roland Møller’s “Danny,” the calloused exterior of broken protagonists continue to prevail as one of the most alluring character molds of any story—literature or film.
The choice of having the entire story being told with the main character being Adrian Cronauer (played by Robin Williams) was deliberate to add comedy into the film which is focused on more than in documentaries or war epics. But the movie retained historical authenticity in all of the events but not through the characters which were used to show the experiences and how they happened. The entire film is a learning experience for Cronauer where his character develops from being a care-free radio personality to being discharged from the army under suspicion of being an affiliate with the Viet Cong and him fully understanding the way the American influence in Vietnam is hurting its populous. When Cronauer rediscovers his need to
They are dead, but we still have to fight against hate”. No characters within the film say which approach (violence or nonviolence) is better to fighting the hate, but all just agree it needs to be fought. In Roger Ebert’s review of this film, he summed up exactly how this movie handled the controversy. He wrote, “Since Lee does not tell you what to think about it, and deliberately provides surprising twists for some of the characters this movie is more open-minded than most. It requires you to decide what you think about it”.
The protagonist of Dashiell Hammett’s The Maltese Falcon, Samuel “Sam” Spade, is a very mysterious man; one who trusts only himself. He solves the problems he encounters alone, and without the help of authority. To him, both the law and ideas of morality impede his work as a detective. This disregard for both written and tacit law leads to assumptions that, as a person, he is wholly amoral, to the extent that he is considered a devil. There are comparisons between him and the devil throughout the novel -
Huxley and Atwood both used these to tell their story and have succeeded in using these techniques correctly; leaving the reader always wondering what will happen next. Both novels are fictional, however both are based on some non-fictional facts, which makes the novels more interesting. In Alias Grace, readers are always wondering whether or not Grace Marks committed the murders, each time the narrator changes, it changes the perspective of the reader which makes the reader more tied in. In Brave new world, Huxley chooses to add many details in the novel, however he does not tell readers what is actually happening in certain scenes, or who is narrating it, until two-thirds of the way, which also makes the readers think extra and wonder what is actually happening in the scene. In conclusion, although these two novels have differences, they both portray strong
The protagonist of Dashiell Hammett’s The Maltese Falcon, Samuel Spade, is a very mysterious man; one who trusts only himself. He solves the problems he encounters alone, and without the help of authority. To him, both the laws and ideas of morality get in the way of his work as a detective. This leads to assumptions that, as a person, he is immoral, to the extent that he is considered similar to the devil. There are comparisons between him and the devil throughout the novel -