This sets an emphatically dark and horrific tone for the reader, which carries into the plot of the story. He continues to describe the “Red Death,” stating that there were “Sharp pains and dizziness, and then profuse bleeding at the pores,” (Poe 3). By describing the disease so vividly, Poe is giving the reader a visual image to magnify the dreaminess of the story. He does this again when describing the attendees of the Masquerade. He describes them, saying, “There were arabesque figures with unsuited limbs and appointments.
Contrary though, in scenes where Ellen takes a step back her clothes become drab and layered. The makeup used in these scenes add dark circles to Ellen’s eyes and make Ellen’s face look more angular or thin. This detail is also extended to other characters and even set design with particular locations being used for positive or negative events based on their design. These details as they are used, greatly increase the emotions and realistic tone the movie tries to
In the movie of Tim Burton, he uses many different kinds of cinematic techniques, which are shots and framing, camera angles, camera movements, lighting, editing techniques, and sound. In order to set up the mood and tone in the story, he uses those cinematic techniques in the movie. Tim Burton style are more of a dark and delightful childhood experience and that he embraces the dark elements. The movie that Tim’s famous for, have those styles and elements in it. For example, the movie Vincent has element that are dark and a childhood imagination story.
Stylistic Analysis Essay Film: The Usual Suspects (1995) Name: Adam Edelberg Student Number: EDLADA002 Tutor: Mayuyuka Kaunda The filmmakers of The Usual Suspects (directed by Bryan Singer) succeeded in creating a film that ‘pushes the envelope’ of the generic crime-thriller motion picture. The film genre can be classified as a neo-noir crime thriller, where we see cinematography akin to film noir, namely, low-key lighting and striking use of light and shadows. While conventions of this genre are followed, few rules are broken. Kroll (2012) claims that we are in an age where “all movie genres are being subverted, postmodernized, de-constructed, film noir is a tough genre to mess around with”. The Usual Suspects manages to experiment with
The distinguishing of the progressive horror wave from other horror movies (which can be seen as the alternativeness) is completed by the actions of their creators and the innovation they bring to the time’s cinematography (which makes them autonomous) and by the themes represented in a innovative way (making them authentic). Wood succinctly describes it by comparing it in opposition to a Hollywood horror movie by words such as low budget, unpolished, non-bourgeois exploitation, bad family, traditional values negated, and, what is the most important, parent figures destroy
“The Skin I Live In” Looking from the film title “The Skin I Live in,” and the film poster which presents a gentleman behind a bald woman looks frightened covered with mask, the first image of this film that I got is a cliché horror-thriller film selling disgusting scenes—cutting the body and showing blood splashing which have in general horror film. However, it does not like my expectation; likewise, it is totally beyond what I have expected. The director Pedro Almodovar can make audiences feel creepy without these things. First of all, I will defend that I am a person who is always attracted by picture; that is why I love the pleasing pictures and composition in this film. Pedro uses blue tone to cover all along the film is not only raising
The way he manipulates John’s character adds more panic to the overall tone of the scene through drastic change and another layer of delusion. Miller uses clever stage directions and accusatory dialogue to further perpetuate the tone of hysteria within the yellow bird
In regards to viewing such a transformation, Eve Oishi, states in her article “ Visual Perversions: Race, Sex, and Cinematic Pleasure,” that “In all cases, the pleasure and danger inherent in the experience of viewing reflect the paradoxical process through which concepts of self and other are formed through the visual …”(644). As in the case of Better Luck Tomorrow, the depiction of Ben, as the young Asian American who played around with power, drugs, and violence in order to ride away with the girl as the film closes. Does this sound like a film held up as an opposition to this victimization of the mainstream film industry, or simply another coming of age film concluding violence to be the way to get the
Blue Velvet and Twin Peaks, directed by David Lynch, can be considered crime fiction films, with noticeable archetypes of the genre contained within. Moreover, these two distinct films can be considered subversive and their director, David Lynch, as an auteur director. This essay will begin to discuss the notion of the auteur and how Lynch fits this concept, while thinking of Blue Velvet and Twin Peaks as post-modern products. Furthermore, the two texts in question will be considered as crime fiction material and analysed in regards to their traditional/archetypal elements and the subversive and Lynchian. The essay will conclude with what the unusual mix of traditional and subversive material means for interpreters of Lynch’s work.
Introduction In a genre that has been dominated in recent years by the same cheap jump scares and unnecessary gore, Mexican director Guillermo del Toro has breathed life into horror again by combining it with elements of fantasy and historical fiction. In many of his iconic films, del Toro immerses his audience in stories where terrifying monsters are outshined by the cruelty of humans. Utilizing this aspect, he often provides a commentary on politics, in particular the subject of fascism, interwoven into his films. Examining his career, no film defines Guillermo del Toro’s proficiency as a both director and a writer more than his 2006 film Pan’s Labyrinth. This movie explores the time-honored plot of good versus evil though a haunting intermingling of fantasy and reality.