Cheng Yee Ming
14207370
Auteur Theory and Wong Kar-Wai’s Films
Mr. Wong Kar Wai is one of the most famous filmmakers still working today in Hong Kong. Well developed characters, remarkable depth of visuals, completely storytelling and touching music that hits the perfect time in all of his films. Wong did not ever present he was inspired by which films and which filmmakers in all of his films from past until now.
In 1981, Wong Kar Wai joined a training course for producers and directors, which was held by TVB. After his graduation from this course, he became an assistant director at TVB . After working on a whole decade of writing scripts for televisions soap operas, entertainment programs and large range of genre films at TVB. The first directional film of Wong Kar Wai was presented in1988, which is As Tears Go By. It is a Hong Kong style violent gangster melodrama. Moreover, Wong Kar Wai started his directional creature in days of being wild, which is about a man finding his real mother in Philippines. In 1994, Ashes of time which is talking about the ancient Chain. Wong Kar Wai won the Best Film and the Best Director Awards in 1997 Hong Kong Film Awards with the film of Happy together, he became well know and began to be known internationally.
Beginning in the 1960s, some film critics had begun to criticize the idea of the director as
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Film Technique are used for producing films including shooting and post-producing, for example the after effect of the film like the truck transform to a robot in 'Transformer'. Wong Kar Wai is a famous director but there is a lecturer, Bettinson.G. , teaches at the Lancaster University, wrote a paper discuss about the esthetic ways of Wong Kar Wai. On the other hand, Gary also describe the technique characteristics of Mr. Wong Kar Wai are not fit to exciting technique, and Gary believes Wong Kar Wai has his own style and explore new horizon for adapting in his
Auteur theory is an important mode of film criticism that indicates the extent of the director’s involvement in the final output of the film. As it has been previously mentioned, Spike Lee’s films express certain notions about race that emerge from his personal viewpoint as well as from his political and aesthetic beliefs. The focal point of this chapter is the auteur theory and its relativity to Spike Lee. In order to prove the connection between the theory and his works, it is necessary to refer to Lee’s biography, since both his background and distinguishable personality have contributed to his technical skills as well as to his unique style as a film director. The particular chapter will also include the synopsis as well as the technical analysis of each film correspondingly.
The Auteur Theory, a theory formulated by François Truffaut states the idea that the true author of a film is the director. The Auteur Theory revolves around how the director leaves an implicit mark on the film and because of this cinematic, literary, or thematic signature or motif, they are credited as the author of the film. While there are numerous people involved in the production of a film, with some directors it is truly prominent who can be described as the author of the film such as with Mel Brooks. Mel Brooks, renown comical director and screenwriter is one instance of the undeniability of the Auteur Theory. Despite Mel Brook’s complete involvement in his films, writing, co-writing, directing, and even starring in many of his films,
They were eager to break new ground with their own films. However, it wasn’t easy to get in to. Many made contacts as they became seasoned critics and eventually started raising money to film their own short films. Rohmer directed Journal d’un Scélérat in 1950. Other short films classified as new wave including John-Luc Godard’s Operation Beton, Truffaut’s Une Histoire d’Eau, and several more.
The film stands apart from Hsien's previous filmography, equally in themes and technique. For the first time he examined the lives of young individuals in the contemporary
One aspect of film theory, the auteur theory, has been debated and critiqued by many film theorists since it was first introduced. The auteur theory is the idea that the director is the main creative force behind a motion picture; that similarly to the author of a novel, a director constructs a film through camera movements (akin to an authors pen). In this theory, the fundamentals of the film, which include blocking, lighting, camera movement and placement, are more important than the plot itself. The director, in a sense, makes the film great because of his/hers creative control over every aspect of the filmmaking process. The theory, however, has raised many concerns; it puts ‘great directors’ into this group of ‘auteurs’ and once you make
The documentary Moguls and Movie Stars (2010) highlights the struggles movie theatre owners went through after world war II. After the war, people were no longer in urban areas, which means they were further from movie theatres. After the rise of the drive-in movie theatre, “the studios were losing control over when and where moviegoers saw their movies” (Haber, 2010). The movie moguls had to change way they connect with the viewers. The moguls tried to compete with television by introducing cinemascope¬— “a wide-screen process using anamorphic lenses in photographing and projecting the film” (Dictonary.com, 2018).
Over the past century, film has served as a powerful means of communication to a global audience and has become a vital part of the contemporary culture in a world that is increasingly saturated by visual content. Due to the immediacy and the all-encompassing nature of film, the process of watching a film, is widely perceived to be a passive activity by the general masses. However, quoting Smith in his article about the study of film, “nothing could be further from the truth.” The study and understanding of film as an art form enhances the way we watch and appreciate films. It requires the audience's active participation and interaction with the film in order to fully comprehend the directors' intention behind every creative decision.
Introduction Visual and performing arts tend to act as separate entities within the field of education; considerably isolated from the majority of academia, these sectors are often considered to be secondary or elective options after completing primary education. The arts are an essential part of a well-rounded education, however, when an institute begins a budgeting process, the arts are rarely considered a top priority. For example, during periods of recession many public schools within the United Stated were forced to cut visual, performing and musical arts programs, despite studies that proved the exposure to the arts to be beneficial for students both academically and in extracurricular activities. Learning in an art-infused environment