American Sniper Film Essay

The cinematographer, Janusz Kaminski, who also shot "Schindler's List," brings a newsreel feel to a lot of the footage. He manages to make everything visually intelligent. Amongst the chaos of the D-day landing scenes, kaminski focuses on the attack on the stationed machine-gun nests, and a prolonged sequence of a defensive actions on the bridge. The cinematographer does this is a way that keeps us oriented. When the exposition comes into play, it leaves the audience with a post-war reaction as to how soldiers who came back from war reacted when they see their dead comrades… And how they “hope that was enough. I hope that, at least in your eyes, I've earned what all of you have done for me “ - quote from older Private Ryan. The editing is impeccable. They have made sure that the intensity of events in the film is like a roller coaster. One minute you're laughing and the next shook silently, planted in your seat. They even make sure that even events without sound have a lot of impact. For instance, when Cpt. Miller gets shell shock the impact of editing shows cut-scenes, editing makes us experience what shell shock during is like during the war. The sound effects and the use of dialogue is outstanding and very realistic as well. They make it feel as if you’re in a war zone. You could open your door, listen to sound effects and you swear it's the 6th of June

“The American Sniper” by Chris Kyle is an account of the deadliest American sniper ever, called “the devil” by the enemies he hunted and “the legend” by his Navy SEAL brothers. From 1999 to 2009, U.S. Navy SEAL Chris Kyle recorded the most career sniper kills in United States military history. The Pentagon has officially confirmed more than 150 of Kyle's kills (the previous American record was 109). Iraqi insurgents feared Kyle so much they named him al-Shaitan (“the devil”) and placed a bounty on his head. Kyle earned legendary status among his fellow SEALs, Marines, and U.S. Army soldiers, whom he protected with deadly accuracy from rooftops and stealth positions. Kyle presents the gripping and unforgettable accounts of

Both diegetic and non-diegetic sound is used in this scene to help the audience create meaning and links between two events that run parallel to each other within the film but appear to have no direct connection (the riots and the falling dominos). Diegetic sound is “sound whose source is visible on the screen or whose source is implied to be present by the action of the film” (filmsound.org, 2015). A good example of diegetic sound within this scene is when we see Chancellor Sutlers’ army draw their weapons and in parallel to this, we hear the over-exaggerated sound of V pulling his glove onto his hand. When these shots are viewed simultaneously, it is almost as if the diegetic sounds are mirroring each other, in the sense that they are very similar although coming from different objects. These closely related sounds could lead the audience to believe that both V and Sutlers army carry the same amount of power and authority.

American Hustle is a movie that attempted to portray the Abscam Sting of 1978. This name was given to an FBI operation that involved seven members of Congress. The FBI lured public officials into accepting bribes and was given the name “Abscam” because it refers to Abdul Enterprises. The FBI agents were undercover as Arab business men and convicted all seven congress members of accepting bribes. Hollywood does not accurately depict the way Sydney Prosser was portrayed and involved in the operation, how Rosalyn was portrayed, the involvement of the FBI, the Abscam Sting of 1978, and the inclusion of the on-screen message “Some of this actually happened”.

The camera angle and shots used in the scene were medium shots to extreme close ups on Aron's (Franco's) face, to where he is cutting his arm off, this is used to build tension in the scene. The camera is also filmed in a Go-pro (amateur camera/ self-shot type) format, which makes it look like Aron is filming himself. The scene also shows many of shots skipping from his knife to blood to facial expressions of Aron while he is cutting his arm, this helps build even more tension in the scene. The scene wouldn't be as intense without the sounds produced in it, with the music being played increases in tempo (crescendo tempo) during the scene, as if it was an operation, where the heart beat rises to make the scene dramatic and intense. There are parts of the scene where there seems to be a robotic screeching sound used every time Aron tries to cut through his nerves, which this brings the tension into a maximum when the screeches

At the same time we hear diegetic sound of the air passing the bullet, and the music from the previous shot cuts out for the effect.

Two scenes from the film and various cinematic techniques will be used to demonstrate specific aspects of the film such

Platoon’s brutally clear message is conveyed through accessible metaphors in the plot, imagery provided in the setting and cinematic techniques, and the detailed look the film gives of the lives of the members of one platoon serving in Vietnam as the main character, Chris, adjusts to life with them in this foreign land. In contemporary Hollywood war movies, there's a contrast between films depicting war as a sort of hell, and the more "action movie" patriotic glory film. Platoon is definitely a prime example of the former.

The rapid cuts from one shot to the next matches the energy of the gunfight, with each shot displaying a close view of action and allowing the on screen noise to consistently match the loudness of the song itself. This slightly decreases the notion that we are truly hearing things from Baby’s perspective, but allows for a more fluid presentation of

The interesting part is that for each hit of two exact or different weapons we hear that specific sound. For example, When the two swords hit each other we hear the sound of two metal swords sliding, and so on. Also there’s a slightly low sound of the swords and axes cutting through the

In the movie Saving Private Ryan (Bryce, Gorden, Levinsohn, & Speilberg 1998) I decided to choose three different scenes to describe the three social psychology aspects I believe to be very important to the movie. The three aspects I choose were groupthink, during the invasion of Normandy, helping behavior, whenever one of their squad members die, and attitude change, whenever the squads outlook on the task they were assigned dramatically changed due to the progress of their task. The first scene about groupthink was the invasion of Normandy on Omaha Beach. During the scene American army troops were landing on a beach only to be confronted by a heavily defended German division.

The sound is used to define our space primarily through the use of non-diegetic drum lines that begin as ambient echoes throughout a cool-lit chamber. This drumline is quickly used to overlap between a contrastingly warm shot featuring the now simultaneous drumline. Using this form sound advance cut helps the audience know that these locations are close enough to each other to be audible despite their drastically different compositions. This fast-paced drumline begins to build on the narrative from the moment it is heard; as it is clear to the viewer that this external sound is one Nux recognizes and his lethargy begins to transform with excitement.

As Jackie accepts his opponents proposal an incidental piece of music begins to play. It is a fast heroic piece, with obvious oriental influences. This gets the audience involved in the scene and makes them feel empathy for Jackie. Sound plays an important part in both scenes, and helps to add to and take away from the way violence is portrayed. There are many similarities that give off different effects in each scene.

This review is the examination of sound and its cohesion with visual elements in the movie Kill Bill Volume 1, specifically from 1:30:14 – 1:37:30. The Kill Bill trilogy does not follow a chronological sequence. This allows the viewer to meet the character first and then see how their experiences created who they are.

The main object will be zoomed in and look into the camera lens; the camera lens will act as an object that she looks into. And when it is on screen, she is actually looking at the audience direction, the “indirect” eye contact make us, the audience feel the emotion, especially fear and tension within because of the background music. Unlike Semiotics of the kitchen, that we could conclude the mood through the energy in ones speech; Todd Haynes direct it without any dialogue but background sounds and music to make us feel the isolated mood of one. One of the examples of background sounds that leave a great impression on me was the scene when she get choke by the fumes; the sound of the car moving when her window was down, the sound of her closing up the car window and her serious continuous coughing. In that scene there was no speech and only background noise, this engages the audience as a part of the scene itself. The setting of sets and props were simple that further the isolation of a person and situation and loneliness, however the strong focus of the actress actions make the scene feel alive. It shows how one could be alone yet not lonely because comfort comes from nobody but herself, she was in her own comfort zone. This film has a creation the makes the audience feel the