An Analysis of Moulin Rouge

After using a medium close-up shot during their conversation before the painting, the shot drops down to focus on Detective Bannings hand as she grabs her coat pocket; this is where the pause happens in the sound while she is deciding what painting she would want and just before the music enters. As the music does enter, the painting in the distance becomes clear and the focus of the shot, instead of Banning’s hand creating a long-span view of a specific object. By focusing in on the painting in the distance and causing a dramatic shift in blurs, the audience is clearly drawn to the painting as something important to pay attention to. Film movement is an important aspect to creating a clear vision of what the movie should depict to the audience, and in this way, it is obvious this painting is an important object. This movement only further draws the audience into feeling emotion for what the painting means and how it will be used later on as well as how the characters are feeling toward each

In this paper I am going to write about the movie “Grease.” Specifically, on the two main characters Sandy and Danny. I will be describing and analyzing their interpersonal communication, but mainly on the conflict of their communication.

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

Moulin Rouge is one of Baz Luhrmann’s best films. The movie came out in June 2001 and has won many awards and is one of the best movies in the musical genre. The set design, costumes, casting of roles, and music all is so perfectly put together to create this brilliant film. Luhrmann, who also co-wrote the movie with Craig Pearce, traveled to Paris with Pearce and the production designer to conduct historical research and write the synopsis for the movie. “To find ways to depict 19th century Paris and the Moulin Rouge as it may have felt to its audience then - at the cutting edge of sex, music, dance, theater and modern thinking - the filmmakers immersed themselves in the neighborhood, venues and culture of their story” (Luhrmann). Through their research and learning about the culture, they came to understand that the Moulin Rouge was a club that brought all different classes together and Pearce quotes that is the equivalent of “Studio 54 in New York in the late 70’s; a place where the rich and the powerful can mix with the young, the beautiful

At the very beginning of the movie Lurhmann starts by making the audience instantly focus on the screen and nothing else. The camera zooms in onto a TV set whilst an anchor-woman on a news programme presents the synopsis of the story, “two households both alike in dignity...” Because the only object on the screen is one TV set with a black background, the audience focuses only on the news reporter which gives them a better understanding of the movie ahead and it instantly gets the viewers to concentrate hard. This synopsis is then enhanced by words and repeated lines both flashing across the screen and said by the voiceover. Thus, even if the audience cannot

Romeo and Juliet’s actions may seem rushed and immature, but Baz Luhrmann’s movie offers a compelling insight into their decisions. By setting this Elizabethan era play in the present day, the viewer can see past the differences in scenery and clothing compared to those of their lives, to analyze the unique characteristics of the lovers’ society and upbringing that may have led to their hasty love affair and violent end. Luhrmann creates a culture of violence and speed through careful decisions regarding cinematography, editing, and sound.

Early movies were shot and viewed as slide shows. With narrations like The Life Of An American Fireman, where instead of cutting we would see full clips linked together. When the filmmakers brought us from one action to the next they, repeated actions instead of cutting and letting

During the end of the 3rd Century, the Playwright Plautus wrote many of the first Roman comedies. A Funny Thing Happened on the Way to the Forum is a musical comedy film adaptation of Plautus's comedies.Set in ancient Rome, many aspects of Roman theatre, including stock characters, were included in the film’s production. While the film is based off of multiple comedies, Plautus's Pseudolus character Calidorus is nearly identical to the film’s Hero. During the time Pseudolus was written, the Crisis of the Third Century led to up to 25% of Roman population being comprised of slaves(Southern). Of the many stock characters Platus included in his comedies, Calidorus/Hero, the son of Pseudolus’s owner and the stock character adulescens, best

Italian Neorealism was a movement of art, which strived to illustrate the normal lives of the ordinary, working class people in post war Rome, usually with the use of non-professional actors. As one of the best Italian Neorealist film, Bicycle Thieves showed an absolute depiction of the war’s impact on daily life and exposed a world in which sufferings, unkindness and corruption jeopardized the rationality of human beings and action of men (Schoonover). By utilizing a depressing and gloomy cinematography, De Sica implies the somber lives of the poor and their crisis in losing their self-identity and moral conscience as a result of parochial society that make a fetish of personal belongings as a mode of social acceptance. By examining the cinematography, ‘mise-en-scene’ and events in the film, the daily struggles of the working class in post war Rome can be seen through the crisis of masculinity, class struggle, ethical dilemma and a profoundly patriarchal society.

Anderson uses camera movements to speed up the pace as well as to show a constant forward motion. Having an upbeat pace makes the audience feel more elated because it is going so fast they do not have the time to process the sad parts of this story. He also quickens the pace by having short takes so the audience does not have a lot of time to process what has just happened. The constant forward motion of the camera, which is created by either moving the camera on a dolly as they walk, e.g. when the Scout Master is walking past all the tents with the khaki scouts in tow, or by pan the camera extreme fast between each frame, e.g. the beginning and end scene in the house with Suzy’s family.

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

The movie, The Breakfast Club, is a movie about five students who get Saturday school and become friends as a result of it. The characters were: Allison, the quiet girl who would sit in the back and refuse to talk; John, the troublemaker who always talked back to the teachers; Claire, the popular girl who always got what she wanted; Brian, the nerdy student who only cared about having good grades; Andrew, the wrestler who was only focused impressing his father. While watching the movie, I mainly related to Brian. He is pressured to have good grades by his parents and is labeled as the nerd because of it. I am also pressured to have good grades; however, I am labeled as the smart kid in many different classes, but I’m not classified as a nerd.

As I watched a tall woman, stumble blindly across a crowded stage in silence, the last thing that crossed my mind was what kind of music could accompany such mundane yet ethereal movement. If I were to have guessed what musical score would be used for Pina Bausch’s abstract choreography, I surely never would have imagined Henry Purcell’s arias from Dido and Aeneas. On a basic level, Pina’s choreography seemed to have no correlation to the music. The sporadic rhythm of her choreography never seemed to follow the trembling voice of the soprano or dramatic cry of the violins. In fact, as furniture and dancers unpredictably crash around the stage, her choreography almost serves as a second, contrasting musical score. At first, the choice of seemed as random as which chair the sleep walking women ran into — yet her musical choice still seemed to fit perfectly.

In this paper, I will write about “Thelma and Louise” (1991) movie. I choose a last scene of the movie which the police came to arrest them in the Grand Canyon (from 122 to 125 minutes).

Cinematic Codes in Moulin Rouge All four cinematic codes work together in a film to inform the audience's understanding of a film and to convey meaning and the ideology in a preferred reading favoured by the film-maker so that the audience interprets the film in the way intended. In the film Moulin Rouge (Luhrman, 2000, US) the cinematic codes, mise-en-scene, sound, cinematography and editing all work well together in the opening sequence to set up the film-maker's preferred reading. The film opens with a conductor on a stage in a grand theatre, signifying a 'show' which links well with the idea behind Moulin Rouge, informing the audience that it is like a show. The curtains behind the