Analysis Of A Brilliant Film

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.

The way the film was presented was partially effective for the fact that the message of the story, for me, was not easily or instantly understood. This is a humongous deal as a result of if I was not able to understand it at an age of 15 then a great deal of children would not be able to understand that message. When I first saw this shot my reaction was “look an insane decrepit man” which is a great deal of people's reaction to the film, I'm guessing.

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

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 film-makers were pretty accurate with the big parts of the movie; I could imagine that these parts of the movie were changed to make movie more exciting and entertaining. The film blends recorded

For example, there were multiple scenes that took place in vibrant forest. Yes, there are beautiful scenes but there are also quite terrifying ones too. There was a moment in the movie when the Iron Giant began to consume a electrical substation and began to be electrocuted. It was intensely vivid and frightening. It also included agonizing screams from the giant!

There wasn’t much camera movement in the whole film, which also gave that eerie feeling and made the shots very simple considering that they were long shots. Even though the film is considered to be low key, there was a few long shots and a few close-up shots to give the setting. There was at times where you can notice some point of view shots like when some of the characters were looking out the windows. There was also a low-angle shot that was noticed, which would be when Orlok is walking on the mast of the ship. There was a great close-up towards his coffin, when the rats were coming out of all the holes in

For the imagery the director did a good job throughout the whole movie.” He zoomed in at good times like in the beginning of the story they zoomed in on Lennie” and George hiding from the men. People can go on and on with how good of a job they did with the imagery but

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

A lot of these aesthetic choices worked well in the film, however, and prove that every small detail put together is what really builds and enhances a story, whether it is through pictures of

The movie I choose was Collateral Beauty. This movie spoke volumes and touched on really life situations that occur. Will Smith is the main character, He played a father who lost his children. He was a grieving father.

Hi Chour, I agree that in today’s movie they can film every scene in different location, unlike this film. Film makers also use high-tech technology equipment to edit the movie to make each scene more realistic. Although this movie was filmed during 1940’s the story line was clear and effective.

The director uses a lot of close ups through the entire film, which allows the viewer to see the face expression of each character. The characters in this film act with a lot of laughing, crying and screaming, the director decided to use a theatrical approach to show the importance of the

Montage, a name synonymous with Editing, is an original film style with different techniques used by the Soviet filmmakers between 1924 and 1930 to construct a film narrative. Montage is the connection between one shot and the other, a continuous or discontinuous relationship between shots. According to David Bordwell and Kristin Thompson (2012: 478), Soviet directors maintained that, “through editing, two shots give birth to a feeling or idea not present in either one”. This ‘feeling’ or ‘idea’ then guides a viewer into understanding or making a “conceptual connection” of the narrative (Bordwell 1972: 10). Strike (1925) and Mother (1926), directed by Sergei Eisenstein and Vsevolod Pudovkin respectively, are films made in the Soviet Montage era that show a juxtaposition between shots across the film. This essay discusses the different techniques used in these films that show the functions and effects of Montage.

In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).