Analysis Of ' Kill Bill Volume One, By Uma Thurman And Vivica Fox 's First Encounter

In 1929, the American stock market crashed. The economy was crushed, leaving millions of Americans hopeless, scared, and vulnerable. The Great Depression had a huge impact on the culture at the time. The fears they faced were usually portrayed through literature, art and movies during that time period. In the 1932 film White Zombie, Halperin uses the metaphor of a monster to show how our biggest fears come from the actions others are capable of.

My initial reaction to the film was of utter shock at the brutally raw reality of the film. Upon reflection and commentary from other sources, the film’s simple yet vastly effective filmmaking techniques of developing the explicit and implicit meaning of the film. The explicit meaning, as

Low angle shot, where a camera points upwards from below, generally make people or things look bigger, more courageous and important. However, same angle shots sometimes will be chosen to emphasize different effects in one film. In the movie “Night of the Living Dead,” the director George A. Romero uses low angles for different purposes.

revenge filled journey. Within the scene Showdown at House of Blue Leaves, through the use of mise-en-scène, sound, and cinematography, Quentin Tarantino beautifully reflects the emotions and capability of The Bride and her enemy O-ren Ishii.

For my shot analysis I chose a shot from the Spike Lee Movie Do the Right Thing. This is the second shot following the climactic riot scene. It features Da’ Mayor and Mother Sister reacting to the hellacious events of the previous night. The block was just devastated by a melee that broke out because the police killed Radio Raheem after he and Sal got in an altercation that was triggered by the volume of Radio Raheem’s boom box. Though at a very superficial level the fight was about the loud stereo, the real significance of the fight had more to do with the culmination of anger and tension between the characters of the film caused by prejudice and ignorance. This paper will analyze

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.

“All my life I’ve been a lonely boy.” Vincent Gallo’s Buffalo 66 is a peculiar, surreal film to analyze. As a semi-autobiographical work, Buffalo 66 greatly exaggerates the events in the film and makes the viewers suspend disbelief on more than one occasion. Yet despite this, the main focus of this film is a broken Billy Brown’s emotionally raw journey seeking revenge but instead finding unconditional love through Layla in the end, and the formalist film techniques used here enhance this. Through the deliberate use of photography, staging, and movement, Buffalo 66 works as a formalistic classicism film, a predominantly classicism film with strong elements of formalism, on the style continuum.

Throughout this course, you have been compiling a blog and writing essays that analyze various elements of film such as theme, cinematic techniques, and genre. It is now time to combine those elements into a comprehensive analysis of one movie.

Kill Bill: Vol 1. (2003) is a film directed by, the famous, Quentin Tarantino. From start to finish, it is packed with action and excitement. This movie has a plethora of interesting elements. Yet the cinematography of Kill Boll: Vol 1. is one that makes history. Not only does it have camera angles unlike any others shown in a normal film, but it keeps the audiences’ attention. The unique choice of music adds originality to the film. For a movie with such a serious storyline, the music involved is quite quirky. Some would even say childish. Anyone who has seen a movie directed by Quentin Tarantino before will understand that adjustments like this are a reflection of his style. All of his work reveals that.

These films display ambiguous endings and leave the audience wondering as to what exactly happened, and allows them to create their own version of the ending in their own heads. This common theme displays a postmodern type of storytelling in both “The Worker Drone” and “Play”.

Die Hard, a film directed by John McTiernan, successfully utilized several aesthetics, which offered viewers various meanings throughout the duration of the film. Although the diverse meanings grasped by viewers may differ, it was clear to me that McTiernan effectively applied elements of cinematography and mise-en-scene that resulted in viewers being allowed to interpret a range of different meanings or functions of the elements.

Movies can be dark. They can be devastating. They can be tragically sad, painfully colorful. Bright, burning, scarring. Yet, despite all that a movie can illustrate, movies made for the masses have boundaries on tragedy. They cannot show child rape; they cannot show a girl’s limbs being hacked off by a young boy. These images, while understood as descriptive writing in books, mark the edge of what viewers can subject themselves to in film. Film images can be ingrained in minds forever, while our imagination of similar scenes often remains a hazy, shifting, jumble of movements and face. As director of Beasts of No Nation, Cary Joji Fukunaga chose to make changes to the book through the inclusion of small additional scenes before the war, the added character of a big brother, and an additional final scene, to illustrate a version of Agu unseen in the book and in turn make the story more palatable to the average moviegoer. These changes, while they do not alter the general plot, give the story a more appealing trajectory.

The opening scene of the film utilises multiple aspects in order to display the hopeless that looms over the dystopian world that the audience is presented with. The film uses a mix of both visual imagery to show this along with verbal features in order to convey this to the audience.

The Departed, a film written by William Monahan, Alan Mak, and Felix Chong, directed by Martin Scorsese, was in my opinion a spectacular crime-thriller deserving of less criticism from overly sentimental viewers. Though this film is in some scenes brutal and vicious, I praise Martin Scorsese’s refusal to cower away from the undeniable truth that organized crime in the United States is murderous in nature just to satisfy certain viewers as critics advocated he should. Being a four time Oscar winning film with sixty-three other awards for numerous aspects in the movie industry, I don’t believe anyone can contradict that The Departed is profoundly unforgettable to masses of moviegoers.

The film, Embrace of the Serpent, was a beautifully crafted work of art. Everything from the cinematography, to the mise en scene supported the storyline in a very profound manner. The film combined a collection of authentic costume design, great acting, real sets, and a unique storyline in order to deliver a truly unmatched experience in the world of film. This writing will discuss some of the different aspects of film, and how those factors contributed to the film’s overall quality.