Analysis Of The Film ' Les Glaneurs Et La Glaneuse

A film’s visual design is very important in executing a story. Thus, every small detail of its mise-en-scene: lighting, color, framing, props, costume, etc., are carefully picked and arranged to successfully set the mood of the film or deliver a theme. Amelie by French director Jean-Pierre Jeunet does both and shows the different aspects and techniques of staging. Doing so, the film creates a very whimsical world that Amelie, the protagonist, lives in. It is through the visual design of the film where the audience can get a glimpse of Amelie’s very unique and colorful perception of the world.

“Video art” is a new genre, not to be confused with film, and not to be viewed as entirely separate from the medium of television, which dominates the viewing experience of video artworks. There is a relentless desire evoked in art critics and viewers alike to strictly define what exactly “video art” is, and what it is doing. Video art serves as somewhat of a paradox, responding to these questions by merely turning them back on to the viewer themselves to further contemplate: what is video art? What is art?

David Bordwell wrote his article ‘The Art Cinema as a Mode of Film’ in an effort to convey the main idea that “art cinema” can be considered as a distinct mode of film practice, through its definite historical existence alongside other cinematic modes, set of formal conventions, and implicit viewing procedures. Rather than searching for the source of the art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it defined itself against the classical narrative mode; especially with the way it deals with space, time, and the cause and effect link of events.

Mulvey, Laura. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. Thesis. N.d. N.p.: Laura Mulvey, 1975. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. NG Communications, 2006. Web. 20 Feb. 2014. .

Casablanca, the crowning achievement of director Michael Curtiz, which was released in 1942, is a film that had to work against the pressing concerns associated with World War II to stay relevant in both cinematic and general audiences. The writing, which was done by Julius J. Epstein, Philip G. Epstein, and Howard Koch, had to be inspirational yet uncontroversial. With actors like Humphrey Bogart as Rick Blaine, Ingrid Bergman as Ilsa Lund, Claude Rains as Captain Louis Renault, and Paul Henreid as the French revolutionary Victor Laszlo, Casablanca has a respectable cast. The movie initially appears to fit the film noir genre because of its smoky backdrops with muted colors,

Documentary is a genre that has the ability to provide visual evidence of reality by means of filmic treatment of actuality. Intrinsically linked to the notion of ‘truth’, it relies on the mechanical capability of the camera to capture an image of likeness. In a dynamic and flexible genre, the possibilities are endless and as such, are constantly being redefined. Advances in technological factors have driven the genre’s complexity, expanding boundaries and allowing filmmakers the opportunity to create more precise and accurate visual representations of reality.

Everyday experience, suggests Edgerton, like documentary, arises from the interplay of two realms; one hidden and one perceived. This duality, encompassing both the darkroom of the film developer and dark theater where the film is screened, pertains not only to documentary but to life as we live it. Masked by our “inherent inability to see,” and curled inside timescales we cannot untangle, a bizarre world plays out, contained by, yet isolated from that which we live in (Edgerton. 1970 1-2). Nevertheless, this domain remains intimately connected to ours, accessible only through the lens of ongoing technological advancement. Similar to the convoluted relationship between adjacent timescales, documentary and truth also share an

Documentaries are a fundamental element of the cinematic world. They educate viewers on historical happenings, or discuss phenomenons currently going on. These films not only educate viewers, but often provide them with a claim to convince them of a certain belief. However, in order to be effective towards the viewer, these arguments need to contain certain elements. The argument presented needs to be able to be easily accepted, or it will not do the job that many filmmakers intend it to. Evan Grae Davis’s It’s A Girl exemplifies a solid argument that is highly effective at moving the reader. The film’s effectiveness is due to its use of logos to provide factual evidence, pathos to connect emotionally with the viewer, and ethos to validate the argument.

Documentary film, a term coined by John Grierson, “the father of the documentary film movement in the English speaking world,” (Barsam, 1973, p. 77), concerns a genre that is unlike other forms of cinema. There are no actors and the “plot” reveals itself in authentic actions rather than dialogue. The people concerned are the characters, their lives the setting. In the years leading up to Robert Flaherty's Nanook of the North, the first such feature-length film, the medium was immensely popular, with audiences clamoring to see the far reaches of the globe from their local theater or exhibition house. While narrative film in the modern day is considered the default mode of moviemaking, documentaries still capture the imagination and take the viewer into real lives they have not experienced, rather than lives imagined on a page. Without these historic documentaries, film itself may not have reached the heights of culture it inhabits today. The early history of documentary film is inseparable from the history of film itself.

‘In my mind, sound and visual are very connected, while I am doing one and I am thinking about the other.’ (BOMB Magazine, 2003) Christian Marclay developed a thought of working as a visual artist who deals with sound and music as music is close to performance art. With an active career in both visual arts and sound, Christian Marclay has created some prominent art works in a variety of media. Producing film like ‘Video Quartet’ in 2002 and ‘Crossfire’ in 2007, Christian Marclay has gained a certain popularity. A distinctive video editing technique, cut-up, has become a remarkable features of Christian Marclay’s film. In 1995, Christian Marclay created ‘Telephones’ which plunders 130 Hollywood movie scenes. (J Caldwell, 2013) The notion

After WWII “political avant-garde” films flourished. These social documentaries challenged political institutions that oppressed the many for the benefit of the few and called for political change taking up causes from feminist movement to Civil rights (Benson 8). This call to action is what Grierson thought documentary films were missing.

1. I was surprised that it took thirty years after the emergence of silent film for non-fiction films to be made with deliberately imposed thematic meanings. Intentional themes are so engrained in modern documentaries that it is hard for me to even imagine how one would go about filming a documentary without establishing a unifying theme.

Visual anthropology is the practice of anthropology by using visual medium with the study and production of ethnographic photography, film and, new media in culture and society. The course anthropology of film is great starter for prospective anthropologists and scholars to learn and develop the skills they need in the field of anthropology. If there is anything that is important, it is the context of the research. In this course, we also watched over ten films–both anthropological and non-anthropological–with ethnographic features. By watching both anthropological and non-anthropological films, I was able to observe and analyze each film in an ethical manner. For instance, some of the films that we watched includes: Nanook of the North, Born into Brothels, Les Maitres Fous and Kypseli, A Divided Reality:Men and Women Apart. Each the films listed above may have faults, but they all had some form of anthropological element.

She strays often from her main topic, veering towards something much more personal. Varda occasionally turns the camera on herself, focusing on her hair and her hands, now worn and wrinkled with age. She says “My hair and my hands tell me that the end is near,” an innocent, yet haunting line that made my chest tighten with the reminder of the looming threat of mortality. During these parts of the film, I felt like I was intruding, like I had entered a territory where I did not belong; I did not feel unwelcome, but I also could not understand. Yes, Varda created this documentary about gleaners, but the unifying figure is herself, the gleaner. She collects bits and pieces of the personalities and stories of others through film. Perhaps she is trying to find meaning in the lives of strangers while being faced with her own

The French New Wave, or Nouvelle Vague, is among the most revolutionary film eras in the history of cinema. Spurred as a result of major shifts in economic, social and technological norms within post-WW11 France, the New Wave conceived a renewed mode of expression across various creative industries. Francois Truffaut’s The 400 Blows (1959) and Jean-Luc Godard’s Breathless (1960) are two films, which despite major disparities, would go on to exemplify integral characteristics of the movement in the following years. Perhaps, the best way to truly appreciate the fervor of New Wave cinema is to examine the context of its inception. Both the stylistic and thematic qualities of French New Wave works directly reflect the implicit values, virtues and vices possessed by the emerging youth culture of the late 1950s, which consequently posed a fundamental challenge to the institutions, ideas and attitudes of the past.