Analysis Of The Film ' The Basement Of The Grand Cafe Des Capucines Boulevard ' Paris '

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

He discusses his concerns with film are that ‘Quantity has now become quality’, that ‘the masses are looking for distraction whereas art calls for immersion’ and warns us that ‘reception in a state of distraction, which is increasing noticeably in all fields of art and is symptomatic of profound changes in apperception, finds in film its true means of exercise’

The film, The House I live In, opened my eyes to the severity of unfair law enforcement and the depths of the battle with war on drugs. Theoretically, the more people are being arrested for drugs, the cheaper, purer, and more available the drugs become. Making these arrests are not helping get the drugs off the streets, it is only opening up more opportunities for other people to pick up the business.

Roxanne is a 2000 American romantic comedy film directed by Steve Martin. It is a modern retelling of Edmond Rostand`s 1897 verse play Cyrano de Bergerac. Deception is examined in Cyrano de Bergerac and Roxanne, that drives the action forward. From fake identities and hidden emotions to vicious and clever plans. The play, Cyrano de Bergerac and the movie, Roxanne have many similarities and differences. This involves the plot, characterization, setting, conflict, and irony. In both, Cyrano attempts to help Roxane and Christian fall in love with each other, because he feels this is the only way to tell Roxanne how he feels. Cyrano then writes letters

Short stories for the most part conclude with a complicated idea that most of the time it is up to the reader to figure out. To figure out the deeper meaning. Reading between the lines. Assume the worst or best for this main character. And the goal for the author is of course for the reader to take this underlying message and apply it to their own life. To take is into consideration. The most influenced and persuaded open minded victims at times are youngins. Student in academic culture, trying to learn to better their lives, we welcome those who leave an impression on us to learn from them.He is limiting himself to what he can do he is not caring enough to search or accept motivation around him that he spends his nights drinking and smoking as his wife says he has no friends. The only reason that he was talking to robert while his wife was asleep seems to be because he was either simply under the influence. The closing of the eyes relating to the communion in a cathedral as people kneel put their hands together and pray to a greater existence. Through his story he presents himself as cynical toward his wife and the blindman as the night continues and considers his conversation with robert on cathedrals.

This journal concludes that “While film can be considered an artistic expression, albeit a commercial one, it also crosses into the public consciousness through the influence of its images”. When he concludes the author also points out that film as a medium should be used to inform teachers, students, and parents about individual abilities and social

World War I, the isolation Germans experienced and the demand for films after the cutoff of foreign film imports was an opening for a new movement of cinema, the German expressionist cinema. It is the movement of cinema that started during Weimar Germany. The German expressionist cinema is where the horror genre grew and where it influenced Film Noir as German Expressionism cinema is a collection of silent horror films. Just like any other cinema, it incorporates the use of mise-en-scène to convey meaning, which is a French word for all what is in a scene; the set, lighting costumes and actors and all the little details in it. Mise-en-scène was evident in expressing the post-war German reality and psychological trauma.

Paris is Burning is a d​ocumentary film directed by J​ennie Livingston during the mid to late 1980’​s​. The film provides a glimpse into the controversial drag balls of the African­American,​L​atino,​g​ay,​and t​ransgender communities. While some critics interpret the film as an invaluable documentary providing a thoughtful exploration of the social construction of race, class, gender, and sexuality in America, others have deemed it to be rather exploitive towards the t​rans​community.

The transition to act three is signified all the guests getting in their cars and driving away, right after Chris and Rose agree to leave the house. The climax of the movie relied heavily on the portrayal of Rose Armitage. From the first time we get introduced to Rose, the audience has this impression that Rose is unaware of what’s going on at the house; the use of the character’s performance, the camera shots, and costume design allude to that conclusion. Her initial advocacy and friendly nature in act one and two makes the spectator believe that she is on Chris’ side, and in many scenes the director had the camera focus on her face, forcing people to see her emotions, whether it was in the bakery looking at pastries in act one, or

American film noir didn’t start as a genre but a visual style of film as depicted in 1940s American films like This Gun for Hire, but following the coining of the term by post world war II french scholars film noir especially from the 70s to the present day through films like LA Confidential has evolved to a very recognizable and full featured genre . We are able to recognize films within the noir genre as with any genre films for their distinct syntactic and semantic qualities, the same theories/concepts Rick Altman uses to define the difficult concept of genre remain very similar between the 1940s noir and today’s contemporary neo noir. In talking about the syntactic and semantic list of film noir its pretty helpful to know and understand what these elements are. It’s difficult to say that there is a sole formula for every noir film, but there are many recognizable commonly occuring traits that remain constant from the genre’s inception over 70 years ago going forward into contemporary neo noir. In terms of syntactic elements as identified in the Belton text’s noir chapter the most universal elements would be the complex narrative structure, the violent nature and involvement with crime, fem fatales, arbitration of justice, tough guys, and loneliness. These are really what drive the film non visually whereas the semantics contribute to the visual stylings of the film. Noir films share the common semantic elements of low key lighting, dark and rainy nights, sequencing,

With its tone and specific style, Film Noir has become one of the prominent elements that helped shape the American cinema. Within film noir, drama, romance, thriller, and crime are the main genres that can be seen in noir films. From all this amalgamation of genres, the topic of whether film noir is a genre or not does seem interesting, but it is particularly the themes and the style that seems to generate this conversation. Film noir itself can be seen as more of a film movement than a genre.

Film Noir is a movie of which, at no point in time, will lead to a happy or perfect ending. The corrupt social criticism, American isolation, greed and last but, not least, the young and beautiful femme fatal, all create the Film Noir. Often filmed in black and white, Film Noir is about the “dark side” and alienation in the modern American city manifested in psychosis, criminality, and paranoia. The American society created a world full of fear, resentment and betrayal.

From Eadweard Maybridge and Louis Le Prince’s brilliant idea of finding ways to string together series of still photographs creating an impression of time passing, to Dziga Vertov’s masterpiece in Man with a Movie Camera where he felt as though the movie camera had the capacity not just to record reality but to reveal an unseen world to the audience; Cinema and the way we see it has become breathtaking and unbelievable to say the least. In Edward Ross’s Filmish, he talks about how much cinema has captivated audiences. A few things I found important and interesting that he talked about was what Tom Gunning calls the Cinema of Attractions, how George Méliès “tricked” the eye with his illusory style, and lastly, how camera angles and

France is the birthplace of cinema and is responsible for many of its significant contributions to the art form worldwide, including the filmmaking process itself. I’ve learned about the greats but haven’t been introduced to a man quite as distinguished and relatable to myself as a young black aspiring creator.