Analysis Of The Showdown At House Of Blue Leaves Scene In Quentin Tarantino

The film techniques used in this film changes the entire landscape and changes the mood during the scene. The colour reflects on a charters feelings and the camera angles and

The 1946 film The Killers is a renowned film noir based off of Ernest Hemingway’s short story of the same title, focusing on the detailed backstory and investigation for the motive of the murder of Pete Lund/Ole Anderson, commonly known and referred to as “The Swede.” A film noir is a term made originally to describe American mystery and thriller movies produced in the time period from 1944-1954, primarily marked by moods of menace, pessimism, and fatalism. Although the film does not focus on the war itself at all, it still puts forth interesting new ways in how gender relations can be stereotypical as well as divergent proceeding the Second World War.

To what extent does the Mise-en-Scene in ‘Night of the Hunter’ reinforce an understanding of the film's mood, character and narrative themes?

Q. Tarantino's Use of Different Film Elements in Kill Bill and Pulp Fiction Quentin Tarantino has used the lightning, colour, sound, camera, mise-en-scene, iconography, speed of editing and special effects in Kill Bill and Pulp Fiction to make the audience want to carry on watching. These film elements have been used very effectively by the director in the openings of both films to build audience interest. The first aspect – lightning was very helpful in building interest in Kill Bill. The opening scene of Kill Bill is in black and white.

A major key element in the film comprises of settings. It is where the actions takes place and helps viewers to understand where and when the film is set. Settings not only create mood, it has social, psychological, emotional and cultural significance in which the film are able to portray. Settings used in the film are very rarely just backgrounds to the characters dialogue. Viewers are often seen shots of places, without any action taking place. They can be used to influence viewers by building certain expectations and then the actions takes a different turn. Gibbs (2002) mention that, ‘Mise en scene therefore encompasses both what the audience can see and the way in which we are invited to see it’. For example, the scene where Mrs. Chan goes to get noodles where she is seen to be walking along a dark alley down the stairs, gives viewers a certain expectation to emphasize the character’s emotional state. Viewers are also made to see Mr. Chow going down the same stairs as Mrs. Chan walks back up without any conversation taking place. This tells viewers what they see suggesting the lost in their daily routine of doing the same thing over and over again, going to work, getting noodles and accepting the unfaithfulness of their spouses. It also gives viewers a sense of developing bond between the two characters over

As time goes on, history has a way of getting distorted from its most truthful form. Time causes people to drift away from accuracy and become more interested in what they want to remember. Hollywood has a reputation of creating films that cater more to the average viewer, rather than the history buff. Inglorious Basterds, by Quentin Taratino, take very liberal liberty with a history story, and creates a story that will sell to the crowd. This may seem dubious, but it is often not such a bad thing. Hollywood can take a story that may have one connotation, may it be serious or dreary, and turn it into something that evokes different emotions, will still addressing historical issues or topics. Taratino chooses to film a movie of this type

The equipment was very cumbersome and color consultants were necessary to ensure accurate tones and hues as directed by Selznick. (Dunagan, 2001). Selznick was very innovative with the use of shadows and silhouettes, which he uses in several scenes of the film. Selznick’s use of silhouettes in both the opening scene and the scene prior to intermission are very dramatic as they arouse emotion on the part of the audience. However, the emotions they evoked are very different. In the opening scene, the silhouette of Scarlett and her father, Gerald the audience can feel the love that Gerald has for his daughter as he illuminates his love for the land and how she will understand as she get older. The audience can almost feel the picturesque beauty of the land before them, as the sun is setting and Scarlett and Gerald in silhouettes. The second scene where Selznick uses silhouettes is directly prior to the intermission of the film. However, the emotions here are far different. Scarlett has journeyed to Tara, from the recently Yankee occupied Atlanta, with Melanie and her newborn son and Prissy. She has encountered nothing but death and destruction on her voyage. War beaten Scarlett returns to her home Tara only to find her home, ravaged, her sisters ailing, her mother dead, her father mad and the plantation lacking food since Tara was used as Yankee

Imagine the world is invaded by aliens. Some of them eat humans, some live among humans, and others live outside of our world. You don’t know it, but many of the people who have shaped our lives and our culture aren’t even human themselves. This is the world of the 1997 film Men in Black, directed by Barry Sonnenfeld. Men in Black is a sci-fi comedy about a group of enforcement agents defending and regulating aliens from invading Earth. But if you take their costume off, Men In Black can be seen as far more than a comedy about space aliens. Under the lens of postcolonial criticism, the film reveals itself to be a veiled, political commentary on immigration. A lens is a way for us to look at a piece of literature in a whole new depiction that we may not have thought of the first time we had read or watched a piece of literature. Through the postcolonial lens, I can see the movie as a biased contrast between the immigrants and the immigration police. Interpreting the movie through this lens allows me to see that the Men in Black are the immigration police, and are considered to be the protagonists of the film. On the other hand, the aliens, or immigrants when looking through the lens, are the antagonists of the movie; The Men in Black protect the US from bad aliens, giving immigration police the positive reinforcement of the brutal evictions immigrants received in the 90s.

1968 was the year that North Vietnam launched the Tet Offensive against the United States and South Vietnam, the year that Martin Luther King JR and Robert Kennedy were assassinated, the year that started student protests and riots, the year that Black Power salute occurred and finally, the year that Night of the Living Dead came out. You may be wondering why a film would have anything to do with these historic events that occurred in 1968. Well, Night of the Living Dead is a zombie horror film directed by George A. Romero, this film that Romero created was a game changer for the film industry it lead to something bigger than purely entertainment. Romero’s goal behind his low budget black and white film was to construct subtext about social issues such as the Vietnam War and many other issues that went on during 1968. Romero’s zombie film’s present a sense of the failure of human co-operation.

A. O. Scott from The New York Times wrote a review of Kill Bill: Vol. 1. Titling this review as “Blood Bath & Beyond”. This title is not only accurate but it fits the theme of the movie by adding humor to an extremely tense situation. The film focuses on the Bride (Uma Thurman) as she starts marking people off of her “Kill List”. While the movie is not in chronological order, it is clear who she is killing, and especially who she is saving for last. The last scene is the unnamed main character creating this list, but this is actually the first thing she does, prior to killing anyone. The opening scene is the Bride being brutally beaten and is displayed in black and white. It is quickly revealed that she is bearing a child and after the harm she

This film’s mise-en-scène shapes my feelings by visually being straightforward and realistic. Visually the film makes me feel like I am a part of the character’s different paths in life, including the citizens of the small towns that are equally being affected financially. This is evident in the visual decay of each town. This film, despite the tense and criminal scenes, has the power to make me pause my scrambled thoughts as the camera pans to a West Texas inspired sunset that expands across the bleak earth. This ultimately makes me feel warm and experienced as if I was one of the citizens that face such harsh economic conditions during the day yet an alluring scenery at night. Another aspect of the mise-en-scène in Hell or High Water is the use raw lighting. Through the use of hard lighting, such as the bold shadows and sunlight beating down, the movie truly captures a sense of

The film ‘Boy’ (2010) uses a range of techniques to construct an effective mise-en-scene. Taika Waititi (director) has been able to create aesthetically pleasing scenes to communicate to the audience about the setting, characters, story and themes. The sequence at the beginning of the film is an appropriate example of the good use of mise-en-scene.

Citizen Kane represents a long period of time, allowing the characters to age throughout the film. Telling Kane’s life story in flashbacks is a very original approach in captivating the significance of his life. The film starts out by the parents almost abandoning their child, even when he does not want to leave. Kane’s mother did it out of protection from his father because he seemed to be an abusive alcoholic. As the film went on and Kane started to grow, he became very well known for his success in the newspaper business. He would tell the world the truth. The most interesting thing was the flashbacks were told through five different points-of-view. The flashback was given from characters that would mostly be forgotten. The unreliable narrators affect the opinions and accuracy of their interpretations. The camerawork had a very huge impact on the film. The way the actors were captured and how it showed how certain events lead to others. For example, the audience saw how in the beginning of the film Kane was a very happy young child, but as things began to change, the camera isolated Kane and his parents, as they planned to separate Kane from his home. Once they separated Kane from his home, he begun to isolate everything and everyone else who tried to get close to him. Kane’s isolation follows him into his adulthood, where we see his workers celebrating in honor of his success and Kane is not there with them. The way the story was told made the audience question as to why

Most violence in Tarantino’s movies is of shootings, but not in all cases. In Reservoir Dogs and Pulp Fiction the violence consists of graphic, detailed, hard-to-watch gun scenes. These are exceptionally gory, and are usually on-screen. In his Kill Bill series, it is mostly death-by-sword, the weapon of choice for the main character. Inglourious Basterds is a whole different ball field. No pun intended, since a man is beaten to death with a baseball bat in this particular movie. The deaths vary from graphic shootings, with lots of blood splatter, to carving swastikas into men’s heads, to shooting an already-dead man’s face apart in explicit, extremely life-like detail. The twisted mind of Quentin Tarantino allows him to write, direct, and watch these scenes with no sort of cringe, but

generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much