Analysis Of Three Colours : Red

Throughout the term I have begun experiencing movies in a different way. The class has taken ideas of cinematography, theory, and film history and practically applied it to physically watching movies. By breaking down scenes and movies as a whole, the way I look at films in general has developed. A reflection on two of the films from this term, Casablanca (Curtiz, 1942) and North by Northwest (Hitchcock, 1959) will carry the bulk of the essay. Though, I will also be discussing how this class changed the way I saw a movie just a few weeks ago. Casablanca’s script and acting are of particular caliber, and North by Northwest unfortunately does not deliver with the dialogue and casting of lead actor Cary Grant. Though, overall, they both

The purpose of this essay is to analyse the original drama text with a newer film version, while comparing the

Hollywood cinema is primarily subjected to telling stories. The inclination of Hollywood narratives comes not just from good chronicles but from good story telling. The following essay will discuss Hollywood’s commercial aesthetic as applied to storytelling, expand on the characteristics of the “principles of classical film narration” and evaluate alternative modes of narration and other deviations from the classical mode.

Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.

Bart Layton built this doc not from one perspective, but from a collection of them. Some stories, like “The Imposter” need a panoptic approach to connect the audience to the film. The themes of manipulation, identity and love are the main themes conveyed by Layton. These themes are communicated through sounds and visual imagery.

To illustrate, director often uses red details in scenes to symbolise danger, small things such as a scarf on Dr Sattler’s neck in the beginning of the film. These tiny details indicated the audience about danger and builds a fearful mood. In addition, the weight of the evidence suggest that, colours and lights can make any situation appealing and horrifying.

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the

The common formula for these second act, rehashed tales often disappoint. The thrill is gone and producer’s resort to trickery such as, far fetched story lines and metaphors to capture our attention. They have to dig deeper into the psyche and personal lives of the leading cast, which often leaves a lackluster taste on our cinematic palates. It is very difficult to spin the same old tale time after time, this

Tom Tykwer’s Run Lola Run (1998) is truly a brilliant film. It is very seldom that a film manages to combine the high pace of an action thriller and a deep philosophical subtext without botching it, but Run Lola Run does an excellent job at striking a balance between both. Tackling the very abstract and philosophical concepts of chance and cause-effect, Run Lola Run is truly a modern foreign classic. Tykwer manages to postulate one simple theory through the film, that the simplest of choices can completely change everything. The film is supported by stellar performances from Franka Potente and Moritz Bleibtreu as the protagonist Lola and her boyfriend, Manni. The film’s use of cinematography to add to the narrative, clever use of the aspects of mise-en-scene and explosively-paced soundtrack add a whole new dimension to this film. One of the few German films to be both a critical and commercial success, Run Lola Run is a smart and stimulating film, which demands active watching in order to understand fully. I will now analyze the film comprehensively using three main parameters; the mise-en-scene, the cinematography and the sound.

Sergei Eisenstein and Dziga Vertov are among the most identifiable names in early Soviet film. Their contributions to film, in the areas of montage and documentary film respectively, have helped to structure film, as we know it today. However, apart from their theoretical contributions to the field, both directors played an imperative role in Soviet film during the 1920s and 1930s. This paper examines historical revisionism within their film, how their theories of montage influenced the revisionism, and how they were persistent in the use montage throughout their careers as filmmakers to assert themselves as artists.

Understanding movies comes from describing and analyzing the cinematic, theatrical, and literary elements that combine to create meaning. These steps create a basic understanding of the artistic and technical elements found in moviemaking. In addition, the major characteristics of different film genres and classic movies will be analyzed. The purpose of this paper is analyzing the Academy Award winning film Chicago. This paper will describe the six steps that a person should think about when watching a movie. These steps include, (1) analysis of the narrative: story, plot and meaning; (2) theatrical elements, (3) cinematography, (4) editing, (5) sound and the (6) complete package.

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.

i Suoi Fratelli, it is beneficial to analyse these films with reference to two sub-themes: