Analysis of the Raging Bull We analyzed two scenes in a movie called the Raging Bull. There were lots of clever techniques that were used. I was looking for five factors in those two scenes: the editing, the lighting and color, the use of the camera the sound and the mise en scene. I will analyze the scenes as much as I can and explain what they signify if possible.
Scene 1
This first scene was actually the introduction of the movie. There was no editing or camera movement involved in this scene. The scene was filmed in black and white, I believe the director did this to connote to the audience that this is a piece of history. Black and white pictures also connotes the
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The boxer was wearing boxing gloves, boxing robe, boxing shorts and boxing boots. All of this reassured the audience that he is a boxer. He kept on warming up, waling slyly towards the camera and back again to warm up. His body language connotes that he was a hard working person, however his cocky walking up and down the ring connoted that he is an arrogant, over-confident person.
There was a still camera used with a medium angle, just behind the ropes of the ring, in a way I felt I was part of the audience. I also believe that the director tried to show importance in the scene by not using a selective focus but also using smoke and mist. The director covered the audience with smoke to show that this movie is about this important boxer. We can just see a few faces behind the ring, however you cannot distinguish who they are. The smoke however also creates an atmosphere (historic, legendary), that this man is like a Japanese warrior fighting not for money but for honour. This was almost like a still picture, the overhead lights’ rays were visualised by the smoke, the frequent flashing of the cameras created the mood in this scene.
The intro is obviously where the cast, the directors, the producers and the helpers are shown. I realised that the “RAGING BULL” was shown on the top rope all capped and coloured in
use the cinematography to add to the movies message. Throughout the film, the directors keep a main
At a very young age of eight, David Fincher’s passion for cinema grew when he was inspired by the movie Butch Cassidy and the Sundance Kid (1969). Born in 1962 Denver, Colorado, David Fincher moved to Ashland, Oregon in his teens, where he graduated from Ashland High School. During high school, he directed plays, designed sets, and managed lighting after school. One summer, he and a friend attended the Berkley Film Institute’s summer program, where he hoped to learn film as a true art form but instead was taught the technical production. Either way he was happy to engage is this and as his early film industry career started, he was a production assistant at his local television news station. Years went by as he directed propaganda films followed by becoming a well-known music director until his first movie feature debut Aliens 3 in 1992. However, the American director David Fincher didn’t become a modern 21st century visionary until his creation of the film Se7en (1995). The huge success from this film started Fincher’s popularity in the film industry. From there he continued to make ironic movies we know today such as: Fight Club (1999), Zodiac (2007), The Curious Case of Benjamin Button (2008), The Social Network (2010), Gone Girl, and The Girl with the Dragon Tattoo.
How the film techniques used by Baz Luhrman to influence the portrayal and development of characters in the film Strictly Ballroom?
Francis Ford Coppola directed the gangster crime drama film, The Godfather (1972), inspired by the novel of the same name, written by Author Mario Puzo. The film plays out in the beginning how Don Corleone declined to join the narcotics business with notorious drug lord Sollozzo. With this in mind, one of the greatest gangster films created by a man who decided to lead, and not follows. Moreover, explaining the formalist approach for this film which covers an array of elements that include plot structure, camera techniques, editing, mise en scene, and sound. The following film critique will analyze “The Godfather,” beginning by utilizing the formalist approach theory, camera technique and sound gradually introducing additional theories
A variety of camera techniques are used throughout the beginning sequence to enhance the mood and involve the audience. Camera techniques are harmonized with lighting effects to culminate this dramatic scene. I will begin by discussing examples of this. In the village, many close-ups and long shots are used to enhance facial expression and to set the sombre mood.
The long take begins with an alarm clock waking up a couple, sleeping out on their balcony. As the camera moves from window to window around the courtyard, we see a few brief snippets of characters’ lives. And finally, the audience sees inside the apartment that has been its point of view all along. Mise-en-scene, framing, and cinematography
During the film Steve Spielberg uses music, a mysterious shark and camera techniques such as simultaneous track and zoom, long shot, close up shots and medium shots to build suspense, tension and scare the audience.
1. Describe in your own words the events, actions and characters depicted in the animated sequence, the use of both on-screen and camera movement, and the general colour scheme. What might these elements be suggesting to us about the content, mood and themes for the rest of the film?
Sitting Bull was great leader and a great warrior. He was recognized for many things including the Battle of Little Big Horn and the leader of Strong Hearts, He was the Sash Wearer. He spent much of his life taking care of his tribe and all Native Americans. Sitting Bull is the greatest Sioux chief and one of the greatest Native American chiefs ever.
In 1831 an indian child was born, of the Sioux Nation and the Hunkpapa Tribe. His father, Sitting Bull, and mother, Her-holy-door, did not name him Sitting Bull, he was named Jumping Badger. He was never called Jumping Badger, he was called Slow because of his willful and deliberate ways.
An individual detailed analysis on the style, editing techniques Mise-en-scene and cinematography in the film "Eternal sunshine of the spotless mind".
Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.
When it comes to the film industry, entertainment is the tool used to acquire what is desired, money. The main goal for filmmakers when they create a film is to attain money in addition to the money spent to make the movie. Therefore, in some films that they like to base off of true accounts, it is somewhat necessary to dramatize or embellish the story to really tug at the heartstrings of the films audience. They achieve this goal by the use of dramatic music, ambient lighting, and a small amount of tweaked diction. The Fighter is an excellent example of this dramatization in action because throughout the film the characters are faced with a multitude of decisions that must be made. The choices they make require the characters to choose
The movie Twelve Angry Men is about the twelve jurors that could adjust their influence in a decision-making process for conviction an eighteen years-old boy, whether the boy guilty or not guilty in murdering of his father. It represents a perfect example for applicable of a work group development framework. It also has examples of influence techniques among a group’s members. This paper is looking at those specific examples in the movie and focusing in analysis the reasons why Juror 8 is so much more effective than others in the meeting.
Furthermore, Vant Sant makes statements which are just as strong through his use of camera angles and shots. Together with the film’s cinematographer, Jean-Yves Escoffier, he creates a mise-en-scene which is striking and powerful