Cinematic Conventions In Jane Campion's Bright Star

The scene that I will be discussing for this paper is called “He’s a spy” from the movie Young Guns. In this scene, Billy and his gang are confronted by Murphy’s men. With the mise-en-scene, this helps the viewer identify that the time period being portrayed here is the late 1870’s or the early 1880’s. The mise-en-scene being used for this movie is important in telling the story from a different era as in today’s world, no one dresses this way anymore. Also to include from this scene is the lighting. I will attempt to give an explicit description of the use of the lighting and the sun and how the cinematographer designed for the use of it. Furthermore, I will also discuss the people that are directly involved with the making of Young Guns, the director, the production designer and the art director and their roles and responsibilities.

“The Dressmaker” is a movie based on the book written by Rosalie Ham. It tells the story of a woman named Tilly determined to figure out the mysteries of her past. The classic spaghetti westerns have many things in common with “The Dressmaker”. Some similar cinematic techniques include camera angles and shots, setting, costuming and themes. These techniques were captured by the director to engage the modern audience.

Introduction 100 words In this investigating a film called The Dressmaker directed by Jocelyn Moorhouse and a book called Jasper Jones written by Craig Silvey and with these two text will be comparing and contrasting the use of themes in the film and the book. Revenge in The Dressmaker happens when Tilly burned the town; in Jasper Jones Eliza burned her home. Then in Family Tilly and Molly has a rough start when tilly came back but turned out to be happy with each other, while in Jasper Jones Charlies mum and Charlie are happy at the start but went down here very quickly when Laura disappeared. The themes are revenge, death, and family.

Designing a film is something not everyone can do. It takes a lot of patience and attention to detail to ensure the creators of films make the best possible scenes with zero to minimal mistakes. Every scene needs to be spot on with elements such as setting, lighting, costuming, and temporal elements. When watching a movie for the first time, people don’t normally pay much attention to the small details but when a film is a considered a favorite, people tend to spot small mistakes within films. Let’s take a look on how these artists focuses on making films a detailed and enjoyable.

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

In the early 1900’s silent films amazed audiences with images, later talkies impressed with sound, today we have 3D. As technology continues to evolve so too will film genres. Genres, while having some shared characteristics, also differ in terms of stylistic devices used. For instance, the dramatic film “The Notebook” effectively uses color to reinforce theme and has plausible performers as the two main protagonists.

One can compare her fashion style to that of a militant mixed with the style of an elegant queen. Mattie “Sunshine’s” clothing collection is one to kill for because her color coordination is nothing more than a sight for sore eyes. For her clothing doesn’t wear her, she wears the clothes and with class. Even her jewelry accentuates and compliments her style and physique. She’s a strong-willed, hardworking woman who reminds those around her that she is human, but that she is just trying to live life to its

Jocelyn Moorhouse’s The Dressmaker is a thought provoking film exploring revenge and small-town politics providing a compelling reflection on aspects of Australian culture. Through powerful symbolism present in fire, mirrors and clothing, the audience is able to interpret its themes and forge a deep connection with its

This is accompanied by her career in the fashion industry and her statement that she “if there’s one thing [she] knows, it’s how to wear the proper clothes” (Rear Window). Clothes are both an essential part of her character inside the world of the film, and an important visual demonstration of her inner life for the audience. The character development expressed with her costumes is highlighted by camera angles, and supported by her props and dialogue between her and Jeffreys.

Even though Fran became more confident, her costume and makeup still suited her personality. For example at the Pan-Pacific Grand Prix, all of the other female dancers wore bright coloured, revealing outfits, Fran wore a traditional red Spanish dress. At the end of the film Fran’s physical appearance changed dramatically and so did her confidence. These characters are good examples of how Luhrman uses costume and makeup to effectively influence the portrayal and development of characters in the film.

Development and adaptation of the western genre has occurred throughout the twentieth century in relation to the shift in context, this is still relevant. Stereotypes of a western genre and the context are determined by the time in which the film is being produced. The time in which they were produced determine how social construction, gender ideas, values and attitudes, the setting and SWAT codes are demonstrated. I have chosen to present this speech by looking at the film studied in class, and a film of my choice and how the difference in context has changed in the tie of these two films.

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

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

The objective of the creative project is to familiarize with the aspects of mise-en-scene by means of implementing them in a practical form. The creative project two will showcase how certain degree of changes made with respect to features of mise-en-scene can bring about a differentiation in genre and scenic atmosphere without any alterations brought about in the script. Following aspects such as settings, props, décor, actors, lighting, costume, makeup, space, time, and focusing on the rules that bind these commandments together, effort will be made to bring across authenticity in describing the genres as well as in the creation of scenic atmospheres.

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.