Cinematic Techniques In Apocalypse Now

By having Everyman interact with these conceptualized characters, the author externalizes his inner conflict. Perhaps this technique seems too obvious or almost condescending to our more literate age, but whatever the case, it effectively conveys the central message of the play.

Be who you are and say what you feel, because those who mind don’t matter and those who matter don’t mind(Tim Burton). Who knew that a movie could be so much like the real world events? Two subjects projected in two single clips. One from sorrow and the other formed by fright, yet you can only overcome a fear if you face it. As shown in the Tim Burton clips.

Spike Lee does many fascinating things from a directorial standpoint, which makes his film (dare I say, joint), Do the Right Thing so interesting to watch. Writer, director Lee makes much use of the high and low angle shots. He does this to draw clear contrasts between the two elders of the block, Da Mayor and Mother Sister and to make conflict more apparent.

Apocalypse Now is the story of a Green Beret named Willard who journeys through Vietnam by river to confront an officer who left the army in the pursuit of his own private war. Willard's journey is not just a trip down a river, it is a metaphorical journey, and creates the effect of multiple levels of meaning. In addition to a superbly constructed story, Apocalypse Now can be viewed as a social commentary, an exploration of human conscience, or a moral metaphor. I truly enjoy dissecting and analyzing movies, as well as literate, at this level. I try to understand what the author, or film maker is really trying to say.

Throughout this course, you have been compiling a blog and writing essays that analyze various elements of film such as theme, cinematic techniques, and genre. It is now time to combine those elements into a comprehensive analysis of one movie.

Altman also uses dialogue in a similar manor. The nature of dialogue itself is solely for creating and upholding the self image of the “Nashville Star” weather you are one or not. The conversations never get passed the surface issues, and no one ever speaks their mind unless it’s safe. But, the reality of each character is very real and deep due to the way the dialogue was set up. Most of the people were frivolous so in order to add some depth and reveal their true character Altman had to make the dialogue as realistic as possible. The dialogue seemed almost unrehearsed or not planned at all which gives it its reality. The most odious example of this is when the Hal Walker representative is arguing about the political sign with Barbra Gene’s husband at Centennial Park. He slips on his line in the heat of the argument. I don’t know if this was intentional or not, but I think they chose to keep it in the movie because it seemed to be more true to reality than just a smooth flowing argument that would normally be in a movie. The little slip gave way, for the first time, a vulnerable side to the Hal Walker rep or even politics for that matter.

Sontag’s essay “Regarding the Pain of Others” expresses humanities’ obsessive nature to images of pain and suffering. The TV screen turns on. We see footage of Syrian refugees suffering by the hands of chemical warfare. They are helpless. The viewer, knowing he cannot do anything in his power to help, continues to watch as the chemicals are released into the air causing the deaths of thousands of civilians. This “appetite for sights of degradation and pain and mutilation” (97) is caused by the “love of mischief” (98) humans feel when they watch atrocities take place. These gruesome images are watched to create a sense of numbness in the viewer. Today, “mayhem is entertaining” (101) to the eyes of modern culture. Sontag pinpoints that people only care about themselves with a misguided view of “how is this affecting me” rather than the ordeals of others to whom it would easily affect. Generally, we are less responsive or sensible to horrors that we constantly see often such as images of war or chaos. Sontag tells us that an “unwillingness to engage with these premonitory images of nearby war was an expression of helplessness and fear” (100) which results in a “bored, cynical, apathetic” (101) perspective of the situation. There is no hope to end suffering and pain unless the viewer takes action to help change the situation for those facing atrocities on the other side of the TV. We can either stay content in our mass culture of violence through “films, television, comics, and computer games” (100) or we can rise up and use compassion to overcome the hardships of atrocities we see.

These films display ambiguous endings and leave the audience wondering as to what exactly happened, and allows them to create their own version of the ending in their own heads. This common theme displays a postmodern type of storytelling in both “The Worker Drone” and “Play”.

There has been a resurgence of zombie films in the last decade, ranging from Danny Boyles 28 Days Later to Paul W.S. Andersons Resident Evil. This renaissance of zombie cinema has resurfaced in response to the cultural, political, and social volatility experienced in today’s society, much like its predecessors. A zombie film, unlike other monster movies, plays more with the real-world fears and anxieties, presenting the audience with inescapable realities. However, to understand why this subgenre has been brought back into the mainstream cinema, a comparison is needed across generations of film. This paper will focus on the comparison between George A. Romero’s Night of the Living Dead and Danny Boyles 28 Days Later; in an attempt to show how zombie cinema is a reaction to cultural shocks.

For years authors have used style to provide readers with dystopian literature in order to bestow them with a radical view of a potential future based on fatalistic qualities of their present societies. Authors have played upon our fears for decades. For example, Ray Bradbury with his frightening opinion of the future Fahrenheit 451 and George Orwell pulling his audience into an alternate universe in which he thought to be the world’s ominous future. Movies bring the viewers into new territories using cinematography and costumes to introduce people to a frightening possible future. Films allow the dystopian areas to be built. For instance, The Giver creates an entire “community”

The Hurt Locker can give almost anybody the nerves with its numerous suspenseful moments. But what lies inside all the tension filled scenes is a much deeper meaning. Kathryn Bigelow stresses an important message in this Oscar-winning epic. Although the film depicts the gruesome horrors of war, Kathryn Bigelow’s The Hurt Locker is not an anti-war film. The Hurt Locker is a film about James’s addiction to war because it shows his desire tension risk filled scenes, his lack of resentment for the war, and his inability to integrate himself back into “normal society”

Movies can be dark. They can be devastating. They can be tragically sad, painfully colorful. Bright, burning, scarring. Yet, despite all that a movie can illustrate, movies made for the masses have boundaries on tragedy. They cannot show child rape; they cannot show a girl’s limbs being hacked off by a young boy. These images, while understood as descriptive writing in books, mark the edge of what viewers can subject themselves to in film. Film images can be ingrained in minds forever, while our imagination of similar scenes often remains a hazy, shifting, jumble of movements and face. As director of Beasts of No Nation, Cary Joji Fukunaga chose to make changes to the book through the inclusion of small additional scenes before the war, the added character of a big brother, and an additional final scene, to illustrate a version of Agu unseen in the book and in turn make the story more palatable to the average moviegoer. These changes, while they do not alter the general plot, give the story a more appealing trajectory.

I utilize two scenes from the movie American Beauty, the two office scenes including Lester (Kevin Spacey) and Brad (Barry Del Sherman).The cinematic techniques are identified with mise-en-scene, which is the term used to portray everything 'put into the scene'. I concentrate on decor, lighting and props, costumes, body language (e.g., posture, gestures and facial expressions) and composition. I additionally take a gander at how these components are confined as far as camera stature, camera point and camera separate, all of which fall under the class of cinematography. The scene seems right off the bat the movie. Toward the start of American Beauty, the hero, Lester Burnham is disappointed with his life. At home he and his materialistic, aspiring

     It was no accident that a documentary was made on Francis Ford Coppola's 1979 film, "Apocalypse Now" entitled "Hearts of Darkness- A Filmmaker's Apocalypse" since the production of the film

During the 2000’s, the word apocalypse petrified and frightened humanity around the world knowing that the world will soon come to an end. Post-Apocalyptic films illustrated the importance of catastrophic events as the films worked their way up into popular media during the 2000’s and how the world itself changed creating diverse conspiracies and predictions on how and when our planet will come to an end, which frightened humanity. The 2000’s are when post-apocalyptic films began to explode in popularity. Due to environmental and social trends which became popular during that time period, these movies showed the importance that humanity will survive no matter what apocalypse may come. The major focus of these films is to show and give humanity