Cinematographic Elements In The Graduate

Ben (Benjamin) and Andi are at the same nightclub. Ben’s female co-workers recognize Andi in the distance and know that she is writing the article because of a chance encounter earlier that day and decide to choose her for Ben’s quest in hopes that he fails. Upon their initial encounter in the nightclub, they both set out to achieve their goal: she sets out to drive him away, and he’s determined to make her fall in love.

Based off Charles Webb’s 1963 novel by the same name, The Graduate is an American romantic comedy/drama released in the United States on December 21, 1967 starring Dustin Hoffman, Anne Bancroft, Katharine Ross, and William Daniels. The film was directed by Mike Nichols, produced by Lawrence Turman and the screenplay written by Buck Henry and Calder Willingham. The film was produced by Lawrence Turman/Mike Nichols productions starting in March of 1967. Mike Nichols has also directed other well known films such as Catch-22 (1970), Working Girl (1988), and more recently Closer (2004). The film was distributed by AVCO Embassy Pictures nationally and United Artists internationally. AVCO Embassy Pictures studio, founded by Joseph E. Levine, the films executive producer, also claims production/distribution for other hit films such as Godzilla, King of Monsters! (1956), The Fog (1980), and Prom Night (1980). The movie was well received due to its $104 million dollar box office opening tab. The score was produced by Dave Grusin and the songs written by Paul Simon and Art Garfunkel.

Hitchcock makes use of a number of techniques in Vertigo and brings them together to make a film that is considered to be one of his greatest masterpieces. Through the use of colour, lighting, camera movement, dialogue and characterisation, Hitchcock produces a film that fascinates and intrigues us.

What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?

The movie starts up with Ben Braddock sitting on a plane bound for Los Angeles, which pans outward to reveal passengers with blank, empty faces, a hint at Existentialism’s belief that no one has meaning or purpose. After Ben has landed, he leaves the airport, and in the background 3 arrows point in all directions, yet he chooses the path with no arrow or guidance. The doors he does leave out of, are also marked with

Rarely has a film impacted an audience and held the test of time as the film Gone with the Wind. I have always been curious if director, Victor Fleming and producer, David O. Selznick and screenplay writer, Sidney Howard knew what they were creating a masterpiece and how this film would have such an enormous impact on audiences for years to come. Interestingly enough there were some who thought the film should not be made, as Irving Thalberg said to Louis B. Meyer in 1936, “Forget it Louis, no Civil War picture ever made a nickel” (Ten Films that Shook the World).

As Chrissie continues swimming, the frame changes to a point of view shot, accompanied by the same music as in the opening shot. The audience’s thoughts change immediately from the images of the cheerful beach party to the earlier reference of the shark in the opening sequence. This provides a very effective contrast. The audience's expectations are realised when Chrissie feels a sharp pain, and then begins splashing about in the water as she is attacked.

The extraordinary film The 400 Blows (Francois Truffaut, 1959) skillfully uses cinematic devices appropriately within the context of the theme. Part of the underlying theme of this movie as explained by Truffaut himself is, “... to portray a child as honestly as possible...”(Writing About Film, 1982). It is the scenes in this movie that are most helpful in disclosing the overall theme of the film. Within the scenes, the camera angles in this film play an important role in accentuating the emotions behind the scene. The camera angles used in this film will be the primary focus of this paper. The high angle shots utilized in The 400 Blows are effective in helping to develop the overall feel of a scene. This movie

At the bar mitzvah, Sandra hugged Sam for a longtime, and Phyllis called Sam for a family portrait which made Sandra insecure replying harshly saying that the photographer could take them a photo (she and Sam) because Sam is her son, and that they are family and Sandra being upset she hit Phyllis on the head with her purse, and then Phyllis and Sandra fought and Sam seeing her parents fighting and his father coming to the rescue and separate them, he panicked and ran to the beach in confusion not knowing what to do. While still running he heard his mother calling him to stop running. Sam talks to his mother at the beach and explains that he wanted to yell at his mother and ask her why she cannot be like other people but when he saw how his mother was hurt and bruised made him feel sorry and realized how his mother struggled. This quote demonstrates that Sam is beginning to realize that his grandmother’s death has made his mother worried and troubled and that his parents’ divorce has made Sandra lose hope in life. The two events that occurred to Sandra have changed how she viewed

The Cinematic Features Displayed in Pleasantville and The Truman Show The following essay, which I have composed, is based on two important films of the last decade. Their titles are "Pleasantville" and "The Truman Show". Starting with the "Pleasantville", the general overview of the film's plot gets more complicated the further you get into it. It brings up several issues all of which I have commented on in this essay.

Signs Analysis In the movie Signs, the main character, Graham, is tested throughout the movie to see if he can save his family. Throughout the movie a bunch of signs pop up, either foreshadowing the end or explaining what parts the characters have in the movie. Though, the movie is set up to seem like the main story is about the aliens attacking, it’s actually a much bigger idea of what the real story line is. Morgan, Graham’s son, is one of many signs in the movie.

Jeunet’s techniques are influential to his film’s visual style. For example, Jeunet utilized wide angle lenses and placed the actors particularly close to the camera. This produced animated-like facial features which worked well with the actors casted, due to their unique facial features. I did a little bit of research on the cameras and lenses used to film and I came up on a blog. The stated that for Tautou, Delbonnel and Jeunet found that a wide angle 14mm or 27mm lens was just right. Anything longer or shorter did not look quite right. The camera in Amélie barely filmed scenes at eye level. Bruno Delbonnel set the camera usually a bit above or below eye level. Mixed in with the wide angle lenses, a small tilt up or down eventually contributes to the dynamic look. Another element I cherished about the camera work was the way Delbonnel moved the camera towards an object or focal point. He did not simply zoom in, he gradually moved the camera as he moved it with a turn of about 180 degrees. The use of the track/crane device is common in most films but Jeunet’s controlled

Robinson and Benjamin walk into the house from the car. While they are outside it is dark, but once they are inside and sitting near the windows the outdoors looks lit up and bright. Again with the lighting, at 1 hour 26 minutes and 16 seconds into the movie, it shows Ben laying in bed. You are not able to see anything about Ben except for his body shape. When he moves the bed becomes lit up, in reality if the bed were to be lit up so should Ben when he is laying on the bed. Throughout the whole movie the characters faces are left with shadows on them and their features are always being unseen from the way the light hit. With our updated knowledge now, that would never happen in a movie, unless it were done

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

Jimmy in shock of confusion watches as Ben Price casually strolled down the street. Jimmy takes a few steps forward, about to yell out Ben’s name, but his wrists suddenly gets caught by Annabel.