Cinematography In Arrival

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.

In the reading, Violence in Movies: Cinematic Craft or Hollywood Gone Too Far?, the response that states "Point: Hollywood, Stop Exposing Our Kids to Violence" is more persuasive than "Counterpoint: Hollywood Filmmakers Should Not be Villainized for Movie Violence" because it provides better-supported facts that are reliable and credible. The "Point" response explains how violence in movies has become very excessive and is allowing children to act out and think it is okay because of what they see on TV. While, the "Counterpoint" response explains how Hollywood filmmakers should not be punished for their creative writing and that parents should monitor their kids and decide whether or not they should be watching it.

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 paper I decided to do was on “Schindler’s List”. I have seen this movie four times and yet had not really noticed the many ways in which the director, Steven Spielberg, used the camera to emphasis a “million words”. It was interesting, when watching this film from this stand point, how I was able to see the importance of the way the director uses sounds and color to make some much significant points of a film.

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.

‘The Castle’ directed by Rob Sitch, is a 1997 Australian comedy, starring Michael Caton and Anne Tenney. The film showcases what being a true Australian is like from the love the Kerrigan family share for their home, each other and their communications to their neighbours and family. Daryl Kerrigan, the main character within the film epitomises as a true Australian, close up shots of Daryl before he was going to court about his house. Shows the emotional and dedication he has in himself. Following this, multiple close up shots of Daryl, to show his guilt he feels towards his family and friends.

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.

Louise could see into the future when she figured out the heptapod language. She knew that her daughter, Hannah, was going to die regardless of whatever she could do to stop it. Louise also knew that she could never have a child, but she still chooses to. She chose to have a child and knew that it would suffer from a certain illness, but would rather take on that situation than live her whole life knowing that her child was going to die. This teaches viewers to appreciate the what they have in life because nothing lasts forever, but the memories that are made will.

Big Fish is a film that jumps between past and present to relay the fantastical stories and adventures of Edward Bloom. This film presents these stories through various flashbacks as his son, Will Bloom, tries to piece together the man his father claims to be. As the flashbacks unfold, stunning cinematography, lighting and colours are used to create beautiful and enchanting scenes that really complete the movie. The sequence I chose to analyse is the town scene in which Edward comes to the realisation that he does not belong in Spectre, and needs to leave whilst he still can.

How did the cinematography of Raising Arizona shape the audience's understanding of the movie? The cinematography shaped the audience's understanding of the movie by revealing characters, by shaping the feeling of the audience and by directing the audience's attention. Firstly, the cinematography revealed the characters by depicting important aspects of that the character and focusing the whole camera lens to the aspects. An example of this is the character known as the "Lone Rider of the Apocalypse" or Smalls.

The implicit meaning of the film is seen throughout the movie, but during the viewer’s first watch through it isn’t obvious and may not

To get the level enjoyment I got out of this film, you really need to be a Kevin Smith fan. Which I really am, having seen all of his films save one. That one being Tusk, the precursor to this film and the first film in the True North trilogy. Though I'm more than aware of its story enough to know that they aren't related. With exception of overlapping characters. So, you can jump right in without missing to much, if really anything at all. I'm not sure what it is about Kevin Smith's writing, but I can always get into his films. No matter how strange and cheesy the plot gets and this one gets plenty of both.

The film Casablanca directed by Michael Curtiz and released in 1943—at the height of World War II—is set in December 1941 in Casablanca, French Morocco. It is a time of escalating power of the Nazi party, which attempted to gain control of most parts of the world starting with Europe and Northern Africa. As a result of the ascending power of the Nazis and anti-German sentiments, many Europeans were desperate to flee their homes. Because Casablanca was not yet taken over by the Germans due to its distance from Europe, it served as the holding place or middle ground for those trying to escape Europe, assuming they could get there. People would travel from Europe to Casablanca in hopes of receiving letters of

generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much

Mario Puzo’s "The Godfather" was the first and most influential gangster movie that paved the way for gangster movies of the future. The movie was directed by Frances Ford Copolla, who made many different ingenious ways to portray this gangster classic. The movie was a very subversive movie, and one of the first of all time.The Godfather has a many different uses of light settings through the whole movie, in which the movie can be interpreted on.