Comparing Ballad Of A Solider Directed By Dziga Vertov

Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb was released in the United States in 1964. It received a rating of PG by the Motion Picture Association of America. The film is directed by the renowned British director, Stanley Kubrick. Kubrick uses a mostly American cast, with Peter Sellers, a fellow Brit, playing three characters, including the one after which the film is titled. This is a film that is very formal in structure and execution. The aesthetics are very crisp, sharp, and intention. It is this unyielding commitment to form, grace, and order that makes Dr. Strangelove so hilarious and effective as a war film as well as a satire of war films. Drawing from chapter 9 of Benton's American Cinema, American Culture, the paper demonstrates that Dr. Strangelove conforms to the narrative and structural requirements of American war cinema.

Throughout the term I have begun experiencing movies in a different way. The class has taken ideas of cinematography, theory, and film history and practically applied it to physically watching movies. By breaking down scenes and movies as a whole, the way I look at films in general has developed. A reflection on two of the films from this term, Casablanca (Curtiz, 1942) and North by Northwest (Hitchcock, 1959) will carry the bulk of the essay. Though, I will also be discussing how this class changed the way I saw a movie just a few weeks ago. Casablanca’s script and acting are of particular caliber, and North by Northwest unfortunately does not deliver with the dialogue and casting of lead actor Cary Grant. Though, overall, they both

David Bordwell wrote his article ‘The Art Cinema as a Mode of Film’ in an effort to convey the main idea that “art cinema” can be considered as a distinct mode of film practice, through its definite historical existence alongside other cinematic modes, set of formal conventions, and implicit viewing procedures. Rather than searching for the source of the art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it defined itself against the classical narrative mode; especially with the way it deals with space, time, and the cause and effect link of events.

|date, Lenina, find two white people, which is odd, a mother and son. Turns out the father is the Director. They take them back to civilization and present them to the |

The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and

Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.

Saving Private Ryan is a theatrical masterpiece that incorporates many universal themes that almost all people can relate to. The movie follows a squad of U.S. soldiers as they battle through the trenches of World War II. Directed by the great Stephen Spielberg, the movie is claimed by many to be the most accurate presentation of war in any movie to date. The movie includes several themes that helps captivate the audience and truly help people understand just how horrible war is. The idea of losing loved ones frightens even the toughest of us, and being lost in a foreign land scares many others. Both of these themes are thoroughly explored and propelled onto the audience to experience. The extremely accurate depiction of war, the universal themes that everyone can relate to, and the film being a theatrical masterpiece are all reasons why everyone should watch Saving Private Ryan.

The debate over Casablanca and Citizen Kane has been a classic argument between film critics and historians alike, and this is because both of these pieces are timeless pictures that have managed to captivate audiences well after their era. On a broad spectrum analysis this is an apples and oranges debate as the two films both have great cinematographic value but for different reasons. However, the real question at hand is which film is the greatest? Which film transformed the future of American film making? It is these questions that I as many others have, will attempt to answer in the following essay as I explain why I believe Citizen Kane is the greatest film ever made.

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

Soviet Montage is a movement driven by “Marxist [politics]” and an “economic philosophy” developed in Soviet Russia at the time of revolution. Lenin himself considered film, as an art form as the “most influential of all arts” as it not only entertained but could be used to “[mould] and reinforce values.”( Mast, G. & Kawin, B. F.) Sergei Eisenstein, himself a Marxist, is no exception to this and not only are his films are full of political propaganda, but he is also considered “the greatest master of montage.” .”( Mast, G. & Kawin, B. F.) His film October, called Ten Days That Shook The World in the Western world at the time and butchered due to its content, has always been considered problematic for audiences and critics alike and the standard critique of the film soon became “The Film as a whole is difficult and incoherent.” (Sperbur) Although if analysed properly, you can see that it has powerful political and social messages to convey and comprises of film form that Eisenstein himself called “intellectual film.”

Casablanca, first released on January 23rd, 1943 is undoubtedly one of the masterpieces of Classical Hollywood film. Written and released in the midst of World War Two it explores themes such as love, desire and especially sacrifice. Although the love story of the protagonists is the cause and catalyst for most of the narrative, one would not necessarily associate it with the conventional Classical Hollywood love story. Rather as a fabula based on the principle of the importance of sacrifice in order to overcome a common enemy, in this case the Nazis. Casablanca does indeed contain many of the common characteristics identified with the Classical Hollywood film. An example being the the way director, Michael Curtiz used a mainly chronologically ordered narrative structure and the utilisation of a Cause and Effect chain. In this essay I will looking at the various ways I believe this film does fall into the criteria of a Classical Hollywood narrative and also how some could perceive that it does not.

When the Sun was A God and With Fire and Sword are two films directed by Jerzy Hoffman, respectively in 2003 and 1999. The films were based on the historical events, illustrating the common matters of individuals’ desire to overpower others with wealth, power, and control in order to take over the throne and land. Both films took place in different settings – Piast dynasty era and Khmelnytsky Uprising era – but they do share some similarities and differences. The reason for why I chose these two films to compare and contrast was due to the fact that they share certain aspects that set the films alike and apart from one another. The aspects are: greed, friendship, loyalty, women, and love.

Man with a Movie Camera, directed by Dziga Vertov and edited by his wife Elizaveta Svilova, is an experimental film released in 1929 after having been filmed over a period of three years in urban U.S.S.R and is considered by some to be both a documentary and avant-garde cinema (Aitken, 2011, p. 602). The film was shot in the Soviet cities of Kiev, Moscow and Odessa (Nytimes.com, 2015). Unlike Hollywood and the growing trends of Russian silent Cinema at the time, Vertov chose not use actors, theatrical elements and melodrama to capture the urban sprawl of Soviet Russia; calling drama a "corrupting influence" on the proletarian sensibility (Kolchevska et al., 1986). Vertov’s cinematic focus was instead on the cityscapes, industrial structure

In this essay I will be discussing five key points throughout Post Production history between the 1900s-1960s. Post Production is seen as a vital component in the cinematic industry as it essentially finalises the final products. Techniques that have been developed over the years are incredibly important, but they all have an origin. Although these techniques started out without overwhelming effect, they are now unbelievably crucial to how films are constructed. The five points I wish to discuss go as follows: The Great Train Robbery and Edwin Porter himself, D.W. Griffith and his overwhelming influence on editing, The Jazz Singer, the Kuleshov Effect and finally, 2001: A Space Odyssey. As well as discussing these key factors, this essay will take into consideration secondary material.

In America, most animated movies incite young audiences. The funny characters and feel-good script entertain children and also gives them moral lessons along the way. The same cannot be said for international films such as Grave of the Fireflies (1988) directed by Isao Takahata and Waltz with Bashir (2008) directed by Ari Folman. These animated films contrast each other, not only cinematically, but in the plotline as well. Wars replay over the main characters in each film, both inside and outside the war itself. The difference between civilians and soldiers, color and grayscale, dreams and reality create films which mesmerize the adult audience. Both anime and comic-book animation soften the audience’s overwhelming emotions when facing the realities brought by war and help story-tellers create scenes with a specific purpose.