Comparing the Opening Sequence of The Italian Job (1969) and the Opening Sequence of The Italian Job (2003)

The 1954 movie The Seven Samurai, directed by Akira Kurosawa, and its 1960 remake The Magnificent Seven, directed by John Sturges have many similarities; for example, the plot of both movies entails farmers hiring mercenaries to help fend off bandits that annually pillage their farms. The two movies also have differences like the characterization of the bandits in The Magnificent Seven as opposed to The Seven Samurai.

The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

discrepancies between the two. First I'll address the overall flow of the movie, in other

Two films, both alike in content, set in fair Verona, where the directors laid out their scene, one created by Franco Zeffirelli in 1968 and the other by Baz Luhbrmann in 1996. Both cinematic, both staying true to the plot and dialogue, each one radically different than the other, Zeffirelli sets his film within historical actuality, while Luhbrmann presents his with a modern twist. A story of love, revenge and death, revolving around a pair of star-crossed lovers, interpreted differently, but presented in the same form.

The 1998 German film Run Lola Run interestingly told three separate narratives of the same story and characters. Each of the narratives began the same way, however each one saw a slight temporal or behavioral difference in the lives of Lola and Manni, which caused drastically different outcomes for each of the separate realities. The film followed Lola and Manni’s journey to acquire one-hundred thousand dollars to make up for Manni’s loss of the money to his drug dealer. The same story was told three separate times, and each story illustrated slight changes in the characters’ timelines that drastically shifted the outcome of their situations. Through the use of editing, the film was able to jump through time and space and clearly portray the transition from one run to the next. The film also had a fast rhythm that captured the frantic nature and peril of Lola and Manni’s situation, with innovative editing techniques such as showing the two shots of Manni and Lola side by side. Altogether, the transitions were effective in telling the story with a unique, and clear sequencing pattern that made sense and contributed to the thrilling atmosphere of the film.

Comparison of the Opening Sequences of Two Different Versions of Romeo and Juilet The objective of this essay is to compare two different film adaptations of William Shakespeare's Romeo & Juilet. Franco Zefferelli directed the first rendition of this play in 1968. This was the more conventional, traditional version of the play. It was slow, peaceful, and in my opinion, how Shakespeare would've wanted it.

“ They rely on a viewer's preconceived idea of how a particular person or ethnic group should act and merely fulfill these expectations. External signs and cues are used to indicate and suggest the veneer of culture. Dress, eating habits, and language accents are exaggerated…” Even though the directors of the movie did not directly refer to Italian Americans, the way they portrayed the characters based on their language, clothes, food and etc. indirectly told the audience that the characters were of Italian background. By seeing this occur in every movie and show, the public got accustomed to seeing Italian Americans as the mafia and failed to recognize that the mafia was only a small percentage of Italian Americans and the rest were just like ordinary people trying to make a better life.

The purpose of this essay is to analyse the original drama text with a newer film version, while comparing the

There is a case to be stated that the first two Godfathers films form the “Great American Movie” of the twentieth century. Francis Ford Coppola’s The Godfather is among one of the best films ever produced. In this short essay I will be concentrating on the Godfather part one and its relationship with Chapter 7 of the book. This film was released in 1972 and was consistently ranked as one of the top three films by the American film institute.

This paper will take a look into the movie Amadeus, to see if the film accurately

Almost as soon as the gangster film genre was introduced, countless outside forces began to influence how its films were made. A large influence was the Production Code Administration, which served as “the official watchdog of the industry” by setting rules for production companies and their films (Friedman 407). Since the PCA often called for gangster protagonists to be killed under “violent” and “humiliating circumstances” so their criminal lifestyle could not be glorified, the archetypal plot of the gangster film genre easily shaped itself around the gangsters’ rise and fall (Friedman 416). However, over time, the “circumstances” in how this plot line can be depicted has been challenged as the genre has pushed into new territory. In examining two such films, White Heat and The Godfather, the ability of the genre’s archetypal plot to not only vary but to last and grow throughout history is made abundantly clear.

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.

Edmonson, J. (2009). Let's be clear: How to manage communication styles. T & D, 63(9), 30-31.

This paper will draw analysis of the film in the view of its genre, plot, themes and contexts from the movie itself and various scholarly articles. The film will be analysed drawing lessons and historical contexts of the Roman Empire and the 1st Century. Lastly, this paper will offer an