Cystax Vs Apocalypse Now

Some things are different in the book and movie. Like Sunset Towers and Money in both versions. Sunset towers is luxurious in the book but a bad place to live downtown. The money the will was worth 200 million but in the movie it is worth 20 million. Another difference is that the Wexlers moved to Sunset Towers because they had no money, but in the book they moved because they had money. In the movie Jake Wexler is paying off his debt though they have money in the book. Jake Wexler is a

Last but definitely not least, lighting. I recognized the effectual usage of lighting as a factor in expressing the theme of this video. To demonstrate, in the scene where neighbors ensembled in a house when the “boom” went off, we can see the utilization of lighting. As I’ve used this scene in previous examples, we can tell its an important catalyst. Anyways, this scene captures the flickers and loss of lighting due to an electrical shortage from the “boom”, and we can infer from people’s faces that everyone is in panic mode. For more than half of the video after the “important catalyst” scene, the lighting remained dull and gloomy which resembled the darkness and

In both The Things They Carried and Apocalypse Now, transitional archetypical roles are used to show the degradation of innocence, as a result of the conflicts of war. In The Things They Carried, Mary Anne Bell, the young girlfriend of solider Mark Fossie, is brought to Vietnam in the heart of the war to be with him. In the beginning of her visit, Mary Anne is extremely soft, kind, and ignorant to the nature of the conflict taking place around her (O’Brien 91). Her relationship with Mark is one that appears as overly romanticized: “Mary Anne Bell and Mark Fossie had been sweethearts since grammar school. […] [someday] they would be married, and live in a fine gingerbread house near Lake Erie, and have three healthy yellow -haired children.

Finally there are lots of differences between the book and the movie. They also show that the movie was a lot weaker then then the book. I can see the movies aren't always better than the books. The books go more into detail than the movie. I enjoined the movie because it is more visual. The book was a little

I have always enjoyed movies. But at some point I started to think of movies as more than just entertainment. I began to view them as a movie critic would, rather than just a casual viewer. Because of this perspective, I think of "Apocalypse Now" as one of the best American made movies I have ever seen. As a student of and an active participant in the late twentieth century media age, I feel justified in making this statement. In my lifetime of observation of American media, including fourteen months of intense movie watching in conjunction with my employment at a local video store, I have had an opportunity to observe a broad sampling of the films, and feel more than qualified to make this statement. By referring to

The camerawork emphasizes the sense of detachment between the characters, and Billy’s inability with connecting with others. In addition, the film has a contrasty, bleak look to it, like a faded photograph. Gallo shot the movie on reversal film stock to capture that contrast and grain, in attempt to reproduce the same look of football games from the late 1960’s and early 1970’s.

better mood and plot details which made it much more dramatic and by far a

ambiance of the movie changes from this intense mystery to a more sexual theme. We are seeing the

As you have likely realized, the differences begin to overlap the similarities towards the ends of both movies.

One of the ways why cinematography made the film was the lighting. To get the feel, the lighting appeared to be fake shadows that were painted on the set. The fake shadows that were painted on the set gave the lighting appeared to be harsh and sharper to set the mood for the audience. If it weren’t for the painted shadows, the movie wouldn’t have been so successful in the horror genre. Since it was a silent movie, if it weren’t for the shadows, you wouldn’t of seen it as a horror film, but as an original film that was trying to be creative.

The captions also imply that the set locations are real and not created in a Hollywood studio. The use of black and whites also adds to Spielberg's objective of realism, as black and white is more reminiscent of the time of the Holocaust. He makes effective use of handheld cameras in a few of his scenes; this creates a sense of urgency and fear. This also conveys that the film is not a Hollywood studio made film and mesmerises the viewer into believing that the events are nothing but the sober reality. The documentary styling contributes to the intensity of the film and creates stronger emotions within the viewers by adding to their disbelief and horror.

As the music goes on, the constant loud bang of the drum adds that scary effect that you don't know what's going to happen next. The sound of a train and furnaces firing up are amongst a few which add a heavier eerie feel to the sequence. The editing can be seen that throughout the sequence a filter was put on top of the film, as well as this many of the shots have a blur around the edges. This effect could connotate the feelings of the main character when he first comes out of the coma. A time-lapse shot has also been used from 0:09 to 0:11 to convey the many years that have passed since he has been in the coma. Many of the cuts are raw and sudden, the shot will go from landscape (wide shot) to a extreme close-up. Once again foreshadowing the events to come, this could mirror the act of the zombies suddenly appearing. lump cuts are also used In scenes of an abandoned house, giving a Jarring effect to the pace. The titles appear amongst the scene, sometimes moving. The final title 'The Walking Dead' flickers into shot over a green background that fades to black at the edges. The use of mise-en-scene in this sequence evokes anticipation in the audience. The post-apocalyptic world is conveyed through micro elements such as, the bare and dirty decor of the abandoned house and the low-key dingy lighting. The contrast of natural and low key

The artistic intensions of the film were clearly stated in the beginning when the credits appeared on the screen along with the recognition that this film received. Nothing in the background moved. The size and arrangement of the letters on the screen

Emmerich achieves this by capturing each individual natural disaster at different camera angles that emphasis the violence of each disaster and emphasizes terror of the characters. Emmerich demonstrates the enormity of each natural disaster by switching between the perspective of the scared citizens and the perspective of the natural disaster. Doing this simple perspective flip he highlights the large difference between the disaster and the citizen. For example, in the Tornado scene he uses an accumulation of these techniques to scare the audience. He beings with a low angle shot of the Tornado depicting how large it is in comparison to the city and people.

     The very first difference is probably the most noticeable and important difference between the two versions of the film: the narration of Rick Deckard