David Bordwell's Cat On A Hot Tin Roof

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

This paper was prepared for Introduction to Film History, Module 1 Homework Assignment, taught by Professor Stephanie Sandifer.

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.

2) Many devices such as theme, subject and meaning reflect different aspects of a film. The time and place that the movie is made are usually affected but this.

I never gave much thought into what it takes to shoot, direct, edit, and complete a motion picture. Sure, it may sound fun, but after this assignment, it felt like a lot of work. There are quite a few specialized groups that put together the films that we enjoy in our movie theatres. No wonder why it takes months and even years to edit a film, these folks are making sure things are done and synced correctly! The following essay will identify information pertaining to film and importance for their audience so the person or persons watching can have an understanding of what it is they are viewing. A story that has no meaning or becomes very confusing in the details that are presented does not make a good film.

Hollywood cinema is primarily subjected to telling stories. The inclination of Hollywood narratives comes not just from good chronicles but from good story telling. The following essay will discuss Hollywood’s commercial aesthetic as applied to storytelling, expand on the characteristics of the “principles of classical film narration” and evaluate alternative modes of narration and other deviations from the classical mode.

Alfred Hitchcock is widely regarded as a prime example of an auteur, a theory that emerged in the 1950s by Truffaut, in the ‘politique des auteurs’ of Cahiers du Cinema (Tudor 121). The auteur theory, as defined by Andrew Tudor, is premised on the assumption that “any director creates his films on the basis of a central structure”(140) and thus, if you consider their films in relation to each other, commonalities can be found within them. These commonalities work to demonstrate the view of the director as “the true creator of the film” (Tudor 122). Evidence of an auteur can be found in examining a director’s creative tendencies, in their distinctive themes and motifs, stylistic choices,

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

After Brick falls to the floor, the sound of thunder and rain stop as it has served its purpose for this scene. The rest of this sequence consists of another dramatic axis that is established and followed until Big Daddy turns his back to walk away. However,

A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the

What makes for a classic Hollywood film? Increasingly, films have evolved to the point where the standard by which one calls a “classic Hollywood film” has evolved over time. What one calls a classic film by yesterday’s standards is not the same as that of today’s standards. The film Casablanca is no exception to this. Although David Bordwell’s article, “Classical Hollywood Cinema” defines what the classical Hollywood film does, the film Casablanca does not exactly conform to the very definition that Bordwell provides the audience with in his article. It is true that the film capers closely to Bordwell’s definition, but in more ways than not, the film diverges from Bordwell’s definition of the typical Hollywood film.

The mendacious and the Pulitzer Prize-winning play, "Cat on a Hot Tin Roof," written by Tennessee Williams was originally written as a play but as time passed, it has been produced as a motion picture. A play/book and a movie are never the same. In general, the movie tends to add or leave out certain things in order to make the more interesting and capturing to the audience. In the equivalent, between play and movie directed by Richard Brook, the 1958 version, starring Elizabeth Taylor and Paul Newman, there are some key differences between a movie and a play. The major difference would include the sexuality of Brick, the character of Big Daddy is too vivid and important, and the relations of Margaret and Skipper.

The article is a selection of influential films in American cinema. These act as milestones in the development of the film industry. Influence is inferred by the moments of lasting significance or even when the pop culture at times became a reflection of ideas represented on the screen.

Tennessee WIlliams is a very well known playwright and his work shows for it, awarded with the Pulitzer Prize for Drama multiple times, The Kennedy Center Honors award, and many others he has claimed. Williams extensive background involving personal drama directly correlates why his plays are able to reach audiences deeper emotions. A wide variety of elements are evident in his play Cat on A Hot Tin Roof that must be understood before a proper critique can be documented. For contextual reasons, Brick is the twenty seven year old son of Big Daddy, former professional football player and closeted homosexual due to intense feelings from his “best friend” who also played professional football, Skipper. An incident which lead to the suicide of Skipper absolutely destroyed Brick from the ground up. Since then, the love that Brick was able to give was much less, especially to his wife, Maggie. Further adding to the character lineup we have Gooper, Bricks brother, Goopers wife named Mae,and they have five children together.