Determining The Artistic Value Of A Theatrical Film Or

The Shining is about the Torrance family having to stay at the Overlook hotel for five months. Having that said, the family was completely isolated in such a big place over the winter. The hotel had horrific history of a murder done by Charles Grady who had committed suicide after killing his two girls and wife with an axe. The shocking information given to Jack did not bother him at all and he even said that his wife, Wendy would enjoy a good scary story. The film proceeds into a story that would seem calm and full of tranquility but this would not be the case since it soon enough turns out into something more horrifying. After a month has gone by, one can clearly notice the difference between the old Jack to the new Jack. This has to do with his personality and how he is acting by himself and towards others. His attitude changes to wanting to spend more time alone and not caring to do the work for the hotel, which he was hired to do in the first place. Danny is the young son of Jack who has psychic powers which at times confuses him but most of the time frightens the young boy. Danny encounters the two young girls that were killed in the hotel. Danny tries to avoid the girls as much as possible and tries to stay away from room 237 but it attracted Danny’s attention.

For many, isolation is a terrible thing and can lead to madness. Dictatorships prosecute individuals who do not agree with the government and sentence them to imprisonment in solitary confinement. Isolation is a form of torture and it causes insanity. The Shining, directed by Stanley Kubrick, is a truly interesting case study of human psychology and how the descent of an individual into the depths of insanity can cause them to experience creepy and vivid ghostly encounters, which do not actually physically occur but rather originate from within the depths of the person’s psyche. Examples of such hallucinated encounters surround the main character, Jack Torrance, who, as the movie progresses, transfigures into the deranged antagonist the persons see at the end of the movie chasing his family with an axe. Jack’s psyche and subconscious mind produce visions and ghostly apparitions, all of which embody Jack’s deep violent desires. Jack seems to suffer from a split personality disorder, which is intensified by his loneliness, emotional instability, and feelings of isolation. Jack’s mind is literally falling apart.

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.

In 1962, an American film critic, Andrew Sarris, wrote the “notes on the auteur theory.” He stated that the “first premise of the auteur theory is the technical competence of a director as a criterion of

Steven King did an incredible job creating “The Shining”. Using a real life issue as damaging as alcoholism and allowing the reader to sympathize and even relate with the main characters was truly a remarkable idea. This thriller is, in no doubt, a masterpiece that will stay a treasure for years to come.

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

The producers will develop a test and the audience will tell the producers whether it is something they want to see or they are not going to see. This can affect the next text to be produced in an attempt to conform to the audience demands. Looking at the development of different types of genres and the development of films within the same genre, it’s possible to look at similarities and differences and identify changes in society and audience ideologies and tastes.

Television today serves as a method to confront our societal fears in a comfortable setting, like books and oral tales did hundreds of years ago. The film The Shining directed by Stanley Kubrick, although a modern medium, still draws from the original gothic novel. Compared to The Castle of Otranto by Horace Walpole, The Shining plays on the same classic and applicable anxiety of finding terror within the nuclear family. Kubrick uses the gothic theme to address horror originating from family relationships, additionally taking the idea of “the gothic novel” to a heightened level through invoking despair in his audience rather than hope as Walpole did in his novel. Despair in The Shining is conveyed by

The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism.

The intention of this essay is to discuss the romantic notion of a film director who has etched their own cinematic vision into the body of their film work, and whether the theory and practice is dead and an infringement of the spectator’s imagination and is it the spectator who finds meaning in the film. I will be closely looking at critical material, primarily André Bazin and Roland Barthes and applying them to several case study films directed by Christopher Nolan including The Following (1998), The Prestige (2006) and Inception (2010), to examine whether Nolan possesses the qualities of an auteur and if so, does that imply an ideological view of what the auteur resembles or an artistic one.

Every so often a movie is released with such tense anticipation and glamorous visual art that the public is drawn to this dramatic rendition of life in the theatre. For even just two hours or so, you are put into a different lifestyle. Action, drama or comedy it may be. We are thrust into a different way of thinking. We are forced to learn the characters thoughts and feelings. The hard work and artistic skill that goes into these magnificent films is not an easy thing to mimic. Out of the thousands of movies released worldwide each year only a handful are truly worthy of the label film art. Most of the great movies are either produced by a multi million dollar

When it comes to movies, many directors are good at their jobs. However, other directors are great in the art of film making. There is no doubt such statement is considered utterly subjective, but what would life be without subjectivity, for it is our differences that make us thrive against a monotonic existence. By the same token, Alfred Hitchcock and Christopher Nolan utilize their singularities to create films that for decades have impacted the movie making universe. In fact, it is their differences that provide us with a high contrast to compare and scrutinize their job and find what made them great at it.

A movie’s greatness is often measured by its monetary returns. There are numerous examples of huge commercial successes that are able to draw dollars from people with each iteration of their product even when the movies themselves are less memorable. Think of Fast & Furious or Transformers, hugely popular, even producing a great movie from time to time. Less often, is a franchise that produces a string of great films. Star Wars and James Bond have consistently brought viewers to the box office over decades. Many of those movies will be watched by generation after generation. Then there is the oddity, the financial dud that gets better ratings with time. The Shawshank Redemption didn’t impress on opening weekend. It didn’t have a surge after a limited release with great reviews. It did have a compelling story and superb acting providing the viewer an emotional experience. That experience allowed The Shawshank Redemption become one of the most well-regarded movies of recent history.

Based on Stephen King’s horror novel of the same name, Stanley Kubrick’s The Shining features hallways filled with butchered daughters, and their guts and blood splashed down the hall. Horror and realism fuel Kubrick’s notoriously disturbing films and The Shining stands clear-cut amongst them. Although in the case of this movie, Kubrick shifts emphasis from visual horror to psychological fear and instills mounting dread from the sequence of disturbing events. Kubrick states, “one of the things that horror stories can do is show us the archetypes of the unconscious; we can see the dark side without having to confront it directly.” Never falling flat, The Shining provides a psychological horror masterpiece complete with brilliant acting, tight camera angles, haunting score, and unanswered questions.

The evaluation of a film assigns some form of value to a film and the experience you encountered while watching the film. Evaluation can imply the criteria and standards that you can argue about to place value on a film. Thus, giving people a reason to question a film to develop reasons, make such standards are met and to understand the film. These standards can stem from the classical evaluation and pluralistic-category method which has given viewers a blueprint of how you should properly evaluate a film. There are certain ways that you can go about judging a films effectiveness. For instance, the classical evaluation method imposes the use of cinematicity within three concepts that all films should have. Like medium specificity, cinematicity allows film to distinguish itself from theatre with the use of close-ups, camera movement, etc.; thus, creates a universal structure for critics to judge a film. This is based on the creative style of the director and how much the viewers admire the way the has stuck with its cinematicity. However, the pluralistic-category does not base its evaluation on style and opinion. In all, these types of evaluations are used in different ways which will be further explained throughout this essay.