Directed by French film director, Louis Leterrior, Now You See Me tells a thrilling story of

The lottery went on just like all other activities in the town. Mr. Summers leads the town in this yearly activity. Each family member is required to draw a slip of paper from a designated box. If the slip of paper has a black dot on it, that person wins the lottery. The reader is tricked into thinking this is a good win, but this is not the case. The lottery ends with a fatality in which the townspeople readily and willingly stone one of their own people. This demonstrates the good vs. evil characterization in this story. In “The Most Dangerous Game,” Connell uses General Zaroff to set the stage for a friendly act of hunting. He and Rainsford have a friendly chat about hunting before the General reveals to Rainsford that he wants to use him for his prey. Rainsford accepts his challenge and runs into the woods and prepares himself for what he thinks is a friendly game of hunting. The good vs. evil in this story is clearly portrayed in the end when it also ends in a fatality.

When the story begins, Harry sets the setting and tone by describing his surroundings and economical state. Harry says, “I suppose there were some back then had money, but we weren’t among them” (5). The Cranes are not well off. Harry’s father, Jacob, makes money by

Vision and the act of looking is an important and recurring theme in many horror films. In early gothic literature, such as in Guy de Maupassant 's Le Horla, the author presents vision as definitive and universal proof and stresses the importance of seeing as well as the act of showing gore. As a society, we are routinely told ‘seeing is believing ' in the wake of any paranormal or supernatural phenomena, placing weight on the tangible. However, as science and technology have progressed the faithfulness of visual representation is increasingly throw into question, which in turn has led to societal anxiety. A few years earlier, video footage of an event rarely had its validity questions, whereas now it is easy

In Rear Window, Hitchcock uses visuals in order to capture the perfect cinematic film and experience. We as the viewers identify with Jeff because much like how he is watching his neighbors, we are also speculating his life as a film. Our hero, L.B. Jeffries or “Jeff”, out of boredom creates an outdoor theater for himself by spying on his the people outside his window. Hitchcock uses “murder-as-entertainment” and the idea of watching a cinematic film as ways to captivate the viewers and make us subconsciously take part in intruding on someone else’s life. Hitchcock then punishes Jeff and the viewers for being “peeping toms” and casting our unwanted voyeurism on other people’s private lives. Through fear and embarrassment, Hitchcock puts our actions into perspective as we become self-conscious of our indecent objectification toward human lives.

In William Shakespeare’s Hamlet there are many unanswered questions such as if Hamlet is really mad or if it is just an act. There are many film adaptations which use their movie elements in order to hint towards the answer of these questions. In Gregory Doran’s film interpretation Hamlet starring David Tennant, David Tennant truly shows the raw emotions of Hamlet. He shows how Hamlet feels through his movements and facial expressions. These little things allow the viewer to see the true meaning and intention behind Hamlet’s words.

the first of its kind to be made with a small budget, unknown cast, and limited resources. This proves that this film is unique by showing how differently the director and actors

Just like in the essay “Z: The Movie That Changed My Life,” by Erdrich. Erdrich states that a movie was here first look at the world. “As it turned out, it was my first view of the world” (111

In “The Lottery”, villagers from a small town gather every year and compete so their crops will grow strong in June. A man named Mr. Summers arrives with a box full of slips of paper, one for each member of the town. One lucky person will draw a slip of paper that contains a black do on it and that person will be the winner of the lottery. Mr. Summers calls the families up to draw a slip up paper, by their last name, in alphabetical order. Right before he began calling the names, a villager named Tessie showed up, she was late because she wanted to finish the dishes before she came. Everyone had drawn a slip so they all looked at their papers to see who had the black dot. Tessie stared at her paper and then began screaming in disbelieve, she had the black dot. Everyone then picked

Ever since I was a young kid I have always been interested in movies. My grandma, who was full of the wise the life experience left, always knew about my interest in movies. She feed my vain for the art. Even though her religion, she professed Adventist of seven-day religion, didn't let her go to the cinema, she always found the way to took me to the cinema. She and I enjoyed watch movies. We used to sit in the darkness room, with our faces illuminated from the reflection of the light which rebooted from the screen, both absorbs in the plot of the movie which made us laughed or cried. After the movie, while we went back to her home, she started to talk about the movie. She had a particular point of view where the main story

Theorist Vsevolod Pudovkin claims that narrative films are mainly a “product of construction” and cautious compilations of “selections of images that have been shot” (Renée).

The common formula for these second act, rehashed tales often disappoint. The thrill is gone and producer’s resort to trickery such as, far fetched story lines and metaphors to capture our attention. They have to dig deeper into the psyche and personal lives of the leading cast, which often leaves a lackluster taste on our cinematic palates. It is very difficult to spin the same old tale time after time, this

Many critics have noticed that Mulvey’s application of psychoanalysis and filmmaking appears in an ironic return to Freud and Jacques Lacan. Mulvey uses the gaze to examine male pleasure in narrative cinema, but Lacan

Goodykoontz, B., & Jacobs, C. P. (2014). Film: From watching to seeing (2nd ed.) [Electronic version]. Retrieved from

There are many ways that one can analyze a work of art. To say that something as complex as artistic expression can only be looked at or defined in one dimension is nothing short of a lie. In realizing this, we must also realize that film is like any work of art, the many messages and ideas behind a well thought-out film are nearly uncountable. With that in mind, perhaps one of the best ways to analyze film is through a method known as "Cognitive Psychology". Cognitive psychology deals greatly with practical perception, emotional, and conscious responses of viewers. By using cognitive psychology, we seek to explain how we recognize objects, fit disparate elements into orderly patterns, experience joy and sadness through art, and simultaneously understand multiple meanings and so forth. When we apply this theory in practice, it revolutionizes the way in which we can see the meaning behind movies, instead of relying on traditional concepts and roles to determine the ideas behind a work of film; we can shift the critical emphasis on a film to the viewer. In effect then, the viewer becomes an active participant in the creation of a film's effects and meanings. While there are a wide variety of movies that can be looked at using this method, perhaps one of those that come easiest to mind is Memento, a thriller in which the main character is afflicted with antro-grade amnesia, or the inability to create new

However, the narrative of Hugo creates an often jarring experience as the spectator becomes increasingly aware of the transformation cinema