Sixteen candles was written by John Hughes, this movie was his first 1980s teen movies. Hughes was inspired by Molly Ringwald, to write the screenplay. As, he was finishing up writing the screenplay for Mr. Mom and National Lampoon’s Vacation, Hughes' agents at ICM gave him a stack of photos of young actors. When he was going through the stack he noticed Molly Ringwald, then began write the screenplay for the Sixteen Candles. John Hughes finished the script over a single Fourth of July weekend. Hughes also was so impressed with Anthony Michael Hall's performance in National Lampoon's Vacation that he created the role of Ted “The Geek” just for him. Michael Schoeffling got the role of Jake Ryan, as the leading male because of his good
Gallo’s use of cinematography, even though his 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.
It metaphor a lot, such as human indifference, the truth buried, killing desolation, confusion prospects and so on. Cool colors are almost everywhere, then the killing scene occurred. When the shocking blood in the white snow, strong color contrast gives a big surprise. The narrative design uses absurd drama and black humor. A unique of music and photography create an absurd world. Although the tempo is slow, the shots is very fine grasp. Gradually push the various long shot, using the strange angles. This approach, so that the whole atmosphere solemn and deep, in line with the needs of the story. In order to arousing people’s
A scene analysis of Cesare’s awakening The Cabinet of Dr. Caligari by Robert Wiene In The Cabinet of Dr. Caligari, Robert Wiene cleverly uses mise-en-scene and cinematography to add to the eeriness and originality in the scene of Cesare’s awakening. The scene is important to the overall film because it instills the viewer to believe that there will be a connoting between Cesare and Alan. The purpose can be seen in the reverse shot sequence at the end of the scene in the dialogue “How long do I have to live?” – “Till dawn tomorrow.” The scene is based highly on use of expressionistic credit design and stylization of acting through exaggerations. Through the theatrical design set, Robert Wiene builds tension and drama to the scene and draws the views attention to the constructed nature of the film.
They take up the entire screen, so for the first minute or so of the film, the audience does not realize that they are, in fact, photographs that detectives are examining. The darkness of the photographs also references the genre. It is as if Polanski is immediately trying to convey to the audience that regardless of the fact that it is a color film, it is still a film noir.
Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to
Rear Window was originally a short story called It To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.
This film is a black and white film and the lighting is more towards dim effect which terrified the audience. Music plays the biggest effect in the film. Bernard Hermann’s theme is used for this film because it uses mostly high-pitched string instrument notes so the suspense and horror mood can be formed to the audience.
What first catches the viewer 's eyes are the vivid colors used in the painting. Ultimately what jumps out the most is the man on the right 's red robe. The artist intended this for a reason, discussed later. The room where the men are standing is front lit. Also the atmosphere is
We can observe the selection of blue color symbolizing melancholy in these scenes. Also, during the film, another color scene, this time yellow, can be seen, reflecting madness, insecurity, and obsessive by these scenes in the jury and streets. The catastrophic events, scenography and audio incremented the tension of every scene and complemented the facial expressions in the characters, creating a circle of the dramatic tension in the movie.
There were a few close ups during the film, that appeared to only focus on the actors or actresses when they were to express some type of action or expression. One close up would have to be when Cesare woke up from his 23-year sleep which was also to appear to be a long shot. Combining the close up with the long shots during the film, created emotions that could be established with the audience. A good example of these two combined would have to be the ending of the film where the camera stays on Caligari’s face only for a
The director mainly used eye level shots, to leave it up to the audience to judge the two main characters of the movie, although certain power struggles in the film are shown from high angles to illustrate someone dominating a conversation or argument. Figgis also uses some point of view shots to show the imbalance during Ben’s drunken periods where the camera is placed at an oblique angle to show tension and approaching movements. The images in the film are in high contrast with streaks of blackness and harsh shafts of light to underline the dramatic events that occur.
and this is also achieved by having the man look right at the camera. As he speaks, the camera slowly pulls out and then we start to see a slight increase in the surrounding detail of the scene. We can now see part of the back and side of the Godfather, (Marlon Brando) but still we have only a slight highlight on his side, and no detail. Now the man gets up and moves to Brando’s side, and he too is in complete shadow; we can only really make out the fact that there are two figures present here, no more. Then the shot changes as the man leaves the Godfather’s side, and it is a revealing frontal MCU of Brando. This shot is lit much more than the previous shot. Where the other shot’s background was pitch black, this shot is lit so that almost the whole space and all objects in it are visible. Brando has a key, fill and backlight on him, and his character is revealed with much intensity because of the dramatic light change from shot to shot. When the shot comes back to the man, in an over the shoulder (Brando) style, again the backround is totally black. Having the man in that particular lighting, and having Brando lit the way he is serves two psychological purposes. First, having the constant black background behind the man isolates his problem and makes us aware of how consumed he is with his problem.
Part 1 - In American author's 2009 book, The Help, the primary thesis is the relationship between Black maids and white households in Jackson, Mississippi during the early 1960s. The story is really told from three perspectives, Aibileen and Minny are Black women, both maids, and Skeeter is the nickname of Eugenia Phelan, daughter of a prominent White family. Skeeter has just finished school and hopes to become a writer. In general, the relationship between the Black maids and the White employers is six sided: On one side we have the White employers who have three views: 1) Their personal and private beliefs that can range from extreme scorn and bias to kindness regarding race; 2) Their public persona that must have the "proper" attitude about Blacks and "the help," and 3) Their employer attitude, which is condescending and parental. The Black view also has three segments: 1) Their personal and private beliefs that usually range from understanding not all Whites are the same and an extreme love and empathy for the White children for whom they care; 2) The public persona that is deferential, polite, and stoic to their White bosses; and 3) Their attitude and view among the Black community, which usually separates the "poor and ignorant but rich" White souls from the Black view of family and common sense. All in all, the relationship is contentious, phony, and based on economic advantage.
The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the