Fear Represented In The Iron Giant

The film has the very noticeable visual style and artwork, with bright, dreamy, watery, pastel colours, Miyazaki always creates. Everything in the film was animated by hand with the traditional technique. The backgrounds were created in pastels. In addition, the film is dealing with the relationship humans have with the environment, a theme you often see in Miyazaki’s films.

To begin with, visually this is a different experience than normally seen. A black and white film is abnormal nowadays but it really seems to fit in well and aid the lack of dialogue. The black and white exaggerates emotion while the lack of dialogue in combination with the score music makes it all the more dramatic. Especially when he is flipping through the pictures and then suddenly when he sees himself-it really creates the sense of shock and surprise.

an epic: to look rich and have depth of color.” The intricate scenes in the film

Imagery - Most of the scenes in the movie were very appealing to the eyes. As one critic says, “Robert Richardson's beautiful lighting and earth tone coloring, the film was resplendent in powerful and stirring images.” The quote assists the reader to image the earth scenes and how eloquent they are. Although the scenes in the movie are filled with graceful snow falling down on the earth, the snow cause havoc among the residents of the island. This sets off an urgent but peaceful tone since the people of

Fade-in. Woman's face, sullen, not frowning or smiling. She's intensely looking into the camera there seems to be no movement, but then birds begin to fall from the sky. This is the opening image of Larz Von Trier's Melancholia. This slowed down time being by portraying this woman -who we come to find out after the eight-minute non-diegetic intro- is Justine (Kristen Dunst). Cuts. Establishing shot of setting. Garden, landscape, in the background rocks overlook into a body of water edged by rocks. Painterly. Very lush greens; fourteen trees divided symmetrically mirroring each other. Sun clock in the center of the symmetrical trees cast shadow. There are two lighting points here, Both Melancholia and the Sun are shown above in the sky, the clock also has undesirable time because of reflection from both sides of the moon. This is Von Triers symbolical representation of the end of the world. Time is meaning less; life is meaningless, and nature is uncontrollable. This is Justine's perception of the world. She's melancholic. This is Melancholia. Unlike her sister, who sees all she has to loose in the world and how small she is in comparison to world around her. Clair is anxious. Then we see melancholia, a large planet with a swirling blue grey atmosphere that is hiding behind the sun, and comes into orbit with earth. In this essay I will argue that Larz von trier uses and pays homage to the ideals of Romantic Era philosophers and artists to influence to portray his vision of

Describe the style and approach of this film. Give specific examples from the film that support your answer.

The composer, Peter Weir also creates a dense, dream-like atmosphere throughout the film that forever is on the verge of intoxicating the viewers, as is does the lead characters, in an overpowering sense of longing and repression. With soft-focus lenses and careful camera tilts, Weir takes us into a world of golden glows and gentle whispers, where the characters exist as hazy, evocative

The film opens with the excellently cast unnamed protagonist as he prepares to tee off amidst the wild and atmospheric moorland of West Donegal, a deeply foreboding and evocative landscape. On the technical side it is mostly without fault, cutting from scene-setting close-ups to breath-taking aerial views, a stylistic marker

It is a cold environment where the noiselessness environment make you think about isolation or segregation. At some point this film remained me some scenes that I have watch in movies from the concentration camps in Germany. Some of the images are disturbing and unforgettable capturing the horror these hopeless animals suffer, the terror and man’s

Another brilliant use of cinematography is the dialogue in this movie and the way the actors portray the characters. Everything they say is said in a dull tone. Most

After I watched the Wes Anderson’s The Grand Budapest Hotel, I was surely struck with splendid mise en scene of this movie. In this year’s Oscar ceremony, Wes Anderson’s movie, The Grand Budapest Hotel just got three awards: the best art, the best costume and the best make up. Honestly, this fact lured me into watching the movie, The Grand Budapest. Since I expected a beautiful art work through this movie, I could easily fall into this pastel-colored movie as soon as I started watching the movie, The Grand Budapest, and I could realize that this movie must be one of the best movies in my life according to several reasons.

In this animated film directed by Ted Hughes, the story revolves around a giant robot that cashes into a small town of Rockwell Maine. Despite this crash, a local boy, Hogarth, is out doing what regular 9 year olds do, exploring the area and runs into this robot. Instantly felt a connection and formed this relationship with the robot. Everyone thought it was crazy how a little boy can be friends with such a giant alien type robot, not be afraid, and do whatever he can to protect it from harm coming its way. Throughout the movie, a special government agent is on the hunt to destroy this iron giant and it’s up to Hogarth and Dean McCoppin to do whatever they can to help this giant out and not let it destroy the town, while showing how he is

This scene start the journey. The second scene is important because it teaches the audience the important of team work, and also teaches human should treat animal nicely. The third scene is important because it show the progress of each character, where Marlin finally learn how to trust his son and it build a relationship between them, while nemo show more appreciate toward his dad and other, he also learn that there are thing that he can and can’t do. For Doris, she learn that some situation, she need to take things more seriously. The thing that I noticed about the cinematography and the lighting of the movies are the camera usually like to zoom in into an important character and zoom out when an event happen, also the music transitioning is very smooth. For the lighting, the movie made use of both low-key and high-key lighting technique. Low-key lighting is a lighting technique that use when the movie try to make the scene more suspenseful and frightening. It happen during the scene where Doris and Marlin tried to get out the dark and they encounter a small light bulb, when Doris went to touch it, a huge terrifying fish appeared, the source of the light features a fish that wanted to

Before I begin to describe the film, I would like to emphasize that I will tell Sean´s story formally in a poetic realist style. Hallucinatory, sleepwalking sequences alternate with harsh reality in a desolated environment for the sake of telling slices of true life: Emotions, diversity and the unforeseen.

This film opens with a flash back of the youngest child looking out across the water; the director has made it so the sun is shining directly on her face, giving off the effect that she looks to be glowing. Then the film makes a transition into scenes which have a rustic feel, with an old fashioned type of filter over the footage, entwined with it is flash backs of children playing on the beach. Close ups of smiles and laughter are being focused on a lot to portray a sense of happiness. Followed by cut shots of the mother and father