Film Analysis: Movie Analysis Of The Movie King Kong

Jaws is a suspenseful film directed by Steven Spielberg, a well known film auteur. Within this film the director and his colleagues collaborate to introduce a variety of cinematography techniques that help portray thrill and excitement. With a combination of successful and clever editing, lighting, sound, camera positioning, and dialogue, the scenes are transformed to be very realistic and influence the viewer’s perspective as if they are there. In order to properly analyze this film, an evaluation of the narrative structure, time, space, and sound must be done. Each of these areas assist to reveal the underlying meaning to the cinematography techniques used throughout the film.

The 2016 film Lion, which was first a book called “A Long Way Home”, is a film where a boy named Saroo was separated from his brother in the train station, which leads to Saroo getting on a train taking him thousands of miles away from his family and his home. Saroo, who was only five-years-old when he got lost, had to learn to survive alone in Kolkata, West Bengal. Days after arriving to Kolkata, the city the train left him at, he got admitted into an orphanage, which later turned out to him getting adopted by an Australian couple. But twenty-five years later, he starts to wonder where his first home and family are at the moment. With only his memories, determination, and Google Earth he starts looking and searching where his small

Classic stories remain a classic because they convey a message which appeals to people of multiple generations despite changes in society. King Kong was released in print in 1932, a year prior to its release in Hollywood, as a part of the film’s advance marketing. The public of this generation easily accepted the story’s racist, colonialist, and sexist themes. Today, literary critics such as Cynthia Erb view the novel and film as representation of the early 30s and thus a resource to understand the cultural context of the times. In particular, King Kong provides a window through which a modern audience can understand and interpret racism of the 1930s.

The original King Kong, directed and produced in 1933 by Merian C. Cooper, set a groundbreaking decades-long precedent for all subsequent thriller, horror, and animation films made in Hollywood. Three versions of this movie spanned several decades. King Kong tells the story of an attractive woman and a frightening gigantic ape-monster who are immersed in a beauty and the beast type tale. Through Cooper’s visual imagery and specific dialogue, he conveys themes of racism, sexuality, and gender numerous times to open the minds of cultural differences.

O’Rourke comments that this is one of the primary challenges of the remake of King Kong stating that the film must “offer up a more plausible sexual politics – an update to Cooper’s archetypal damsel in distress menaced by a powerful, chest-beating simian.” (O’Rourke, 2005) The initial way in which this is done is by modernizing the gender role of the Ann Darrow character. While Fay Wray’s portrayal may have been the archetypal damsel in distress in early 20th century cinema, Watts’ Darrow is more faithful to the image the post- World War II, post- Women’s Liberation woman. Edelstein applauds this change, stating that the filmmakers “astutely […] de-bimboify Ann Darrow, who’s now a vaudeville performer with a tender regard for an old duffer on the edge of losing what livelihood she has. She’s tempted, but she won’t debase herself by doing striptease. She’s inspired by the work of Jack Driscoll, a social dramatist in the Clifford Odets mode.” (Edelstein, 2005) When she comes face to face with Kong she is obviously initially terrified, but in a later scene where he entertains himself by pushing her to the ground she angrily tells him to stop, which he reluctantly obeys. Watts’ Ann is a strong, independent, and intelligent character far more likely to generate empathy amongst a modern female audience than

So while Marc Ching cries 'oh the horror I have seen, legs sawed off, Dogs boiled alive, Dogs hung and sometimes even worse" it was all done on his say so, because he needed his film to make him a star.

“The action hero who does all his own stunts”, that is what American audiences started calling famous Chinese director, actor, and martial arts expert Jackie Chan. His movies are known to be action packed, full of hand-to-hand combat, as well as having some comedic moments. The films analyzed in this paper will be Project A (1982), Project A 2(1987), as well as Police Story (1985). All of these take place in Hong Kong and are filled with satirical comedy as well as many martial arts scenes.

The acting and directing of the film King Kong was magnificent. In the film there are no particular weak performances. Everyone gives a rather enjoyable performance during the movie. In watching the movie I found that as it went on I just could not wait to see what would happen next, which shows the wonderful pace of the film. The director presents the beast in a way that is tragic. Towards the end of the picture you start to sympathize with the beast that is trapped upon the top of the building being fired upon by planes from above. As a director, having the skill to pull these emotions over a beast from an audience is astonishing.

Janet Su Professor Xue October 21 2015 Crouching Tiger Hidden Dragon The film Crouching Tiger Hidden Dragon, directed by Ang Lee revolves around ancient chinese martial arts, highlighting 2 specifically skilled women warriors (Jen Yu and Shu Lien) who break out of the traditional social norms set in chinese history. The director of this film really brought out the capability of women leading strong and independent roles, instead of the typical weak, timid, and compliant roles. He compared and contrasted the gender roles set for women back in the day, and used Jen Yu and Shu Lien’s characters to reflect on how women feel trapped in the set social norms.

In J.P Telotte’s critical article of the 1933 version of King Kong, “The Movies as Monsters: Seeing in King Kong”, he explores the purpose of the film King Kong. He came to the conclusion that the film “forces us to refocus our vision, to shift our perceptions, and in the process hints of a reflexive impulse at work” (4). Telotte sees the film as being representational of our own greed and sexuality and being a way for society to see itself. He claims that our desire to see is driven by what he calls an “imperative to seeing” (5), and this is our crave to see things we are not supposed to. Telotte’s argument about the 1933 version of King Kong is seen through the characters decisions and dialogue, but his argument that King Kong is about

The film Embrace the Serpent by Ciro Guerra showed the conflict of how change affects outsiders and the indigenous people of that land. The Shaman (Nilbio Torres, Antonio Bolivar) in the movie, Karamakate, found that change is a hard thing to comprehend. The film was captivating and the visuals were amazing. I have seen other movies on the Amazon and also documentary films on the environment. This one, however, was the best by far that I have seen.

The cultural differences represented in King Kong (1933) and King Kong (2005) In the original, Bruce Cabot portrays Jack Driscoll who is the first mate of The Venture, the ship that Carl Denham hires to sail to Skull Skull Island to film a feature film. Driscoll is the hero that, upon falling in love with Fay Wray’s Ann Darrow, He is the one most determined to save Ann Darrow after she is sacrificed too Kong. 33's Driscoll is honorable, courageous, and strong, all these virtues are all represented through driscolls ruggedness. While he is a man of few words, the Jack Driscoll of the 1933 says what he means no matter whom he might offend, whether he is referring to the ritualistic practices of Skull Island’s natives as “evil,” explaining to

[1] Hollywood is no longer just a name, it is a business, a living entity holding America’s people in its grasp, and it is not about to let them go. Gradually taking on more responsibility and trying to build up its reputation over the years, Hollywood has progressively assumed the position of history-teller for the American public. This role, whether or not an appropriate one for an industry such as Hollywood to tackle, has catapulted actors and actresses into high paying, high visibility positions. History has and will continue to be one of the main subjects that the movie industry has been fascinated with. It is an alive and very fragile

“The King of Kong - A Fistful of Quarters”, lasted for 80 minutes, was directed by Seth Gordon in 2007. Two of the main character, Billy Mitchell, Steve Wiebe, the Donkey Kong champion and the Donkey Kong challenger. The film chiefly indicated how Steve Wiebe in his attempts to take the world high score for the arcade game Donkey Kong and took away the title of champion from Billy Mitchell. Throughout the whole film, it shows their perseverance of pursing the higher score and the devotion of this game which telling the audience that failure is not the end; Steve’s persistence will lead to the good results. “The King of Kong - A Fistful of Quarters” basically about the constant challenges for Steve Wiebe and Billy Mitchell.

A good movie can either be captivating or thrilling depending on the plot of the movie. Like the thrill of a rollercoaster, so is the thrill that comes from watching the King Kong movie. It is both captivating as well as intriguing in the sense that it provides rich thematic presence and sceneries. In this paper, the learner will take a look at the King Kong movie from a critical perspective to deduce whether the movie really should be living up to its fame.