Film, La Jetee As A Reference Point For My Discussion Essay

A composer can create images dependant on the form of the language of texts to shape a responders understanding of the ideas and themes prompted by people and their experiences. The German film, ‘Run Lola Run’ written and directed by Tom Tykwer, focuses on the experiences of the protagonist Lola to explore the themes of the inevitable force of time, and the issue of freewill verses determinism. Similarly, Dorothea Mackellar, in her poem ‘My Country’, relies on her experiences of the Australian landscape to convey her love and passion for the country using the language of the distinctive visual.

What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?

Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, “Harrison Bergeron” by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliant on his words alone to paint the picture for the reader to understand the movement of the plot and its impact on the atmosphere. The literary devices used in creating and shaping pieces of literature will heavily impact the point of view of the

Surrealism is a movement that built off of the burgeoning look into art, psychology, and the workings of the mind. Popularly associated with the works of Salvador Dali, Surrealist art takes imagery and ideology and creates correlation where there is none, creating new forms of art. In this essay I will look to explore the inception of the surrealist movement, including the Surrealist Manifesto, to stress the importance of these artists and their work in the 20th century and beyond. I also will look to films from our European Cinema course to express how films incorporate the influence of surrealism both intentionally and unintentionally.

The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and

How do the respective narrative forms of Double Indemnity and Magnolia construct their characters and provide different critical perspectives on social values? Discuss in your essay some of the various narration types and the formal narrative construction of the films' characters. However, do not simply provide a list or catalogue of the narrative differences between the two films. A critical and necessary part of the assignment is for you to argue how the narrative construction in each film provides critical perspectives on social values.

The movie I chose to do my movie analysis on was Sin Nombre. I chose this movie because it stood out to me the most, mainly because of the title in Spanish. I used four concepts while analyzing this epic movie. First I applied the power elite theory to see who had the power in this power city and how they used their power. Then I used the social conflict theory to see what caused the people to get into the gangs and how the gangs acted to the people. The socialization theory is shown in the sense that the gang makes people believe that they are a part of a family when they join. The last concept I used was deviance because of all the violence that happened in the movie.

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

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).

Gillian Rose begins chapter one with a quote from Stuart Hall, which is “culture is concerned with the production and exchange of meanings” (Hall, 1997: 6), this quote emphasizes the main idea of the chapter because the significance is we determine the image and create our own meaning. Rose continues by explaining that this meaning that we create can vary, as it “may be explicit or implicit, conscious or unconscious” (Rose, 2001:6), all images are created by the viewer’s experience and it differs from one subject to the next. Images and how the viewer experiences them is through visual imagery, as images are constructed through certain methods such as technologies and knowledge. There tends to be a distinction between vision and visuality,

Plantigna deliberates on various differences between the fiction and non-fiction filmmaker, particularly the role of imagination to the two differing styles of film. He discusses that the fiction filmmaker “freely creates imaginative events”, where the non-fiction filmmaker “portrays or makes explicit claims about actual historical events” (104). He then puts forth the idea that imagination is also important for the non-fiction filmmaker as he as the creator “decides how to represent historical events” (104). This is demonstrated in shot 237 where Resnais’ camera pans over the ceiling of a gas chamber that has been carved in and scored by human fingernails and the voice-over narrates, “the only sign—but you have to know—is this ceiling, dug into by fingernails”. Here, Resnais using his imaginative ability, has seamlessly

The “solution [,] funnily enough was the cinema. By a continuously moving picture of any one there is no memory of any other thing and there is that thing existing, it is in a way if you like one portrait of anything not a number of them.” The collective movement from the shutters of the camera defines the “continuous succession of the statement of what that person was until [Stein] had not many things but one thing”: the material progression between text and identities achieved through uninterrupted rhythmic constructions (294). While being able to consecutively merge the portraits identities and variances, representation and reality also came together to assist in the textual unfolding of the portrait, specifically, the immediate unmasking of the language attributable to the illustrated relationship. Writing history within portraiture is thus, a gradual construction over space and time.

As cultural identity being questioned in global screen due to the influences of transnational cinema and Diasporas in different places, this clip question further the possibilities in future transnational cinema. Through the emergence of cinema styles, all films are to be considered transnational. This essay will argue that transnational cinema could be emerging to a new level in the film industry. The clip provided with the essay explores the potential of transnational films with the context of films studied included in this subject.

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.

As Bubb states ‘technology now offers speed and fluidity’ (p370). In story telling this relates to the pace at which the information is understood and also the structure in which the information is presented. When using moving images to tell a story the control over space and time that the storyteller has is very different to that when telling a story using the written or spoken word. The film ‘Pulp Fiction’ by Quentin Tarantino demonstrates the notion of being able to control and manipulate the relation between space and time very well. It is a film with a complex narrative that has a non linear structure, where a combination of interlinked stories are told out of order, yet the flow of the narrative still runs smoothly and keeps the audience in suspense. The irregular pattern in the film where it fluctuates and jumps from scene to scene shows a combination of images that are “discontinuous moments, rendered continuous” (Ganz 2010 p 229). We have the knowledge that these moments “clearly can not