Film Patricia Rozema

Interestingly, visual techniques are also effective in portraying the theme of free will versus determinism to question the responder who and what controls our lives. The tripartite storytelling structure incorporating three wholly, self-contained alternate versions of events is an unconventional filming technique reinforcing the postmodernist perception of having minimal control over life. As Lola rushes past minor characters in the film, flash forwards offer alternate glimpses of the possible outcome of their future, suggesting that fee-will alone is not a sole determination of the outcome of life. In each run, Lola’s encounter with these minor characters varies, showing that even the slightest change can become a significant impact to life. An extreme close-up

The film techniques used in this film changes the entire landscape and changes the mood during the scene. The colour reflects on a charters feelings and the camera angles and

“Analyse, evaluate and compare the techniques used to dim the horror of the real life events discussed in the novel The Boy in the Striped Pyjamas and the film Life is Beautiful.”

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

There are a variety of ways to tell a story to a viewer. Lee choose a very peculiar way to present the story to viewers. The film is first introduced with establishing shots placing the viewers in Brooklyn New York. One of the first scenes at 3:25 involved the camera zooming into Nola in her bed with the covers rustling followed by her sitting up and addressing the camera. However, before she can say a word the film cuts to a black screen with her name ‘Nola Darling’ representing the film as a documentary feature. The action of talking directly to the camera outlines her polymorphous sexuality, but as someone who wants to be appreciated on her own terms. In other words, this interview format manages to create a hybrid form of documentary and dramatic elements as Nola, her three lovers, and the

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.

The movie gives the message that women must do acknowledge their responsibilities towards themselves, which can and should never be neglected or postponed for the sake of anyone or anything. Nothing in this world is worth sacrificing your own aspirations for. A person’s greatest assets are self-respect, dignity and individuality. Woman should safeguard her identity by not letting her individuality get submerged and by keeping her priorities intact all her life and creating a place for herself.

Bart Layton built this doc not from one perspective, but from a collection of them. Some stories, like “The Imposter” need a panoptic approach to connect the audience to the film. The themes of manipulation, identity and love are the main themes conveyed by Layton. These themes are communicated through sounds and visual imagery.

The beginning of the film purposefully centers around minor characters and provides an inconspicuous portrayal of Petrukhina. The camera of the open scene places a

As the movie begins, the audience notices that Oscar Grant is portrayed as a man who is loving and caring toward his family, but also has a history of convictions and drug dealing experiences. As the movie continues, Grant is shown as being a doer. Acting on situations without much thought and logic, his life has been full of risks. By depicting Grant as having two completely different sides to him, the director does a great job in displaying his struggles with himself as he tries to become a better man for the sake of his family. The audience is allowed to see the humanization of Grant as the film proceeds. His character is portrayed as flawed and misunderstood which relates to the viewers on a more personal level. The audience notices the shrinking gap between themselves and Grant as the film continues and takes them deeper into Grant’s life. The film as a whole is filmed with cinema vérité

Her disoriented acting helps to strengthen this connection because the audience is equally disoriented. The eleven second introduction hints at a fast-paced kind of film which is solidified later in shots 4-9. The third shot encompasses more of the flower field setting with a medium long shot distance. The long distance between the actress and the audience sets them in the position as a spectator as she peers and runs towards the tree in the center. There is no additional for the audience, therefore, they are set as a spectator to whatever occurs

The flat perspective, a cinematographic technique that emphasizes symmetry and steadiness of the camera while lessening the perception of depth, is generously employed in the sense that most of the film is shot this way. Aside from a few key scenes, this

Opening scene starts with medium close up of Mrs. Travers. and as long as other participants start singing it changes to extreme close up to highlight her eyes to give that sense of thoughtfulness. What I especially love about this movie that they did not use any dolly in or out or extreme zoom to go back and forward in the timeline but instead they used cut shots and for giving natural dramatic effect they played in the volumes of the sounds. After

The male gaze puts his fantasy onto the female figure, which is styled, in a unique sort of way. In this traditional exhibitionist, role women are continuously being looked at and their appearance is delivered to the male gaze in such a way as a strong visual and erotic impact and provides male desire. The presence of a woman in a normal narrative film is the key of the movie. However, the key of the narrative film works against the development of the story-line and stops the action due to the erotic gaze. Butt Boetticher said: “What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance”.

The cinematography of this film features numerous close-ups of its adolescent protagonists as well as point-of-view shots acquired predominantly from their perspective, thus making the viewers position themselves firmly on the boys’ side of