Film and New York Times

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

Camera techniques is a very general aspect of cinema that covers all movements, lens’, angles, and shot types a camera can ascribe to. For example, the camera angle can establish the mood and tone of a sequence, with the application of high camera angles depicting characters as exposed. Furthermore, camera movement comprises of zooming, panning, tilting, and tracking as a way of producing emotion and compelling viewers. Camera lens’ spans from telephoto to wide angle and gives to the tone and appearance of the movie. Finally, shot types can include long shot, extra-long shot, close up, extra close up, and point of view, and form circumstance of the characters in their settings amid that moment in the plot. In Edward Scissorhands, director Tim Burton relies upon a bevy of different camera angles to capture Edward as an assailable protagonist, alone and existing as separate from community.

Likewise Into the Wild is a film which explores the great opportunities that encounter from ‘going away’. Christopher McCandless is initially hurt by the

“Look Both ways” unearths intrinsic human vulnerabilities. It follows the life journey of ordinary Australian citizen’s, exposing a multitude of negative and positive human experiences. The first musical interlude, “Crashing- Gersey”, delves into the psychological and social dilemmas of each character. The melancholic yet sympathetic music renders the scene with a relative sensitive and intimate mood. Minimal dialogue and close range shots build on the concept of personal anguish and pain. All the characters are distanced in some way from others, further accentuating the idea of isolation and individual seclusion. The generally explicit voyeuristic nature of this scene, allows the viewer to explore the private lives of the main characters.

Gender ideologies are apparent in all areas of life. Whether it be online, in TV shows, movies or in person, this idea of a specific role for each gender is almost inescapable. The stereotypes of both what women and men should aspire to be and follow are ever changing in today’s current society. However, in 1954, gender roles were very specific and it is shown throughout the film, Rear Window directed by Alfred Hitchcock. Through this film, gender ideologies are challenged but ultimately remain unshattered. The film produces an obvious view of women as the caretakers, and fragile in comparison to men who are the main providers. As the plot of Rear Window develops, characters continue to maintain the time periods gender ideologies despite the challenges they overcome.

Cinematography can be defined how the audience sees a movie, using key elements like camera distance and camera angles. Camera distance usually ranges from a long shot in which we see the full body of a standing character to a close-up in which is a framing of a character from the neck up. In the beginning part of the scene

In a world where male gaze is a massive factor in the films of the past and still in present, this film has done a very good job to tackle the issues of today. In comparison, the classical film, SInging in the Rain, also plays a

In the Truman show, the theme of audience manipulation is greatly portrayed through the different camera shots used. The director uses many different camera shots to emphasize specific actions throughout the film. Eye-level shots, close-up shots, and high-angle shots are

the points that are trying to be elaborated on coincide with the camera and the way

This film is performed by two marvellous actors Victor Mature and Hedy Lamarr. They are both given a clear example of what the aboriginal people’s life looks like. On the other hand, the camera work is very well to present the consequences of the European impact on Aboriginal Australian society. In the film, it uses a medium shot to show Delilah look at two European young girls. In this medium shot, compare with two European young girls, Delilah is very different that images indigenous people are hard to get into European world. From these aspects, the film won many categories for Best Direction, Best Film, Best Original Screenplay, Best Cinematography, Best Lead Actor and Best Lead Actress in different

In film, cinematography, or the making of a motion picture film, is a major key to creating the right movie. It has a major influence on the audience's experience while watching the film, from making the audience feel certain emotions to changing the whole genre of a film. Cinematography has many different effects on the feel of a movie, in which it can make or break it. During Buried, a film directed by Rodrigo Cortes, the audience witnesses many scenes in which the main character has lost hope or given up on trying to get out of the horrible situation he is in. Buried uses different types of cinematography like close-ups, overhead shots, and longshots to evoke a sense of lost hope.

The series is composed of photographs taken in the form of a Long Shot. The Long shot shows the entire human body. ¬The camera is also positioned below low eye level, and photographs are taken from a distance from the subjects.

For decades now, one intrinsic film has been brought up on a list of renowned movies that are missing from the distribution. The movie Walkabout is a 1971 drama about two British siblings a little boy and his older fourteen-year-old sister, who are marooned and lost in the Australian outback by their father and are saved by an Aborigine boy who is, walking his rite of passage into manhood. "Nicolas Roeg was a cinematographer before he was a director, and this is one of the best-photographed films ever filmed" . This movie is also about peace and tranquility on earth, which finds beauty in small things such as mankind's kindness and how it can adapt quickly to harsh environments while civilization just tries to pave them over or wall them off. The movie takes its magnificent name from a tradition among the Australian Aborigines: "At the time of transition to young manhood, an adolescent

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

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a