Finding Nemo

To start off our story, we need to go from the beginning. Marlin and his wife are soon to be parents, with their many fish babies. Before they are born, a shark comes through and eats the wife and all of the babies but one. That last little fish hatches and is Marlin’s only kid, which is named Nemo. One day at school, Nemo was feeling rebellious and swam out into the open water towards a boat. Nemo is taken by the fisherman, which of course freaks out

Marlin is a clownfish who had a very traumatic event happen to him, that prompts his quest and journey. Marlin and his wife Coral had just become parents after finding a home for their eggs. Unfortunately, the family was faced with a barracuda attack in which Coral and all but one of the eggs died. Marlin and his one surviving egg Nemo live a cautious life, never wanting to leave the reef and enter the open ocean. One day Nemo swims out to touch the “butt” of a boat in the open ocean. He is later captured by a scuba diver, making Nemo become our damsel in distress. A damsel in distress in a vulnerable person who needs the hero to save. Even though Nemo is a not a woman he fits the description perfectly. On the other hand, we have Dory. Dory is a very crucial character in the movie’s storyline. Without her knowledge in speaking whale and reading human/english Marlin would never had been able to save Nemo. Equally

Steven Spielberg, the creator of Jaws, uses many different techniques to draw in the suspense of viewers and to capture their imagination. These techniques include special effects – to create tension, different camera angles – to show facial expressions and group shots. The classic Jaws music, known by millions of people, also helps build up tension, to let us know when the shark is approaching. He uses colours, so that we can associate signs and symbols to forthcoming events, e.g. the colour red is associated with danger. We will be using all of the above devices to help analyse different parts of the film.

Director, screenwriter, and producer, Stephen Spielberg, has been often described by critics as being one of the trailblazers who paved the way for the new Hollywood era. In fact, one of Spielberg’s earliest films, JAWS, captured the audience’s attentions so vividly that the movie remains to be a cult classic even decades later. The audience sunk its teeth deep into the enticing combination of drama, thrill, science-fiction, and adventure the film obtained. At face value, JAWS appears to be focused on a giant monstrous fish, but with further analyzation of the plot structure, narration, and original music demonstrates the brilliance and complexity of why JAWS is a well deserving Oscar-winning movie.

The music represents the shark, especially its movements and its presence. In the title sequence the camera is moving along the seabed like a shark. Spielberg makes the audience believe that the camera is viewing things through the shark’s eyes, he uses a camera shot called point of view shot. The music makes the shark seem a mystery because you haven’t yet seen the shark but you can feel its presence. The music clouds your vision and makes you imagine and believe something that actually isn’t even there. It builds tension

In The Cove music is a very large factor in portraying the emotions and feelings of the dolphins. It makes the audience reconsider and their opinions on certain situations that the dolphins are living in. The song Smile by Judy Garland plays throughout the interview of Ric O’ Barry, in which he says, “A dolphin’s smile is nature’s greatest deception.” The song choice ties in very well with the interview and the footage being played at the time as well. Its cleverness makes the audience acknowledge this scene more and therefor having a greater effect on their opinions. In Blackfish it shows the reveal of the Killer Whale, Tilikum and with that a feeling quite opposite that of The Cove. Instead of building up empathy with sad music it tries to worry the viewers by adding a dreaded ticking sound, symbolising a bomb about to go off. It plays for a while, on top every Tilikum introduction. This is music is a very good way of foreshadowing danger or a bad ending. As you can see, both The Cove and Blackfish use music to generate certain emotions and reflect on the footage being shown or situation described. However in The Cove it tries to create empathy by cleverly tying in music, footage and quotes while in Blackfish it uses very slow, subtle transitions with a combination of ticking music to emphasise worry or horror in the audience but also foreshadow what the documentary is

Both being clown fish, Nemo and Marlin live in the ocean, in the anemone. Marlin is Nemo’s father who is viewed as being overprotective towards Nemo. Marlin portrays the characteristic of being overprotective because while Nemo was in the egg as a baby, one of his fins was damaged. Nemo, tired of his overprotective father decides that he wants to prove himself by swimming into the open ocean. However, things do not turn out very well and Nemo is captured by a scuba diver. Parenting instinct kick in, and Marlin immediately swims after the boat that is now carrying Nemo. Marlin eventually loses sight of the boat, however throughout the duration of the movie, he continues to look for his son Nemo. While on his journey to find Nemo, Marlin meets a blue tang fish named Dory, who suffers from sort term memory loss (Stanton & Unkrich,2003). With the help of Dory, they are able to eventually find Nemo (Stanton & Unkrich, 2003). Come

It is usually pre-recorded and placed over the top of a film or video and commonly used in documentaries or news reports to explain information. Focusing on selected sounds can create tension, atmosphere, and emotion. It can also impart personality to film characters. Walter Murch (the doyen of sound designers) once described the character sounds (in a film he directed) as "coronas" which can magnify each character' s screen space. A figure who is associated with a particular sound (often suggested by his or her clothing), has "a real presence that is pervasive even when the scene is about something else or the character is off-screen."

The motion picture we are applying or using is Pixar's "Finding Nemo". Our hero would be Marlin, the timid clownfish who lives safe and secluded in the colorful and warm tropical waters of the Great Barrier Reef. After the devastating, life changing event when starting a family, specifically when a hostile fish devoured his wife and all his unborn kids, Marlin had been a cowardly, cautious individual who lacks socialism and simply "can't tell a joke". He limits, rescues, protects and controls Nemo, and expectations are low for Nemo's ability, due to his disability. He is somber, worried and agitated about every detail in Nemo's life. In fact, Marlin's life completely revolves around Nemo's life. Also, Marlin can't acknowledge or admit that

We all know the popular family movie “Finding Nemo” a kid’s movie that tells a journey of Marlin, a father clown fish, who crosses the vast ocean to find his son Nemo. During Marlin’s journey he comes across many new and scary things, but like any good children’s movie Marlin does eventually find his son Nemo and they go back home and live happily ever after. This all sounds good right? Wrong! Looking at this movie from a psychologist point of view, or in my case a psychology students’ point of view you slowly begin to realize from the moment the movie starts each and every one of the characters in this lovely kids movie is kind of messed up in their own special way.

The movie Finding Nemo (2003) is about a Clownfish name Marlin (Albert Brooks) who has to find his son, Nemo (Alexander Gould), after he is taken from his school. On his way to Sydney to find Nemo, Marlin meets Dory (Ellen DeGeneres). In the end Marlin and Dory find Nemo and bring him home back to his anemone. In Finding Nemo love overcomes fear and obstacles.

Sound was an important technique in the making of this film. Sound techniques are used to convey the mood of a scene and manipulate the audience’s emotional reaction (Horton, 2013). One of the directors, Andrew Stanton, stated that to capture the sound of water sloshing inside a whale, the film crew journeyed around the

As an offspring of the 1990s, I long back ago about how often I've seen "Finding Nemo" – and given Pixar's new affinity for spin-offs, an arrival to that richly introduced submerged world was maybe unavoidable. Set quite a while after "Nemo," "Finding Dory" focuses on the cherished blue tang with memory issues, who wanders forward on a transoceanic adventure looking for her departed guardians. Appropriately, "Finding Dory" has to a lesser degree a street motion picture vibe than the first. There's Hank, a delightfully curmudgeonly octopus set on getting exchanged to an aquarium in Cleveland; Destiny, an astigmatic (and marginally ditzy) whale shark; Bailey, a self-tormentor beluga whale, whose endeavors at echolocation are a portion of the film's most clever

Although psychology class is most likely not the first thing to come to mind when watching a Disney movie, many psychological concepts can be drawn from them. In Andrew Stanton’s 2003 animated film, Finding Nemo, various psychological concepts are exemplified. Finding Nemo tells the story of an overly cautious clownfish named Marlin who losses his son, Nemo, to a pair of divers. He meets a fish named Dory who together seek to find Marlin’s son. Throughout their journey they encounter a storm of jelly fish, surfing sea-turtles, sharks participating in a “Fish are Friends, Not Food (Graham, 2003)” support group, and numerous other conflicts. Hidden between the lines of their comic misfortunes, Marlin suffers from post-traumatic stress disorder, many characters fall to acts of conformity, and altruism is a theme that defines the movie.

This undersea movie is introduced with a married couple of clownfish admiring their new home by the drop off. While talking about their future plans and getting ready for their clutch of eggs to hatch, a barracuda attacks them, leaving Marlin, the husband, unconscious, a widower, and a father of one fish, Nemo.