French Film 'Entre Les Murs' - Theoretical Analysis

By studying each of these elements as separate entities any enthusiastic student of film can begin to understand the important role that the manipulation of the elements of mise-en-scene plays within the entire context of film. And, by studying these elements as separate entities, the student of film can begin to appreciate the artistry required in film

The concept of contrasting social class is manipulated using innovative cinematic techniques, including non-diegetic sound, mise-en-scène, bright lighting and various camera techniques and angles. The scene instigates with calm and composed music being played during the beginning of the

The animated film, Ratatouille, may seem like just another Disney/Pixar collaboration to some, and while that partnership seems to always produce innovative and interesting films, this film about a rat who realizes his dream to become a chef is something beyond even, what these two giants in the film industry usually do together. It is more than just a sweet story about Remy, an anthropomorphized rat—but not too anthropomorphized—realizing his dream along with the garbage boy, Linguini, who teams up with Remy. Both of them discover who they really are and overcome insecurities that previously prevented them from realizing their full potential, but the movie is a recipe for success in many ways. The loving care and talent that is combined in the making of this film is the same kind of care and talent that Remy—or any real chef—puts into his food. Still, it seems impossible that a rat making food in a Parisian restaurant could possibly have the right ingredients to produce a successful result—however, Ratatouille proves that it does. Just like the painstaking attention that goes into a chef’s creation of a meal, the care and skill that resulted in the film sets Ratatouille above the typical animated movie and makes it a classic in not just unusual story-lines, creative computer graphics, and groundbreaking film-making, but also as a study of human behavior. There is truly something for everyone in this feast of a film.

Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film

In this play, the author Alan Bennett wants to convince the audience that education can be approached in many different ways. In fact, through the characters of Hector, Irwin, Dorothy Lintott and the headmaster, he shows us that there is no “right” or “wrong” way of teaching.

Italian Neorealism was a movement of art, which strived to illustrate the normal lives of the ordinary, working class people in post war Rome, usually with the use of non-professional actors. As one of the best Italian Neorealist film, Bicycle Thieves showed an absolute depiction of the war’s impact on daily life and exposed a world in which sufferings, unkindness and corruption jeopardized the rationality of human beings and action of men (Schoonover). By utilizing a depressing and gloomy cinematography, De Sica implies the somber lives of the poor and their crisis in losing their self-identity and moral conscience as a result of parochial society that make a fetish of personal belongings as a mode of social acceptance. By examining the cinematography, ‘mise-en-scene’ and events in the film, the daily struggles of the working class in post war Rome can be seen through the crisis of masculinity, class struggle, ethical dilemma and a profoundly patriarchal society.

In the early 1900’s silent films amazed audiences with images, later talkies impressed with sound, today we have 3D. As technology continues to evolve so too will film genres. Genres, while having some shared characteristics, also differ in terms of stylistic devices used. For instance, the dramatic film “The Notebook” effectively uses color to reinforce theme and has plausible performers as the two main protagonists.

Mathieu Kassovitz’s La Haine captures one day in the life of three young ‘outcasts’ from a French banlieue. French banlieues, or suburban outskirts, tend to emanate images of deviance, violence, and disorder among the majority of France. The film forces the viewer to acknowledge the marginalized others who are usually denied the right to represent themselves. La Haine challenges hegemonic conceptions of France’s imagined geographic identity, by exposing just one of the ways in which its society is actually segregated.

This essay also conveys the message in the piece by using an anecdote, motif, and by using syntax. This piece is a brief narrative in which the author is trying to convey the struggle between the “shushers” in society and those who do not want to remain solitude, expressing how society has lost its respect for other persons. The piece is kept short and sweet to maintain a clear focus throughout. In this anecdote, motif is often used through the repetition of shushing and the different types of it to convey a message to the offender to stop disrupting the show. He describes himself as giving the offenders “a good hearty ‘Shhh!’ multiple times throughout the piece to different offenders, each with a different situation. Mostly, the “Shhh!” comes into play with the “conversationalists”, but there are other situations in which an extra sentence is used as their rudeness becomes defiant policy just to prove some sort of point to him. This motif is used to show constant efforts to stop offenders and striking “a blow for moviegoers everywhere” even though his efforts, based on the offender, are futile because of their lack of respect for him and those around him. The author also uses the writing tactics

As you can see, the play and movie both have similarities that benefit the students

This film analysis will delineate the diverse directorial decisions of The French New Wave cinema movement, and how they have been utilised and developed to challenge and subvert the typical Hollywood filmmaking conventions and techniques of the 1950s and 60s Hollywood cinema, in François Truffaut’s The 400 Blows (1959). Hollywood produced films of the time used a very limited variation in film techniques such as camera, acting, mise-en-scene, editing and sound. This can be mainly attributed to the low innovative thought of creative and expressive camera movements, angles, etc… due to technological hindrances. In particular, this film analysis will de-construct the filmmaking elements of the revelatory French New Wave movement in Truffaut’s The 400 Blows ending scene (01:34:42 – 01:39:32) portraying the main character Antoine Doinel’s escape from juvie and trek to the bespoken beach.

Many consider his activity as occupying a similar thematic vein to the work of futurologist, alike Alvin Toffler, or situationists, however its stylistic approach veers in a distinct direction. His and ON’s approach trace the lineage of the genuine minimal artist.

This paper will focus on the film techniques used by Cameron in his three most known movies, Titanic (1997), Avatar (2009), and Terminator series. Mise-en-scene according to John Gibbs is used in film studies in the discussion of visual style. Translated literally it means “To put on stage”, but for the purpose of students, it is defined as the contents of the frame and the way they are organized (p 5). In addition, a director’s style can be identified only through the arrangement and orchestrations of the film’s mise-en-scene (Nelmes, 425).The films Titanic, Avatar, and Terminator series were successful

Another part of the film that is also very Disney and very Pixar is the visual feast that the eyes enjoy while watching. Robertson says, “Pixar has created something unique. The light. The colors. The textures. Ratatouille is not a film with brightly colored toys, fish, bugs, or cars”, which would allow it to perhaps be the most Disney of the films on which Disney and Pixar have created together (Robertson, 20). Yet, even without those interesting aspects, Ratatouille is very visually appealing, like a dish one eats first with one’s eyes. Robertson quotes Michael Fong the supervising technical director at Pixar who says, "We tried to make this film look different…One of the big things was to break away from what standard CG [computer graphics] looks like. We got rid of straight lines and did a lot of hand tweaking. We wanted it to feel handmade. The other part is lighting and shading” (Robertson, 21). From that special attention, like a chef gives his signature dish, the team that collaborated to make Ratatouille created a delicious result.

Once again, this practical choice affects our overall view of the finished film: this is a modern classroom, with large windows that open out onto the world. The messages of the classroom that the film sends to us – the classroom as a luminous space, the classroom as a space that both interacts with and protects from the wider world, are determined by practical, technical considerations that ultimately effect our entire reading of the meaning of the film.