Hudsucker Proxy, No Country For Old Men And The Coen Brothers

There’s no doubt that Star Wars is one of the most impactful films of all time, having changed the movie-making game ever since it premiered in 1977. It quickly became a global phenomenon and has accumulated some of the most passionate fans in the universe. Star Wars: Episode IV - A New Hope is a great example to use in order to illustrate the properties discussed throughout the course. In this paper, I will analyze the entire movie. To begin, I will start by giving some basic information about the motion picture, such as the director and type of film. Next, I will provide a brief summary of the film.

At a very young age of eight, David Fincher’s passion for cinema grew when he was inspired by the movie Butch Cassidy and the Sundance Kid (1969). Born in 1962 Denver, Colorado, David Fincher moved to Ashland, Oregon in his teens, where he graduated from Ashland High School. During high school, he directed plays, designed sets, and managed lighting after school. One summer, he and a friend attended the Berkley Film Institute’s summer program, where he hoped to learn film as a true art form but instead was taught the technical production. Either way he was happy to engage is this and as his early film industry career started, he was a production assistant at his local television news station. Years went by as he directed propaganda films followed by becoming a well-known music director until his first movie feature debut Aliens 3 in 1992. However, the American director David Fincher didn’t become a modern 21st century visionary until his creation of the film Se7en (1995). The huge success from this film started Fincher’s popularity in the film industry. From there he continued to make ironic movies we know today such as: Fight Club (1999), Zodiac (2007), The Curious Case of Benjamin Button (2008), The Social Network (2010), Gone Girl, and The Girl with the Dragon Tattoo.

For more than fifty years, Clint Eastwood has been actively defining and redefining cinema as an art form. His experiences as an actor on television and in film have greatly influenced his directing style. Across his films, Eastwood incorporates several issues and techniques that help the audience to identify said films with Eastwood's directorial style. Eastwood's aim in his films is to tell stories of the human experience. Francois Truffaut and Andrew Sarris have aimed to define the qualities that make a director an auteur whose works stand out above the rest. The qualities defined by Truffaut and Sarris can be seen in Eastwood films including Unforgiven (1992), Million Dollar Baby (2004), and Changeling (2008) and help to establish Eastwood as an auteur.

Section 5: I chose a “musical” sword as my symbol of strength. I chose a sword because a good sword in the Medieval times could be used to show your worthiness as an opponent, and the point of a symbol of strength on your coat of arms was meant to show your worthiness as an opponent. I made the hilt red to show the militant purpose that the sword served.The sword is musical to show another one of my areas of strength. I did this by drawing viola/violin f-holes to both sides of the blade. I also added a piano design to the sword’s cross guard. These two instruments were chosen because they are the most recognizable instruments. They were also the instruments I first learned to play.

In late 2002 the Oscar nominated Chinese Wuxia film ‘Hero’ directed by Yimou Zhang hit cinemas all over China before spreading internationally over the next few years. Yimou Zhang presented this tale that presents the legendary reign of the Qin Emperor and a nameless hero played by Jet Li tasked to assassinate the emperor. Zhang is known for creating films that present the rich Chinese history. This film is no exception. The film presents the culture of China during the Qin Dynasty through many different components. The costume, setting and music present the time period perfectly. Yimou also uses colour as symbolism in the film to present major plot points. As well as symbolising a part of a scene, for instance pink for love during the sex scene and red later on as death. As shown throughout the film, two of the characters Broken Sword and Flying Snow are both dressed in red hanfu robes which are a rich component in the progression of

Harold and Maude, a movie directed by Hal Ashby and released in the 1970’s, did not receive much attention and popularity when first released. Since the movie depicted obsession with suicide through a 20-year-old character Harold, the movie received backlash because during the 1970’s there were high rates of suicides among teenagers and college students. However, over time college students found the movie very entertaining, therefore bringing the movie into the lights and making it a cult hit. In Blue Velvet, a neo-noir mystery film directed by David Lynch and released in 1986, received a variety of critical responses from a wide range of audience, but this movie’s unique style earned Lynch his second nomination for Best Director. The idea of innocent getting caught in a web of evil is portrayed through the character Jeffrey Beaumont, who first encounter’s a severed ear in a grassy abandoned field. In this paper I will compare and contrast these two movies that include key actors Bud Cort, played as Harold, and Kyle MacLachlan, played as Jeffrey and include a few key points that have made these movies enjoyable to watch.

The Coen Brothers display throughout most of the film that when greed comes into play, lives can be destroyed.

Perhaps, the powerful storyline of the Crouching Tiger, Hidden Dragon was what encouraged one of the greatest cinematic martial arts directors Ang Lee, to make a film out of the Chinese novel. In this film, Lee’s primary function is not only to portray skillfully choreographed fighting scenes, but also to connect powerful sequences of events that touches upon the emotional complex human condition that is associated with both the Taoist and Buddhist belief systems. By not allowing action to be the sole guiding force of the narrative of Crouching

Romeo and Juliet’s actions may seem rushed and immature, but Baz Luhrmann’s movie offers a compelling insight into their decisions. By setting this Elizabethan era play in the present day, the viewer can see past the differences in scenery and clothing compared to those of their lives, to analyze the unique characteristics of the lovers’ society and upbringing that may have led to their hasty love affair and violent end. Luhrmann creates a culture of violence and speed through careful decisions regarding cinematography, editing, and sound.

Everything everywhere is constantly changing. People change, weather changes, plans change, everything changes; you can’t escape change. Two movies that really illustrate the concept of change are Pleasantville and Back to the Future. In both of these movies, the main characters – Marty, David, and Jennifer – are sent back into the times of the 1950s and are faced with a world completely different from their own. In Pleasantville, David and Jennifer get stuck in David’s favourite television show, Pleasantville, as the characters Bud and Mary Sue. Jennifer seems to want to stir things up, creating change throughout Pleasantville, causing things to turn to colour, while David is doing all he can to stop Jennifer from destroying their perfect world. On the other hand, in Back to the Future, Marty gets sent back in time to when his parents were his age. Unfortunately, he runs into his parents, causing his mother to fall for him, supposedly interfering with Marty’s future. All of these main characters have to deal with a lot of change – the key concept these movies have in common. While Pleasantville and Back to the Future both focus on the concept of time and change, both movies illustrate change from different perspectives. These movies also have other similar concepts, such as racism, masculinity, and the idea of the “ideal family”; however, they both differ by discussing other social issues as well.

As the magnum opus of the martial arts novel master Wang Dulu, “Crouching Tiger, Lying Dragon” have been drawing readers’ discussion for its intricate plots and the figures with full personalities for years. Ever since the film adaption which directed by Ang Lee was released in 2000, the comparing of two works has never stopped. What kind of adjustment did film experienced? Why did the director, Ang Lee, made such adaptation? What the difference of the themes which these two works expressed? From a tragic love to a grand Jianghu, I’ll analysis the adaptation “Crouching Tiger, Lying Dragon” from four aspects: the choices Yu Jiaolong made in love relationships, the relationships between the roles and the endings of the two works.

Cormac McCarthy’s No Country for Old Men has created controversial views on the significance of this novel. This piece involves a drug deal gone wrong when Llewelyn Moss, a veteran, happens to stumble upon three dead bodies, heroine, and a briefcase full of 2 million dollars. Told in different perspectives, the story continues with Moss on the run from a psychopathic killer Anton Chigurh in search of the money while also being tracked down by Sheriff Bell. Critics like James Wood from The New Yorker see this novel as “an unimportant, stripped-down thriller” solely based on the novel’s outer surface . On the other hand, William Cobb from the Houston Chronicle refers to McCarthy as the greatest living writer and that this novel “... has conjured up a heated story that brands the reader 's mind...and this is a novel that must be read and remembered”(Cooper 2). The literary merit of the novel becomes noticeable when looking beyond the thriller perspective. McCarthy’s literary merit in the novel is discrete, which is why it just appears to be a western thriller that many believe has no greater purpose other than an entertaining story. No Country for Old Men is a neo western thriller based on its writing style that divides the story into different perspectives containing elements such as fragmented sentences and untypical dialogue. The novel remains within the context of a 1980’s Texas plot which influences the diction so it can reflect a western atmosphere. Although it contains

Annie Hall is a romantic comedy directed by Woody Allan in 1977. The film is not any everyday movie but rather a film that revolves around the life of the main actor, Alvy Singer played by Woody Allen himself and his relationship with Annie Hall, cast by Diane Keaton.

Discovering meaning in anything throughout one’s life is completely subjective to the individual. The same can be said about films. Not one person will be affected in the exact same way as another just by viewing the same film. The complexities of individuality create a bank of receptors to be reached by creative minds; at times they are successful and other times they are not. Films are filled with a variety of meanings that can easily conflict with one another. In 1996, Ethan and Joel Coen created the film “Fargo” which attempts to subtly replicate the complexities of human nature in small town Brainerd, Wisconsin. The Coen brothers created a film of seemingly predictable people struggling in their daily lives and showing how easily things can escalate into chaos. Recycling typical film themes the Coen brothers produced a 98-minute masterpiece filled with themes of greed, the perceptions of gender and relationships, and complex characters in their film “Fargo.” These elements were successful because of a well-written and relatable complex script that upon the first viewing appears superficial. Coupled with the use of specific camera techniques within the cinematography, dramatic irony, and the dark humor that emerges in the film. The combination of comedy and horror easily can confuse the viewer into wondering what is the meaning. Yet, after repeated and perceptive viewing one can begin to unravel and decode the meaning of Fargo for them.

This works to both China’s advantage and disadvantage. It has been noted that the most profitable films China-related tend to be kung-fu films, while such films are not a holistic representation of the nation from past to present, it does provide precedence for ways to integrate a traditional culture with international societies. Directors such as Zhang Yimou and kung-fu celebrities such as Jackie Chan and Jet Lee are as much a part of China’s cinematographic history as the worlds. Films such as Ang Lee’s Crouching Tiger, Hidden