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In The Heat Of The Night Analysis

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In this paper, I will be explaining my thoughts on the Cavell arguments on classical and modernist films about movies black-and-white in comparison to the movies in color, with the reference to Sunset Boulevard (1950) and In the Heat of the Night (1967).
Cavell beliefs in movies black-and-white is that you pay attention to the details of the film, which include the storylines, and the content of what it is in the frame, while movies in color can be distracting; it is considered appealing and attractive, but it can take away from the subject matter of the story. Cavell’s states “film has been moving into the modernist environment inhabited for generations by the other major arts” (Cavell 60); he continues to say that “each arts among, had
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Take for example the in the movie Sunset Boulevard (1950); the Norma Desmond’s character (Gloria Swanson), was portrayed a very rich woman who starred in a lot of silent movies back in her adult life. Upon showing the inside view of her mansion, it was lacking the essence of opulence one would expect, due to the movie being in black-and-white; the descriptions of her wealth and possessions made by William Holden’s character (Joe Gills) in my perspective did not do as much justice as it would have been if it was screened in color. Even though, “traditional movies move with times” (Cavell 61), the same can be achieved in movies in color; take for example the movie secret garden (1949), this movie started off with gloomy and similar effect as the Sunset Boulevard (1950); however, at the end color was thrown in to lay emphasis on what the main idea of the movie was about the (garden). Gardens are expected to be beautiful and make one feel at ease; my observation between both movies is that one is dark and was meant to end that way in the mystery which it did, while the other started off pained and ended in joy because the garden technically coming to life in full
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