Martin Scorsese's Taxi Driver

The star-studded romantic comedy Midnight in Paris is one of Woody Allen’s most recent films which he did both, wrote and directed. It is a film about a man named Gil (Owen Wilson) who travels to Paris with his fiancée’s parents in order to expand his imagination and he ends up embarking on a journey to the 1920s while walking the streets of Paris at night. Not only is this film engaging and witty, but it also manages to provide both, overt and covert examples of postmodernism in film. By analyzing Woody Allen’s 2011film Midnight in Paris, we can identify the presence of many underlying motifs in both the narrative and the characterization of the film when using some of Frederic Jameson and Jean Baudrillard’s concepts on postmodernism.

Notably, the film Goodfellas is a classic film that is recognized as one of the greatest films of all time in regards to the crime genre. Indeed, the film Goodfellas is about American citizens who partake in criminal activity in order to make money. Furthermore, another film was made, shortly after Goodfellas achieved great success in the box office. Additionally, another film titled “The Real Goodfella” is the uncensored documentary explaining the reality behind Goodfellas, and gives a practical insight of the real dangers that could not be shown in Goodfellas. Also there are two articles that explain the explicit truth behind the criminal activity that mobsters justify as work. These sources show that mobsters have a hard time. Mobsters classify as above working class because they constantly have to steal, murder, and deal drugs just to stay alive and have money.

One of the main concepts when it comes to understanding film noir, first is the understanding of the definition. Film noir is “a cycle of postwar films that employed low key lighting and were literally dark” (Nichols, 500). In this particular genre, we are in a world where there is a lack of honesty and trust, many cases of seduction and betrayal, and darkness submerges people (Nichols, 250). Moreover, film noir reflects a tone of darkness, “exploring themes of seduction, betrayal, and murder” (Nichols, 58). In this film, we will learn more of how seduction and betrayal is used to express the darkness of the film. Some other traits of film noir that should be understood before exploring the two scenes is understanding the setting. In most cases, “film noir takes place in public spaces such as urban streets, cafes,

In Wes Anderson's The Grand Budapest Hotel, I believe the movie's design has a unified feel. By understanding Anderson's approach to cinematography, we can tell that the costume and visual designs ensemble a true Wes Anderson's film. In fact, he is indulged with patterns and lively colors. His plot mainly reflects an old- fashioned, nostalgic feel and he is a bit playful with camerawork. On the other hand, the Grand Budapest really feel like a lively, happy hotel. The use of colors and contrasting hues made the setting almost looks like a painting. For example, the frame narrative where the Grand Budapest Hotel became the setting, the mise-en-scène and the lighting of the film become almost too symmetrical and mannered, especially during the

Travis troubles with relationships with others around him, and finally that situation ruins him, like attempts to assassinate a politician and massacre of pimps. Travis gradually gets his mental disorder, because of not only himself, but relationships with others around him. Although Travis thinks himself as a lonely man, he lives in New York, a metropolitan city, where filled with many others. Travis sometimes has communication with others around him, but such his awkward communication doesn’t useful to relieve his anxiety.

As the audience knows well already since the very first scene, Sunset Boulevard does not have what one would call a “happy ending.” In this sense, the movie gives itself away as film noir considering the fact that all such works of cinema which fall in this style category are known to have dark themes predominantly sending a message of hopelessness and meaningless existence. With Joe’s lifeless body floating around in a swimming pool in mind throughout the entire movie, audiences of this motion picture are filled with a sense of pointlessness for Joe’s life, since his personal resolutions and growth as a

Tommy’s rising music career takes him on the road and into the world of drugs. He eventually

Travis enjoyed getting out of his comfort zone.Travis lives back in his hometown with two kids and his own playground.He lives the life that others only dream of.Travis Pastrana has broken many bones and many records.Travis Pastrana’s life is different from from most more dangerous and more

The film Rear Window effectively and heavily implements all four aspects of mise-en-scene in order to create themes that can easily be understood and broken down by and for its’ viewers. Sound and lack thereof is also used successfully especially in scenes where conversations cannot be made out either because music is used to deafen the audience or simply because the conversations are seen from Jeff’s perspective in which case he is simply too far away to hear anything. The primary setting of Rear Window as well as the important costumes and props that are present in this film are what allow this film to flow so well. Character movements and performances in Rear Window leave viewers with enigmas as well as reveal motifs that will be constantly seen or mentioned throughout the film. Lighting and sound are certainly key as they add to the suspense of Rear Window and offer even more enigmas.

Lee Daniels’ ‘The Butler’ is a biographical drama depicting the story of Cecil Gaines, a man who escaped a life of slavery and oppression to serve for eight presidents as a butler in the White House.

In Taxi Driver, Scorsese manages his camera angles and editing to emphasize Travis seeing the world through glass or mirrors, especially the windshield and rear-view mirror of the taxi, through which all major characters enter Taxi Driver: Betsy through the panes of an all-- glass office; Palantine through his rear-view mirror; and Iris and Sport in a fleeting glance in his mirror. As Travis meets with a black-market gun dealer, and in this scene the weapon literally becomes the organ of perception. Scorsese situates his camera on Travis' arm as that arm takes the weapon and slowly pans it across the window looking down on the street below. Finally, in the scene which has made Travis Bickle a cinematic icon ("Are you talking to me?"), Travis looks into his mirror, challenges imaginary adversaries, and draws his various weapons in assault. The ambiguity of the image is poignant: Travis looks into a mirror and makes a self-destructive gesture foreshadowing his attempted suicide at the climax of the film, and Travis peers through the looking glass and

An analysis of how cinematography, editing and mise en scene creates meaning and response in the Blood Bath scene of Taxi Driver (d. Scorsese 1976) Taxi Driver was directed by Martin Scorsese and written by Paul Schrader, in the film the director explores the journey of Travis Bickle (Robert De Niro) and his slow descent into madness and eventually to murder. In the final scene of the film Travis goes to a brothel to murder the people inside and save the young prostitute, Iris (Jodie Foster). Meaning and response is provoked by lighting, shots, editing and costume and I will discuss how this relates to the context of the time. The scene opens with Travis parking the taxi, the colours in the scene are muted and desaturated creating a dismal atmosphere.

In the Film The Pianist directed by Roman Polanski. We witness a scene where Szpilman is injured, filthy and starving he rummages around looking for anything to sustain himself. He finds a can of gherkins which he struggles to open he finds some fire stoking equipment and begins opening the can however due to the state of Szpilman he drops the can and the contents falls and drains at the soldier 's feet. In the Hosenfeld scene Points which will be covered are the visual aspects, the aural elements, the mise en scene aspects and post production elements and how all these elements relate to the “big Idea” of having something or someone to hold onto can make you stay focussed and not give up.

Taxi Driver (1976) follows Travis Bickle’s life in New York after being honorably discharged. The film is a psychological thriller that deals with Travis Bickle’s mental instability and desire to do something meaningful with his life. The narrative centers around Travis’ loneliness and disconnect from society.

New York City that is depicted in Taxi Driver seems to be too real to be true. It is a place where violence runs rampant, drugs are cheap, and sex is easy. This world may be all too familiar to many that live in major metropolitan areas. But, in the film there is something interesting, and vibrant about the streets that Travis Bickle drives alone, despite the amount of danger and turmoil that overshadows everything in the nights of the city. In the film “Taxi Driver” director Martin Scorsese and writer Paul Schrader find and express a trial that many people face, the search for belonging and acceptance.