Movie Analysis : ' The Heart Of Hollywood Cinema ' By Thomas Elsaesser And Warren Buckland Essay

In the reading, Violence in Movies: Cinematic Craft or Hollywood Gone Too Far?, the response that states "Point: Hollywood, Stop Exposing Our Kids to Violence" is more persuasive than "Counterpoint: Hollywood Filmmakers Should Not be Villainized for Movie Violence" because it provides better-supported facts that are reliable and credible. The "Point" response explains how violence in movies has become very excessive and is allowing children to act out and think it is okay because of what they see on TV. While, the "Counterpoint" response explains how Hollywood filmmakers should not be punished for their creative writing and that parents should monitor their kids and decide whether or not they should be watching it.

Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, “Harrison Bergeron” by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliant on his words alone to paint the picture for the reader to understand the movement of the plot and its impact on the atmosphere. The literary devices used in creating and shaping pieces of literature will heavily impact the point of view of the

Even though a vast majority of us wish that it was possible to turn back the hands of time and change or rewrite history. However, the truth of the matter is that we simply cannot. Everything happens for a reason, and we should learn to accept it. Accept it for what it is, rather than what we would like it to be.

To support this idea, Bordwell illustrates how art cinema motivates its narratives differently, through two principles: realism and authorial expressivity. Firstly he proposes the notion that art films reflect realism in their characters, space, and time. Psychologically complex characters are present in real worlds dealing with true-to-life situations. Art cinema is concerned with the characters ‘reaction’ to these situations, rather than their ‘action’. Thus it bares an element of psychological subjectivity as the characters survey the world they are in, which aids the realisation of the distress of

Movies have the ability to transport people to different times and places and distract them from ordinary everyday reality. They allow for a range of emotions to be experienced. At their core, movies examine the human condition. There are plenty of deeper truths woven into screenplays and plenty of lessons to be learned, even when an individual is solely seeking entertainment.

Although the best reasons for “going to the movies” are to be entertained and eat popcorn, understanding a film is actually quite complex. Movies are not only a reflection of life, they also have the capability of shaping our norms, values, attitudes, and perception of life. Through the media of film, one can find stories of practically anything imaginable and some things unimaginable. Movie-makers use their art to entertain, to promote political agendas, to educate, and to present life as it is, was, or could be. They can present truth, truth as they interpret it, or simply ignore truth altogether. A movie can be a work of fiction, non-fiction, or anything in-between. A film is an artist’s interpretation. What one takes away from a film depends upon how one interprets what has been seen and heard. Understanding film is indeed difficult.

Hollywood cinema is primarily subjected to telling stories. The inclination of Hollywood narratives comes not just from good chronicles but from good story telling. The following essay will discuss Hollywood’s commercial aesthetic as applied to storytelling, expand on the characteristics of the “principles of classical film narration” and evaluate alternative modes of narration and other deviations from the classical mode.

Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the

In service of this argument, the essay unfolds in three parts. The first section sketches an appropriate framework for understanding how cinema marshals and moves viewers by engaging them in a fully embodied experience.4 The second section offers a brief overview of the film's plot before turning to an analysis of its triptych narrative and affective development. The third and final section considers the methodological, critical, and theoretical implications suggested by the preceding analysis.

Understanding movies comes from describing and analyzing the cinematic, theatrical, and literary elements that combine to create meaning. These steps create a basic understanding of the artistic and technical elements found in moviemaking. In addition, the major characteristics of different film genres and classic movies will be analyzed. The purpose of this paper is analyzing the Academy Award winning film Chicago. This paper will describe the six steps that a person should think about when watching a movie. These steps include, (1) analysis of the narrative: story, plot and meaning; (2) theatrical elements, (3) cinematography, (4) editing, (5) sound and the (6) complete package.

In a story, things are often not quite what they seem to be. Akira Kurosawa's Rashomon and Michaelangelo Antonioni's Blow-Up are good examples of stories that are not what they first appear to be. Through the medium of film, these stories unfold in different and exiting ways that give us interesting arguments on the nature of truth and reality.

Establishing the difference between the story and the plot allows one to determine the effect each element has on the understanding and interpretation of the piece. It also provides a way of tracking the continuation of events and the relationship between seemingly isolated moments in time. Film Art clearly defines both story and plot but acknowledges that there is a significant overlap between the two functions and allows a flow within the film. The plot is the presentation of the events, in chronological order and includes the events that are seen, inferred and assumed by the viewer as opposed to the story. The story refers to the way in which the plot is presented, the ‘personality’ imposed

There are many different types of film and film genres. A film can fit into more than one genre, but there are some genres that are more general than others. Some examples of film genre are animated, science fiction, documentary, comedy, and historical fiction. Within each genre, there are also specific characteristics that help support themes and story lines within that genre.