Movie Analysis : ' The Wild Bunch '

After this, the shot pans along the road, and turns into a shot of police cars storming down the street. The fact that the street name, which serves as an embodiment of Norma and all associated with her, is so low to the ground emphasizes that the images of grandeur often associated with Hollywood are a facade, and that the true Hollywood is dark and grim, like a dirty street curb. The street pictured is dirty and unkempt, with weeds peeking out the cracks and piles of loose garbage and leaves strewn all over. This image serves as a stark contrast to the typical impressions people have of Hollywood, and reinforces that the true Hollywood is not the one seen so often on the big screen. Rather than opening with a scene showing off Hollywood’s magnificence, Wilder exposes to the audience what the “real” Hollywood is: a degenerate place full of misery and squalor. Moreover, opening scenes tend to set the tone of the movie, and leave lasting impressions the audience that carry through the entirety of watching. By showcasing the dark side of Hollywood before anything else, Wilder asserts that it is this dark, twisted version of the city that truly defines its inhabitants. In addition to pan shots, Wilder also incorporates music in the opening scene, which further adds to the dark image being relayed about Hollywood. The score is borderline cacophony, trademarked by sharp bursts of drums and trumpet that build suspense and

The Defiant Ones (1958) directed by Stanley Kramer showed the racial relations going on in the United States of America. The film features two men, one black and one white becoming friends, which was almost unheard of at the time. Although when this film came out segregation was illegal it still was not fully accepted as being the new norm. This film starts to try to shape America into accepting all races and stopping segregation, but also tries to mirror society when a third party is brought in and tries to come between the two men and their friendship. Kramer uses The Defiant Ones as a way to mirror the public of the times opinion and shape there new opinion of the changing world.

While much of the neighborhood appears on-screen in the beginning of the shot, one important thing is notably off-screen the whole time: The view from which the camera pivots. Behind the camera was the apartment of L.B. Jeffries, and the camera pans to the left, inside his window, to finish with a brief tour around his living room that teaches us his most important character traits. We see first, in an extreme close-up of a cast, that Jeffries has a broken leg. And then the camera pans left and we see why: A broken camera appears on screen, and a rack focus shift to the background shows a photograph of an automobile accident with a tire flying straight at the camera. Then several other framed photographs of exciting events appear on the screen, telling us Jeffries is a photographer who craves adventure and excitement.

The elements of cinematography in the film include a low angle shot looking up at the farmer as he chops wood at the beginning of the scene. The shot is preceded by the infamous extreme long shot of the military convoy. The director uses close ups to capture emotions throughout the entire opening scene. Fear in the faces of the farmer’s daughters as they come face to face with the Jew Hunter. Fear in the face of the farmer when he prepares himself as the military convoy approaches. Close ups are used at the table when the confrontation looms; the camera zooms in when the farmer begins to crack under the

The cinematography is by Bert Glennon. The expectations for this film is that it has to be western because it’s the genre. The movie needs to have action and movement. And have a heroic character. The expectations are high since a lot of people watch Western genre. I don’t see any manipulation of space and time.

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.

Throughout this scene, director Tim Burton uses sound techniques, shots and framing, and lighting effects to portray a sinister setting, characterize various personas,

Overall, plot is the defining literature tool used to intrigue the reader and make the audience use their sense of memory and intelligence to discover what the end result of the story may be as seen in The Story of and Hour, while the idea of the “story” is used in The Lottery to be a narrative

The movie, The Breakfast Club, is a movie about five students who get Saturday school and become friends as a result of it. The characters were: Allison, the quiet girl who would sit in the back and refuse to talk; John, the troublemaker who always talked back to the teachers; Claire, the popular girl who always got what she wanted; Brian, the nerdy student who only cared about having good grades; Andrew, the wrestler who was only focused impressing his father. While watching the movie, I mainly related to Brian. He is pressured to have good grades by his parents and is labeled as the nerd because of it. I am also pressured to have good grades; however, I am labeled as the smart kid in many different classes, but I’m not classified as a nerd.

Both films explore rivalry and obsession through the directors’ use of film techniques. The use of symbolism, motifs, dialogue, acting styles, and costuming help convey that nothing

The lights flash so rampantly that no one could see what was going on or where Benny was when someone screamed that he’d been shot. It’s as if he was lost in the crowd somewhere.

The next shot is an establishing shot, showing the street where the main character, Leister, lives. Its fall/autumn time and the trees are bare or dying, possibly indicating and foreshadowing a death later on in the movie. Also the streets are very linear, all vertical and in uniform, as it were.

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

Blacker (1986) listed that, “Plot- The ordering and selection of scenes to tell a story and affect an audience. Character- The particulars

In Media Studies, it is significant to state the difference between the narrative and story. According to K. R. Jennings (2015) “A story is a structured narrative. It has a beginning, middle and end. It typically contains other ingredients too, like characters and a plot.” Furthermore Jennings states that “a narrative, on the other hand, is a sequence of events. It has no standard form or structure. No distinct beginning or end.” Simply put, narrative is basically the order in which something is put in and there is always a reason for this. For example, directors often use flashbacks, voiceovers or montages to show previous stories or show a passing of time. Genre, Character, Form and Time help us make sense of a narrative and also about what to expect. For example, Pulp Fiction has various stories with different characters going on. We call this a “Meta-Narrative”. There are a number of different narrative theories which propose ways in which stories (including films) are commonly put together.