Movie Analysis : ' Y ' Directed By Jean Marc Vallee

Working out conflicts face to face can and cannot make a difference in resolving the problem.“These face-to-face interactions build trust, understanding, and a real sense of a shared mission, and this has made all the difference in the world.” This direct quote from Forbes.com explains how this specific way can improve how the world communicates to each other. Many people will disagree with the previous statement, but it is just one of the basic elements of the social system. Admittedly, not everyone believes in face to face interaction. People can choose whichever side they want to, but people can solve their problems by talking to somebody.

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

Analytical Thesis: Get Out is a psychological thriller that analyzes the racial issues in modern America through the use of visual rhetoric: such as film noir, symbolism and metaphors.

The film “Juvies” really made me think about how the criminal justice system treats young children. Before watching the film, I was under the impression that children were treated fairly and with care when they commit a crime. After all, they are just kids. However, to my surprise, this was not the case. Many children have been cheated by the law because they are put through the adult system and are not given a fair trial. Meanwhile, these children are expected to make the rational decisions that an adult would make. There is biological evidence that kids do not have the ability to control impulsive behavior because their brains are underdeveloped. Thus, I believe this system is extremely unfair because children are not protected in adult prisons, which makes it very difficult for them to succeed once they are released back into the free world.

One of the symbolic representations in La Mission is where it takes place, in the mission district of San Francisco. It represents the traditional stance of Che the main character and compares it to the shift to a more hipster neighborhood with new people like Lena moving in who haven’t been in the neighborhood until recently. He also restores old cars into low riders which is historically Mexican American style of car. The music featured in this movie is a mix of traditional chorales, native drums and guitars mixed with newer more modern version that also show the transition that this community and culture are facing coming to terms with change and homosexuality that is culturally unacceptable.

“La Haine”, is a French word, which translates to “The Hatred”. There is much significance of the title to the entirety of the film. To the characters specifically, it has different meanings.

If these kind of topics are interesting to you, The Joneses directed by Derrick Borte would be the perfect movie for you. The movie starts showing a typical family whose life looks perfect. Kate (played by Demi Moore) is actually the leader of a sales team playing the role of the mother; Steve (played by David Duchovny) plays the role of the father ; and the daughter and son Jenn and Mick, all four of them are the principal actors of the movie. What

Italian Neorealism was a movement of art, which strived to illustrate the normal lives of the ordinary, working class people in post war Rome, usually with the use of non-professional actors. As one of the best Italian Neorealist film, Bicycle Thieves showed an absolute depiction of the war’s impact on daily life and exposed a world in which sufferings, unkindness and corruption jeopardized the rationality of human beings and action of men (Schoonover). By utilizing a depressing and gloomy cinematography, De Sica implies the somber lives of the poor and their crisis in losing their self-identity and moral conscience as a result of parochial society that make a fetish of personal belongings as a mode of social acceptance. By examining the cinematography, ‘mise-en-scene’ and events in the film, the daily struggles of the working class in post war Rome can be seen through the crisis of masculinity, class struggle, ethical dilemma and a profoundly patriarchal society.

Casablanca, the crowning achievement of director Michael Curtiz, which was released in 1942, is a film that had to work against the pressing concerns associated with World War II to stay relevant in both cinematic and general audiences. The writing, which was done by Julius J. Epstein, Philip G. Epstein, and Howard Koch, had to be inspirational yet uncontroversial. With actors like Humphrey Bogart as Rick Blaine, Ingrid Bergman as Ilsa Lund, Claude Rains as Captain Louis Renault, and Paul Henreid as the French revolutionary Victor Laszlo, Casablanca has a respectable cast. The movie initially appears to fit the film noir genre because of its smoky backdrops with muted colors,

The Comparisons and Contrasts of the films of The Thing and The Thing From another world

The ideas of what a utopian society should look like changes when talking to different people in different parts of the world. More often than not most people would say that violence is not a part of this utopian ideal and that man has found a way to work past that and find a better solution to the violent issues we have seen in the past. Films in a sense are a way for artists to explore these utopian and dystopia ideals and present them to the public as a looking glass into what the world could look like. For many of us we live in a capitalistic society or a society with at least some forms of capitalistic ruling. Film makers in Latin America have used their position to critique and analyze the different forms of capitalism and how the

The movie Wild, which was released in the year 2014 and was directed by Jean-Marc Vallée, the movie is an adaption of Wild by Cheryl Strayed. The movie closely follows the book for guidance. However, the movie does have some added scenes which the book does not mention. Moreover, the movie is quite short and concise and misses some points or describes them in a brief way whereas the book elaborated all of them in a beautiful movie. In both the movies, the reader or viewer gets to watch or read the point of view of Cheryl, a 26-year-old who had lost her mother at the young age of 22 as she suffered from lung cancer. The book follows a first person point of view and is written in non-fiction. This quotation gives us an idea of what kind of a format and

American film noir didn’t start as a genre but a visual style of film as depicted in 1940s American films like This Gun for Hire, but following the coining of the term by post world war II french scholars film noir especially from the 70s to the present day through films like LA Confidential has evolved to a very recognizable and full featured genre . We are able to recognize films within the noir genre as with any genre films for their distinct syntactic and semantic qualities, the same theories/concepts Rick Altman uses to define the difficult concept of genre remain very similar between the 1940s noir and today’s contemporary neo noir. In talking about the syntactic and semantic list of film noir its pretty helpful to know and understand what these elements are. It’s difficult to say that there is a sole formula for every noir film, but there are many recognizable commonly occuring traits that remain constant from the genre’s inception over 70 years ago going forward into contemporary neo noir. In terms of syntactic elements as identified in the Belton text’s noir chapter the most universal elements would be the complex narrative structure, the violent nature and involvement with crime, fem fatales, arbitration of justice, tough guys, and loneliness. These are really what drive the film non visually whereas the semantics contribute to the visual stylings of the film. Noir films share the common semantic elements of low key lighting, dark and rainy nights, sequencing,

In “The Departed”, which takes place in South Boston, State Police are tasked with bringing an end to Irish American organized crime. One of the stars of the movie is the great actor Leonardo DiCaprio, who plays undercover cop Billy Costigan. The cast is packed with high demand actors; one of them being Irish mob boss, Jack Nicholson, playing Frank Costello. Costigans counterpart is Colin Sullivan, played by Matt Damon. Both men just-graduated from Massachusetts State Police Academy; Sullivan is on the side of the mob, and joined the police force to be an informer for the mob boss. There is a key interplay between each man, and the people they are trying to deceive. The stakes are high, as each operative becomes entrenched in their double life,

Similarly to ‘The Great Gatsby’, Luhrmann’s ‘Moulin Rouge’ takes on the same effect of displaying anachronism by working with Monsted to create a soundtrack with a modern twist. However, the soundtrack of ‘Moulin Rouge’ has a much different timbre as it’s a ‘jukebox’ musical and the songs itself are used in replacement of dialogue at various points of the film. With the vocals of the lead characters of the film, played by Ewan McGregor, Nicole Kidman and more, this film also recreates different original singles with different genres, timbre and tempos to make the songs relate more to the literal environment of the film and the audience at the time it was released. One important example would be Kidman’s rendition of Marilyn Monroe’s classic song, ‘Diamonds Are a Girl’s Best Friend’. The significant aspect of Kidman’s take on this song was that her character, Satine, performed it by recreating the original into a medley with Madonna’s mimicry performance of this song, “Material Girl”. Satine begins her introducing performance, with her sultry and provocative vocals in a accapella version of Monroe’s first few lines of the song- giving a more raw and less theatrical take on the song. Satine’s whole performance in general, is much less theatrical than it’s origin as it neglects the classic and smooth orchestral version, for a more jazzy and burlesque vibe that perfectly corresponds to her seductive performance. Which is then followed by a series of improvisations such as