Essay about Scene Analysis of David Lynch's Film, Blue Velvet

The 1967 film by Mike Nicoles “The Graduate” is about Benjamin Braddock, a recent college graduate, who is at a crossroads in his life. He is caught between adolescence and adulthood searching for the meaning of his upper middle class suburban world of his parents. He then began a sexual relationship with the wife of his father’s business partner, Mrs. Robinson. Uncomfortable with his sexuality, Benjamin and Mrs. Robinson continue an affair during which she asked him to stay away from her daughter, Elaine. Things became complicated when Benjamin was pushed to go out with Elaine and he falls in love with her. Mrs. Robinson sabotaged the relationship and eventually the affair between Mrs. Robinson and

We can observe the selection of blue color symbolizing melancholy in these scenes. Also, during the film, another color scene, this time yellow, can be seen, reflecting madness, insecurity, and obsessive by these scenes in the jury and streets. The catastrophic events, scenography and audio incremented the tension of every scene and complemented the facial expressions in the characters, creating a circle of the dramatic tension in the movie.

Trainspotting presents an ostensible image of fractured society. The 1996 film opens, famously, with a series of postulated choices—variables, essentially, in the delineation of identity and opposition. Significant here is the tone in which these options are delivered—it might be considered the rhetorical voice of society, a playful exposition of the pressure placed on individuals to make the "correct" choices, to conform to expectation.

Alfred Hitchcock’s film Shadow of a Doubt is a true masterpiece. Hitchcock brings the perfect mix of horror, suspense, and drama to a small American town. One of the scenes that exemplifies his masterful style takes place in a bar between the two main characters, Charlie Newton and her uncle Charlie. Hitchcock was quoted as saying that Shadow of a Doubt, “brought murder and violence back in the home, where it rightly belongs.” This quote, although humorous, reaffirms the main theme of the film: we find evil in the places we least expect it. Through careful analysis of the bar scene, we see how Hitchcock underlies and reinforces this theme through the setting, camera angles,

Anderson uses camera movements to speed up the pace as well as to show a constant forward motion. Having an upbeat pace makes the audience feel more elated because it is going so fast they do not have the time to process the sad parts of this story. He also quickens the pace by having short takes so the audience does not have a lot of time to process what has just happened. The constant forward motion of the camera, which is created by either moving the camera on a dolly as they walk, e.g. when the Scout Master is walking past all the tents with the khaki scouts in tow, or by pan the camera extreme fast between each frame, e.g. the beginning and end scene in the house with Suzy’s family.

Next, the audience sees a man in a priest 's clothes hurrying down the sidewalk late at night. The lighting is very important in this shot as it sets a very serious, ominous tone. The character also looks over his shoulder hastily as if he 's worried someone might see him. The camera goes to a wide shot to show that two young girls are right behind Keller as he briskly walks away from his crime. Then the shot fades into Keller walking towards the camera down an alleyway. The lighting is still extremely gloomy and shadowy as he takes off into a dark corner. The next shot has a "revealing" as Keller takes off his priest clothing and he looks around suspiciously.

An individual detailed analysis on the style, editing techniques Mise-en-scene and cinematography in the film "Eternal sunshine of the spotless mind".

The scene we’re analyzing starts off with a shot of the New York Daily Inquirer. It’s a close shot, taking up the entire screen. I feel this close up is to show the viewer that the newspaper company is going to be the primary focal point for Kane, and his two partners at this point in the film. After the close up, the camera pans down to show Kane and Leland sitting in a car looking up at the building. Kane says “Take a good look at it Jedidiah, it’s going to look a lot different one of these days.” Despite the look on Kane’s face being one of optimism and promise, this statement gives leeway to all of the bad things to follow. Kane specifically says, “look a lot different” as opposed to anything else (i.e.

Since the beginning of the Industrial Age, Americans have idealized the journey towards economic success. One thing people do not realize, however, is that that journey is not the same for every individual. For Charles Foster Kane (Orson Welles), the main character of Citizen Kane, directed by Orson Welles, the path towards riches and a fulfilled life is being well liked. He serves to please others. He strives for that attention. This view cost him his happiness in the end. In this man’s rise and fall through prosperity, Welles shows the futility of striving solely for likeability.

David Lynch's Blue Velvet is an exploration of things above and below the surface. This surface is really a borderline between not only idyllic suburban America and the dark, perverted corruption that lies underneath but also between good and evil, conscious and subconscious, dream and reality. Although this division seems quite rigid and clean-cut some of the most important implications of the film stem from the transgressions of these borderlines. In the initial scenes of the film Lynch introduces Lumberton, the typical small town in Middle America where the fireman waves at you, the children are well protected, the lawns are green and there is a smile on everybody's face. Naturally, the most important clich?

Movies and other forms of popular entertainment sources have often presented varied information and as well as misinformation about schizophrenia, most specifically in regard to its negative portrayals, which can lead to confused public opinion. In summary, majority of movies and popular entrainment media sources portrays people with schizophrenia as violent and with homicidal and suicide thoughts. In addition, most characters in these media sources are portrayed as Caucasians, males, and with supernatural abilities (Gaebel, 2011).

In the movie, "A Beautiful Mind", the main character, John Nash, is a mathematician who suffers from schizophrenia. Schizophrenia is actually the most chronic and disabling of the major mental illnesses and it distorts the way a person thinks, acts, expresses emotions, interprets reality and relates to others.

In Michael Gondry’s Eternal Sunshine of the Spotless Mind (2004), the connections between people and memories become the focal point of a very unique romance. Through the use of new technology, the possibility of erasing memories makes painful relationships disappear like they never happened. The tale of Joel and Clementine allows the audience to rethink and question the process they undergo as beneficial or destructive. Though the process might be helpful in eliminating the pain caused from another person, four key scenes show how the lessons learned through relationship experiences are important.

Ever since the Holocaust happened there has been a variety of movies and books portraying this massive genocide that changed individuals’ lives. One of these movies that portrays the Holocaust is Life is Beautiful that was directed and acted by Roberto Benigni in 1997. This particular film won Oscar awards and it’s unlike any other Holocaust movies because of its drama, romance, and comedic genre. It tells the story of a man named Guido that comes to Arezzo, Italy and works as a waiter for his uncle Eliseo. Guido falls in love with Dora, a school teacher who he calls “Princess” each time he sees her. Eventually, Guido is able to charm Dora despite her being engaged. Five years later they have a son named Giosuè, but at this point in time

This clip is from the 1929 movie, Un Chien Andalou. This film uses two specific formal choices that illustrate it’s surrealism, including discontinuity editing and close-ups. Discontinuity editing in this film went against Hollywood’s continuity rules of seamlessly blending scenes together that not only made narrative sense, but visual sense as well. However in Un Chien Andalou, these rules are broken by obscure, random images that don’t seem to fit together and lack any narrative sense. In the clip, we see a scene of a man staring at his hand where ants are crawling out of a hole, then we see an image of a person’s underarm hair that soon transitions into a picture of a sea urchin. These series of images don’t make much sense when put together, yet they illustrate the surreality of the mind and how our thought patterns often lack any significance. The swarming of the ants in the hand is an example of lack of pattern because it symbolizes the fragmented or “swarming” images of our mind. These scenes are not only non-linear, but they are also discontinuous and show that our reality is constantly evolving; we walk away with a different interpretation of the movie each time. Another formal choice that Un Chien Andalou uses is the close up, we see this used in the first few minutes of the clip when the women’s eye is cut. The use of the close up in this scene brings this grotesque act to the forefront, where we cannot help but look away every time we see it.