Stylistic Elements In The Wizard Of Oz

The Wonderful Wizard of Oz by L.Frank Baum has been an excessively popular fairy tale among the kids and adults. It has provided us with great plays and musical comedies. As most of us do not tend to relate a fairy tale with the political movements happening around us, Henry Littlefield was the first to write an outstanding article “The Wizard of Oz: Parable on Populism” in which he made a bold inference that the Wizard of Oz was a book that portrayed the United States of America as it entered the twentieth century. He argued that the story was perhaps a metaphor for the Populist movement. After doing much research on both the Wizard of Oz and Littlefield’s article I can say that the children’s fairy tale by Baum was indeed a parable on Populism.

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

The placement of a prop or altering the way the light shines on a scene, however insignificant they may seem, are ways that the director can select and control meaning in a film. Such is in The Wizard of Oz (Victor Fleming, 1939), specifically during the scene where Dorothy (Judy Galand) has been locked in the Wicked Witch of the West's (Margaret Hamilton) castle room by herself; many aspects of mise-en-scene are noticeable. Many of the elements of the scene she is in contribute to her state and other aspects of the movie. The setting and props of the film all seem to centralize to where she is and how she got there. The light focus' just on Dorothy but also amplifies the intensity of the situation she is in. The behavior of

The Wizard of Oz is an early film but editing is used quite a bit. First off, the absence of color in the beginning and the ending of the film. This sets an overall feeling of Dorothy being home. Next the film turns to color once Dorothy dreams of being in a different world, the color, yet again, set an overall mood for Dorothy in this new world “Over the rainbow.” The first steps of Dorothy being in the world of The Wizard of Oz gives off an example of inside and outside editing. The shot begins with a close up of Dorothy’s face and the camera slowly moves out to show everything else around Dorothy, which was the start of the yellow brick road and Munchkin land. After the viewer see all of that, the camera moves back in to Dorothys face when she says that they are not in Kansas anymore. One editing transition used a lot in The Wizard of Oz is the fade-in and dissolve. Another is cross-cut, two events occurring at the same

Scene: This scene in the film comes just after the house has been picked up in the twister. Dorothy's house has been lifted up into the sky and suddenly dropped back down to earth in the middle of the Land of Oz. In the scene itself, Dorothy leaves her home to see that she is "Not in Kansas anymore," and finds the new and amazing world of the munchkin city in front of her. She also meets Gwendela the good witch as her journey in Oz begins.

The book I read was the wizard of Oz, written by Frank Baum. This classic novel contains several major themes, self sufficiency, the importance of life’s journey and friendship.

In 1939 one of the most memorable film was released, The Wizard of Oz. In 1978 The Wiz, an urban reimaging of the exemplary novel, The Wonderful Wizard of Oz put an African American vibe to a film. The novel turned into films follows the adventures of Dorothy, a girl who embark on an adventure in strange and fantastical land just wanting to go back home. In this essay I’m going to plot each film and compare the main character of Dorothy, the Scarecrow, Tin Man, Cowardly Lion and the Wiz and discuss how the design and music differ from each film.

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.

In the early 1900’s silent films amazed audiences with images, later talkies impressed with sound, today we have 3D. As technology continues to evolve so too will film genres. Genres, while having some shared characteristics, also differ in terms of stylistic devices used. For instance, the dramatic film “The Notebook” effectively uses color to reinforce theme and has plausible performers as the two main protagonists.

Frank Baums, The Wizard of Oz is arguably one of the most popular films made. Even though it was released in 1939, nearly three-quarters of a century ago, the film continues to entertain audiences and speak to them in a personal way. The question that comes to the mind when analyzing this film is: What is it about this film that gives it such timelessness? When reflecting on the film’s timeless qualities, it seems clear the plot is one of the things that enable it to maintain its relevance. Primarily, the plot of The Wizard of Oz is timeless because it is such an excellent example of the heroic journey, both in literally and cinematically. This journey of self-awareness is a metaphor for growth, which is something we all search to discover

The Wonderful Wizard of Oz is a fictional adventure/fantasy that was written by L. Frank Baum in 1965. L. Frank Baum was born near Chittenango, New York in 1856. Frank grew up with a heart condition so he couldn’t play physically like other children so he developed a creative side, so he decided to write stories.

According to Film Art, it consists of “setting, costume and makeup, lighting, and staging” (Bordwell 115). In “The Wizard of OZ” these aspects of Mise-en-Scene all come together to make up a spectacular viewing experience. Created in 1939 and directed by Victor Fleming, “The Wizard of Oz” was one of the first successful Technicolor films. Since this film was shot primarily in color, it gave the directors and costume designers many new opportunities to use color in ways that they hadn’t been able to before. The main point I will be demonstrating is how the filmmakers effectively used color and costuming to convey certain feelings and messages throughout the film.

    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.

While there are many themes that L. Frank Baum writes about in The Wonderful Wizard of Oz that focuses on a young, maturing girl named Dorothy Gale; that is living in a grey world and then suddenly her life is full of color after a cyclone. Throughout the story, Dorothy Gale is reminded that the land of Oz is beautiful and much more interesting that Kansas ever will and it takes her awhile to realize it along her adventurous plan. The two themes that stand out throughout the story is the childhood to maturity that Dorothy progresses in and a twisted way that makes you see the virtue in the story, also known as the disability of it all. The Wonderful Wizard of Oz is not all just a children's fairytale. Although the land of Oz is depicted as

In 1939, Victor Fleming made a film version of L. Frank Baum’s novel “The Wonderful Wizard of Oz.” However, both the novel and the film focuses or touches on the same moral, it features the protagonist Dorothy who resides in Kansas the farm, along with her aunt Em and uncle Henry as well as her dog Toto. Both Baum’s novel and Fleming’s 1939 film adaptation the setting is in Kansas which is described as a small farm which Dorothy lives in which in Baum’s novel is picturized as gloomy, grey and dull. Throughout Fleming’s adaptation of Baum’s “The Wonderful Wizard of Oz,” there are a number of differences which presents itself in a direct manner on screen as well as similarities. The variety of changes in the film’s adaptation tends to take