Summary Of Cinematic Language In A Bronx Tale

In chapter two of The Cultures of American Film, the main focus is the establishment of studios. As demand for films rose in the early 1900’s, production companies needed to expand; this lead to the creation of large scale studios.

A Bronx Tale, an American crime drama film directed by Robert De Niro accomplished all the aspects that correspond to a classic Italian mafia movie. Similar to The God Father, A Bronx Tale captured communal and family relationships in an Italian neighborhood in the 1950's and 60's. This motion picture included multiple sub-plots, but had an underlying plot that was concentrated on towards the end. The plot showed the bigger picture of the film which tackles a controversial topic, especially in the time period in which the movie takes place. The different sub-plots may alter one’s expectations of the remainder of the movie. Although this film includes many important details of conflicts, what one can grasp from watching the movie is the conflict between African-Americans and Italian-Americans. The director purposefully adds a love interest to show a sort of union in the midst of confrontation. In addition, what seemed to be a competition to dominate as Calegero’s father figure between Lorenzo, his dad, and Sonny, one of the men the protagonist looks up to, influences the audience’s idea of where the film is headed.

A Bronx Tale depicts the everyday occurrences that used to happen in my neighborhood, in exception with the racism that occurred throughout the movie. The shootouts between gangs, and the drug dealers in the corner stores and also the respected/well known individual of the neighborhood all this used to happen in my neighborhood. The movie takes place during the 1960’s, a time where the civil rights movement was still occuring. Its setting takes place in Bronx, New York in a Fordham neighborhood which is populated by people of Italian Decent. Sonny the gangster of a mob is feared throughout the streets but also respected and looked up to. Calogero the son of a bus driver, who lived next to the bar that sonny always hanged out in, always used to copy all the moves and gestures that sonny did. One day Calogero witnessed sonny shooting a man in front of his house. When questioned by detectives and told to point out the shooter, he didn’t point out sonny. After that Calogero from a young age became sort of sonny’s right hand. Although many events happen throughout the movie, sociological forces and ideas are present in the movie. Forces that are shown include the groups that exist in this neighborhood, the micro- macro dynamics of the society that Calogero is living in, sociological imagination, and most importantly a problem between races. The sociological forces are needed in order to drive and

Francis Ford Coppola directed the gangster crime drama film, The Godfather (1972), inspired by the novel of the same name, written by Author Mario Puzo. The film plays out in the beginning how Don Corleone declined to join the narcotics business with notorious drug lord Sollozzo. With this in mind, one of the greatest gangster films created by a man who decided to lead, and not follows. Moreover, explaining the formalist approach for this film which covers an array of elements that include plot structure, camera techniques, editing, mise en scene, and sound. The following film critique will analyze “The Godfather,” beginning by utilizing the formalist approach theory, camera technique and sound gradually introducing additional theories

By all accounts, this movie reflects and highlights this interplay that exists between film and American Culture. As the world was riddled with battles and darkness, the movies of this time period reflected this sinister reality. Death was a major reality during this time period in America and it was no less a reality in The Maltese Falcon. The audience watches as the main character, Sam Spade, becomes involved in a grand scheme surrounding a priceless statue. Same Spade and his partner Miles Archer, both private investigators, meet a seductive and secretive woman named Ruth Wonderly who claims she is looking for her missing sister who is mixed up with a man named Floyd Thursby. As the movie continues, Spade receives news that Archer was murdered and is later accosted by a man who demands that he locate an irreplaceable statue (the Maltese Falcon). The story unfolds as Spade finds himself entangled in a dark and dangerous web of crime in which his only option is to find the Maltese Falcon, which is one thing they all seem to want. A dark and realistic outlook and mise-en-scene is not the only thing that linked this movie to the respective time period however. Also reflective of the time period is film noir’s dark, sexual, and seductive portrayal of

A major key element in the film comprises of settings. It is where the actions takes place and helps viewers to understand where and when the film is set. Settings not only create mood, it has social, psychological, emotional and cultural significance in which the film are able to portray. Settings used in the film are very rarely just backgrounds to the characters dialogue. Viewers are often seen shots of places, without any action taking place. They can be used to influence viewers by building certain expectations and then the actions takes a different turn. Gibbs (2002) mention that, ‘Mise en scene therefore encompasses both what the audience can see and the way in which we are invited to see it’. For example, the scene where Mrs. Chan goes to get noodles where she is seen to be walking along a dark alley down the stairs, gives viewers a certain expectation to emphasize the character’s emotional state. Viewers are also made to see Mr. Chow going down the same stairs as Mrs. Chan walks back up without any conversation taking place. This tells viewers what they see suggesting the lost in their daily routine of doing the same thing over and over again, going to work, getting noodles and accepting the unfaithfulness of their spouses. It also gives viewers a sense of developing bond between the two characters over

Setting often provides more then just a mere backdrop for the action in the story. It is probably the most important part of the putting together a story. In this story the setting is a reflection of the character as much as the town. The physical setting, time setting and cultural settings are all important parts of this short story,

The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration we are able to know exactly what is going through a particular character’s mind. Finally, wonderful editing made great use of point of view and multiple jump cuts, which added to the sensation that we are undergoing the same experiences as the characters on screen. I will go into further detail and specify scenes that convey these elements as the essay progresses. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.

Sabina Berman is a notable and critically acclaimed Mexican playwright. Berman’s notable work includes her first published play, Yankee (1979). In Adam Versényi’s translation of Yankee, Berman explores the relationship between the individual and identity. Through the three main characters—Bill, Alberto, and Rosa—we see the continual conflict they face as they aspire to achieve their respective objectives: to feel nurtured and loved, to have peace and quiet, and to feel loved and acknowledged. But it is Berman’s interjection of juxtapositions that forces us to analyze the relationship between the main characters. More specifically, Berman focuses on the impact Bill has as an intruder, and how he highlights the national identity incompatibilities between North American and Mexican cultures, to expose the serious social and political problems between the nations.

The critically acclaimed film, Goodfellas, is a gangster crime drama that features a great deal of talent. Household names such as Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Golden Globes and Academy Awards nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration, we are able to know exactly what is going through a particular character’s mind. Finally, strong editing made efficient use of multiple jump cuts, which add to the sensation that we are undergoing the same experiences as the characters on screen. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.

In many fictional works the setting can change the whole story in the blink of an eye. The Boy In The Striped Pajamas is a book set in WWII. However, the story is told through the eyes of a young, innocent german boy named Bruno. Bruno’s family lives in Berlin until Hitler orders Bruno’s father to move to Auschwitz to direct the camp. Bruno eventually meets and befriends one of the Jewish prisoners living in the camp. Specific parts of the setting such as the weather and the time period can heavily influence the mood, negatively or positively. Also, individual aspects of the character’s surroundings can provide the basis for important events and/or twists in the plot. Character's thoughts, actions, and feelings can be developed with help from the setting. The setting of a concentration camp negatively influences the mood, provides the basis for pivotal events in the plot, and develops the character’s thoughts and actions in The Boy In The Striped Pajamas.

The film ‘Boy’ (2010) uses a range of techniques to construct an effective mise-en-scene. Taika Waititi (director) has been able to create aesthetically pleasing scenes to communicate to the audience about the setting, characters, story and themes. The sequence at the beginning of the film is an appropriate example of the good use of mise-en-scene.

Martin Charles Scorsese was born November 17, 1942. Suffering from asthma, he spent most of his time watching movies and by the time he was eight, he was already drawing his own storyboards that were directed/produced by himself. Although he considered going into priesthood, making movies was Scorsese’s true calling and he went on to make some of Hollywood’s most memorable films. Incorporating themes from his Italian American roots into his visceral, cinematic storytelling that has influenced generations of filmmakers. He is an American director, producer, screenwriter, actor, and film historian, whose career spans more than 53 years. Scorsese 's body of work addresses such themes as Sicilian-American identity, Roman Catholic concepts of guilt and redemption, machismo, modern crime, and gang conflict. Many of his films are also notable for their depiction of violence and liberal use of profanity. Part of the New Hollywood wave of filmmaking, he is widely regarded as one of the most significant and influential filmmakers in cinema history. For three decades Scorsese has been at the forefront of American cinema. Its most avid champion and often its most electrifying practioner. The most cinematic of directors, he has also been among the most formally restless and exploratory, evolving an obsessive-compulsive mise-en-scene based on dynamic, agile camerawork and radical editing rhythms.

Mafia bosses often start out as street thugs. But over time, the ones who make it to the top transform their appearance. They take to wearing impeccably tailored suits and owning legitimate businesses.”

Mario Puzo’s "The Godfather" was the first and most influential gangster movie that paved the way for gangster movies of the future. The movie was directed by Frances Ford Copolla, who made many different ingenious ways to portray this gangster classic. The movie was a very subversive movie, and one of the first of all time.The Godfather has a many different uses of light settings through the whole movie, in which the movie can be interpreted on.