Sunrise: A Song Of Two Humans

     First off, the biggest difference is the time periods of each movie. The older movie was set in Early Renaissance times. The newer movie is set in the early ninety’s. Another difference is the use of special effects. In the

I have chosen to investigate these films because of how both films were released at the time of the relaxation of violence in cinema.

This essay will analyse and discuss The Great Train Robbery (1903) in relation to the narrative structure of silent cinema. The Edison Manufacturing Co, with the estimated budget of $150, produced The Great Train Robbery. Directed by Edwin S. Porter the film has a runtime of 11 minutes, with an aspect ratio of 1:33:1. The film was printed on 35mm hand coloured film and ran at 18 (FPS). The film was later released on December 1st 1903; the majority of the film was shot in New Jersey, USA.

Film Noir, a term coined by the French to describe a style of film characterized by dark themes, storylines, and visuals, has been influencing cinematic industries since the 1940’s. With roots in German expressionistic films and Italian postwar documentaries, film noir has made its way into American film as well, particularly identified in mob and crime pictures. However, such settings are not exclusive to American film noir. One noteworthy example is Billy Wilder’s film Sunset Boulevard, which follows the foreboding tale of Joe Gillis, the desperate-for-success protagonist, who finds himself in the fatal grips of the disillusioned femme fatale Norma Desmond. Not only does the storyline’s heavy subject matter and typical character

William Fox is inviting German filmmaker F.W.Murnau to Hollywood and gives him a whole access to the Fox Studio (Allan and Gomery, 97). As a result of this, in 1927 Murnau has an opportunity to direct a film, Sunrise: A Song of Two Humans, which is a first American film that is made by using two popular movements of the 1920s, German Expressionism and Hollywood realism. The film tells the story about the men from the farm, which has a romance with a woman from the city. After a failed attempt of killing his wife, the man tries to piece up a quarrel. Using a mixture of these two styles, Expressionism, which is characterized as a depiction of reality that is widely distorted for emotional effect, and Realism, Murnau permits an audience perceiving the subjective experience of the characters while hiding the reality and shows to them struggle between the frenzy of the city and peacefulness of the country. He applies the joining of expressionism and realism through mise-en-scene, en-framed images, cinematography particularly remarkable tracking shots and other camera technique very professionally.

Another aspect of any film is the way the lighting is used. Which also makes shadows very important. There were times throughout the film that light represented the time of day. When it comes to a black and white film it is much

Yet, the key differences in the films is the circumstances that the main characters decided to become heroes and how the studios decided to portray the

First of all, there wasn’t really a big difference in the way these two movies

The most important aspect of the two films was composition of both movies that provided the

Metropolis, released in 1927, directed by Fritz Lang, fits mostly fits under the science-fiction and drama genres (IMDb). Metropolis reveals a dystopian and contradictory world to the observer. At the beginning of Metropolis, Freder runs slowly away from his time in a garden with the other rich children. However, Freder is interrupted by the entrance of a young woman named Maria, who brings an assembly of children of workers to see the advantaged lifestyle led by the rich. Freder talks to his father, but Fredersen says that this is how things should be when Josaphat is fired by Fredersen.

Comparison; The two movies are based on different novels. The two films are acted in a manner that makes the audience to think as if they are occurring in the current generation. The two films are available in the form of DVD and can be watched from the YouTube as official trailers, which allow the audience to understand slightly about their flow. The two films have narrative structure, which makes them to have a good and attractive framework. There is proper flow of events in the two movies and time location is conducted effectively in the two.

Walter Ruttmann’s Berlin: Symphony of a Metropolis (1926) is one of the most distinctive and well known examples. These films encapsulated the dynamics of modernity and shared a number of stylistic features such as a dawn to dusk

The banned of foreign films by the German government led to an increase of domestic film productions, giving way for film artist to embrace the change and experiment with bold ideas and artistic styles to make up for their lack of budgets. Such film includes The Cabinet of Dr. Caligari (Robert Wiene, 1920) and Metropolis (Fritz Lang, 1927) often dealt with plots concerning with insanity, betrayal, authority and other issues that were triggered by WWI. This paper will primarily discuss on how these silent films disregard realism because of Germany’s unconventional shift towards Modernism and its socio-political conditions. The second part of this paper will enlighten on how German Expressionist film acts as an influence in the cinematic world.

Premiering in Berlin with Halblutt in 1919, he would never imagine that one day his mind would craft an epic of the calibre that is Metropolis. A primitive sci-fi narrative with daring sets and expansive cinematography, the magnitude of the film’s editing is sheer magic, with well-timed shots perfectly placed to tell a story in silent configuration, yet with a charming expressiveness.

Morning Song, by Sylvia Plath, was written in February 1961, the same month she suffered a miscarriage.