Tangerine And The Establishment Of Physical Existence Theory

The creation and consumption of films are a common favorite pastime for many people and have been for hundreds of years, but while some films can seem deceptively simple, many elements go into creating a scene, much less an entire movie. Directors use these elements which include, but are not limited to style, mood, composition and special effects to create a product that we often don’t acknowledge without looking deeper into the film. These components together are called Mise en Scène (Ebert). Of course, film can be enjoyed leisurely but there are so many more aspects of film to be explored and analyzed such as the composition of camera movement, lighting, color, sounds and music. In this case, I chose to analyze the “Redrum” scene from the renowned film, The Shining directed by Stanley Kubrick. In this scene, Danny Torrence, a five year old boy wanders around his mother’s room with a knife in hand, muttering the word “Redrum” over and over again before scrawling it across the door. I feel that a lot of this scene’s mood and style relies heavily on the camera work of the scene, the lighting and colors, and the music incorporated into the segment.

Similar to many other novels, Tangerine, by Edward Bloor is filled with symbolism. The author uses symbols as a more unseen way to infuse hidden messages or lessons into the story. Although it is greatly instilled everywhere throughout the book, there is quite a bit of symbolism surrounding and focusing on Erik Fisher.

Imagine standing under bleachers of a high school football field. There is a group of kids standing and talking to each other, and one of those people standing in the crowd is your brother. Right from the corner of your eye you see someone else, your brothers age, that looks furious and looks ready to punch someone. The guy is walking to your brother, but the next thing you know is a harmful weapon ready to strike(Bloor 210-211). In the book of Tangerine there are many decisions that Paul, the main character, has to make, but the people that affect him also have to make choices. Erik Fisher, Paul’s older brother, makes many choices that affect Paul. Erik’s decisions affects Paul by making him have less confidence, causes his friends to avoid him, and affecting Paul’s eyesight,.

Theorist Vsevolod Pudovkin claims that narrative films are mainly a “product of construction” and cautious compilations of “selections of images that have been shot” (Renée).

‘There are…two kinds of film makers: one invents an imaginary reality; the other confronts an existing reality and attempts to understand it, criticise it…and finally, translate it into film’

" The main and essential thing is : the sensory exploration of the world through film. We therefore take as a point of departure the use of the camera as a keno-eye, more perfect than the human eye, for the exploration of the chaos of visual phenomena that fills space."

Film, is one of the rare arts that is both exciting and worldly, deliberately manipulating both space and time. This combination has given rise to two contrasting theories about film and its past development. Film theorist Rudolf Arnheim, argued that film must take the path of the other modern arts and focus on not telling stories or representing reality but on exploring time and space in a pure and discreet abstract way. Others, such as Andre Bazin, say that film must fully and carefully grow its connection with nature so that it can portray human events as compelling and telling as

Film is nothing more than the collection of moving pictures, and these images go to great lengths to transport its audience to a different historical context, whether it is a different location or period or the combination of both. Very few films are successful without the presence of a backdrop. Cinematic architecture can be broken into many sensory components. Everything that is shown in front of the camera is enveloped by the mise-en-scène. Architecture and its presence in the compositional scene is a make-up of several visual components. These include forms, lines, masses and negative space. Each speaks their language and how they can be interpreted. For instances, masses carry a visual weight, whereas form implies spatial relationships. A visually aesthetic experience is projected. The sense of emotion and interpretation of the featured space is then projected into the scene using lighting, sound, and post-production editing. An individual’s interpretation of the space is determined by multiple inputs in a heightened sensory state. The atmosphere establishes a theme or character traits that are

This paper will focus on the film techniques used by Cameron in his three most known movies, Titanic (1997), Avatar (2009), and Terminator series. Mise-en-scene according to John Gibbs is used in film studies in the discussion of visual style. Translated literally it means “To put on stage”, but for the purpose of students, it is defined as the contents of the frame and the way they are organized (p 5). In addition, a director’s style can be identified only through the arrangement and orchestrations of the film’s mise-en-scene (Nelmes, 425).The films Titanic, Avatar, and Terminator series were successful

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a

When photographs and film were first invented it was seen as a means for capturing reality. They would replace paintings in the role of capturing reality, due to the ability to capture pictures in real-time. In class we discussed about the idea that artists may choose to omit a part of a portrait that is not representative of the person being depicted (such as a random strand of hair standing up). Additionally, a random ray of light may draw attention to something in the real world that may also not be of great importance to the person in question. These same problems are things that can arise in movies and rather than having the viewer interpret and figure out what is being shown, the director can take on these responsibilities through the use of camera angles, multiple cuts, editing, artificial lighting, and the use of professional actors who can portray the director’s vision of the characters. Bazin identifies cinema as the human need for realistic representations. Bazin is a believer in realism and explains the elements of realism consisting of long takes, deep focus, limited editing, and the use of non-professional or relatively unknown actors (De Sica, “Metteur En Scene,” p.65). Though realism does have its place in filmmaking, it would fail to take advantage of the artistic gifts and skills of the director to show what he envisions the film to be. After considering both sides carefully, I have come to the conclusion that the formalist approach to filmmaking is

When film first started gaining popularity, it want’s as obvious that be connecting two different images, we would assume their relation. Film simply document events that occurred, it wasn’t until the enterprising pioneers of early cinema took hold that they began to manipulate their audience into following a story their way and feeling it in those exact steps. Lev Vladimirovich Kuleshov a Soviet filmmaker and film theorist in the 1920s who taught at and helped establish the world’s first film school, the Moscow Film School. He was one of the very first film theorists and one the great pioneers of early editing regarded amongst worldwide filmmaker and he is famous for what became known as Soviet Montage.

Mostly all film’s encounter variety amounts of elements to create a beneficial film. To obtain an interesting design of a film, directors manipulate the different fundamentals of cinematography to enhance a symbolic meaning. Some film’s can be categorized into two types, which are realistic and formalistic aesthetics. For instance, the film Pony Excess is a realist aesthetic film that proclaims the actuality of a film, while the formalist aesthetic film, Friday Night Lights, focuses on the persuasion of emotions. In the film’s Pony Excess and Friday Night Lights, realist and formalist aesthetics are conveyed through the fundamentals of a film, which are collision sound, fast and slow motion, real people, and on camera interviews to portray the reality and inner connection of a movie.

Films have been a way to interact more to its viewers, its gives them a sense of realistic meanings. For example in Beauty and the Beast we see “female glance”, being interpreted in many ways into the animated film. Female glance is an alternative spectator position to the “male gaze”, where both positions are generated by the way the film is created. Likewise, on the perspective of the “male gaze” it privileges the male perspective through both narrative and camera

Film Industry has been expansively affected by the changes in technology. The mechanical and digital innovations give cause to the influence of equipment, distribution and the way in which films are made and consumed. New trends shape directors and filmmakers to expand creatively towards telling stories in motions. The film industry has developed to one of the most important tools of communication, it's cause so powerful affecting the way individuals and societies think, act and behave. Among the new Era approaching film, and seeing celluloid film fade is that of the Digital Era and a camera that saw celluloid films passing hastened.