Temporality Kaufman

Interestingly, visual techniques are also effective in portraying the theme of free will versus determinism to question the responder who and what controls our lives. The tripartite storytelling structure incorporating three wholly, self-contained alternate versions of events is an unconventional filming technique reinforcing the postmodernist perception of having minimal control over life. As Lola rushes past minor characters in the film, flash forwards offer alternate glimpses of the possible outcome of their future, suggesting that fee-will alone is not a sole determination of the outcome of life. In each run, Lola’s encounter with these minor characters varies, showing that even the slightest change can become a significant impact to life. An extreme close-up

Christopher Nolan’s neo noir thriller film, Memento (2000), follows the life of the protagonist, Leonard Shelby, as he searches for the person who murdered his wife, whilst dealing with anterograde amnesia, forcing him to use “memento’s” to retain new memories. Through the employment of mise-en-scène and sound design, the central theme of ‘the pursuit of vengeance’ could be conveyed. Additionally, the theme ‘the fragility of memory’, is illustrated to the viewer through cinematography and editing. These techniques and themes are most evident in the dramatic final sequence in the film, specifically when Leonard finally gets revenge and Teddy unveils the truth about John G to him.

The star-studded romantic comedy Midnight in Paris is one of Woody Allen’s most recent films which he did both, wrote and directed. It is a film about a man named Gil (Owen Wilson) who travels to Paris with his fiancée’s parents in order to expand his imagination and he ends up embarking on a journey to the 1920s while walking the streets of Paris at night. Not only is this film engaging and witty, but it also manages to provide both, overt and covert examples of postmodernism in film. By analyzing Woody Allen’s 2011film Midnight in Paris, we can identify the presence of many underlying motifs in both the narrative and the characterization of the film when using some of Frederic Jameson and Jean Baudrillard’s concepts on postmodernism.

Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, “Harrison Bergeron” by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliant on his words alone to paint the picture for the reader to understand the movement of the plot and its impact on the atmosphere. The literary devices used in creating and shaping pieces of literature will heavily impact the point of view of the

Charlie Chaplin’s movie “The Immigrant” shows his mastery as a Director in the use of Mise-en-scene. His artful use of framing, movement, set design, props, and acting in this silent movie, artfully communicates emotion and story to the audience in every scene. The lack of sound did not hinder his ability to tell the story in a straight forward, inventive, and hilarious way, and in this paper, I’ll point out a just a few of the scenes where I feel I see the best use of Mise-en-scene. According to Robert Kolker of the University of Maryland, Baltimore County, “Mise-en-scène can be defined as the articulation of cinematic space, and it is precisely space that it is about”.

This film is a black and white film and the lighting is more towards dim effect which terrified the audience. Music plays the biggest effect in the film. Bernard Hermann’s theme is used for this film because it uses mostly high-pitched string instrument notes so the suspense and horror mood can be formed to the audience.

One of the most important components in the movie is aesthetic. The reason is aesthetic that can create atmosphere and mood. Especially, one of the most famous Hong Kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements in Aesthetic such as mise en scene, sounds, editing and the cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audiences into the movie. In this essay, I will argue that the subject of heartrending but romantic narrative has been depicted through the four components which are mise en scene, cinematography, editing and sound. This will be done by analyzing every scene, followed by analyzing each element of the film aesthetic.

Director, Rory O’Conner, in his documentary film 9/11: A Press for the Truth, portrays many facts from the 9/11 terrorist attack. The author has a clear purpose, to expose information about the attack, and defy what majorities of people think, he reveals the undiscovered aspects of the attack; which may have been purposely withheld from the public. He also gives credit and bases his documentary in some unfortunate group of woman called “The Jersey Girls”. He, O’Conner, adopts different tones from different personas, from harsh and severe, to soft, sad and unfortunate tones to appeal to all kinds of audience. The author opens the documentary by impacting images to the audience about the terrorist attack.

Hollywood, the popular American entertainment industry, since its birth, has always been the center for producing films and circulating ideologies. With its coexistence with modernity, it is no doubt that Hollywood has produced films, which aim to entertain and to give the new thoughts and experience of modernity to its audiences around the world. Hence, in this essay I choose two films, ‘Sunrise: a Song of Two Humans’ and ‘The Notebook,’ which coming from different eras of Hollywood and functioning as vernacular modernism, for the analysis on their representation of modernity, based on Ben Singer’s work on features of modernity, focusing on the change in family, marriage, and love, the shift to the consumer culture, and the rise of mass mobility.

“We’ll start by talking honestly, and from that a piece of theater will evolve. I’ll begin, I’ve been thinking a lot about dying lately. … Regardless of how this particular thing works out, I will be dying, and so will you, and so will everyone here; and that’s what I want to explore”(Synecdoche, New York). Synecdoche, New York is not just any ordinary film, Charlie Kaufman has created a movie in which the level of detail is so high that this movie will always be more after each watch. When discussing major pieces of a film, what happens a lot is that people get caught up on acting and cinematography and overlook smaller, yet just as important elements such as mise-en-scene, editing, and sound, which are the leading factors on what makes this

During the process of envisioning and designing a film, the director, production designer, and art director (in collaboration with the cinematographer) are concerned with several major spatial and temporal elements. These design elements punctuate and underscore the movement of figures within the frame, including the following: setting, lighting, costuming, makeup, and hairstyles. Choose a scene from movieclips.com. In a three to five page paper, (excluding the cover and reference pages) analyze the mise-en-scène

In a film review by James Berardinelli he states that “the non-chronological approach creates an intellectual puzzle”. (James Berardinelli ) He also gives an explanation as to why the director Perelman perhaps chose to take on this particular style of film directing for the movie. For instance, he describes that the film’s cinematography as being “composed of a series of memorable insert shots that show the details of everyday life we often don't notice. If nothing else, it can be said that The Life Before Her Eyes offers variety for the eyes.” (James Berardinelli) It is true that the beauty and complexity of the cinematography and non-chronological order of scenes helps to give this drama both cohesion and clarity but also helps to create an important character connection between different life stages of both the teenage and the adult

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

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

One of the most important components for the movie is aesthetic. The reason is that aesthetic can create atmosphere and mood. Especially, one of the most famous Hong kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements of Aesthetic such as Mise en scene, sounds and cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audience to the movie. In this essay, I will argue that the subject of heartrending but romantic narrative has been depicted through the two components which are mise en scene, cinematography and sound. This will be done by analyzing every scene, followed by analyzing each element of the film aesthetic.