The Classical Hollywood Paradigm in Singin' in the Rain

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

Watching a film, one can easily recognize plot, theme, characterization, etc., but not many realize what basic principle lies behind nearly every story conceived: the hero’s journey. This concept allows for a comprehensive, logical flow throughout a movie. Once the hero’s journey is thoroughly understood, anyone can pick out the elements in nearly every piece. The hero’s journey follows a simple outline. First the hero in question must have a disadvantaged childhood. Next the hero will find a mentor who wisely lays out his/her prophecy. Third the hero will go on a journey, either literal or figurative, to find him/herself. On this journey the hero will be discouraged and nearly quit his/her quest. Finally, the

In conventional Hollywood cinema, narrative is subservient to the viewer 's overall pleasure and ease of understanding, as it provides an overarching framework which may elucidate the motivations and consequences of a character 's actions. However, Korine expresses his dismay with classical narrative, "I can 't stand plots, because I don 't feel life has plots. There is no beginning, middle, or end, and it upsets me when things are tied up so perfectly" (Geoff King, 59). As one may expect, JDB 's narrative structure challenges our expectations, dissolving any sense of linear continuity in favour of "a cinema of unpredictability" (Adrian

Marlon Brando was a large Hollywood star during the 1950’s, but during 1965 Brando was seen as challenging and uncooperative while shooting Morituri, which negatively impacted his stardom. The 1966 documentary, “Meet Marlon Brando,” is comprised of multiple interviews taking place in a New York hotel, with Brando about his new movie coming out, Morituri. In this short film, the Maysles Brothers want to shift the public’s view from Marlon Brando being a man who is challenging and uncooperative, to someone who is intelligent, charming, and light-hearted. In this film, the Maysles Brothers use the rhetorical appeals of pathos, logos, and ethos, as well as including fallacies such as exclusion, appealing to the crowd, and red herring.

Flaherty was also able to clearly understand that in order for a viewer to follow a story, certain conventions must be followed. And through the frequent use of titles in this film, he made sure that the settings were asserted or depict the stage they are within their journey, but

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

When, Ruth tells Tommy Kathy thinks his art is a “complete hoot” she grows very angry, which is strange because she can usually understand why people do the things they do, or put herself in their shoes so to speak. This event emphasizes how important Kathy’s relationship with Tommy is to her.

In Hollywood actors and actresses are expected to have a certain image. This was not the case for Lina Lamont in Singin’ In The Rain. Lina Lamont had the perfect image for silent films, but when it came to talking, she had a high-pitched voice that no one wanted to hear. When Lina and Don made a talking motion picture, Lina had to fake her voice or face the consequences of being laughed at by everyone in Hollywood. The company hired another woman to be the voice of Lina for the films. “You mean it's gonna say up on the screen that I don't talk and sing for myself? They can't do that! They can't make a fool out of Lina Lamont. They can't make a laughingstock out of Lina Lamont. What do they think I am, dumb or something?” This event in Singn’ In The Rain shows the audience how manipulative Hollywood can be. The people viewing the motion picture film believe that Lina Lamont’s voice sounds beautiful when in reality her voice is

Shane, Destry Rides Again and Support Your Local Sheriff are classified as a classical plot of western films, so it is no doubt that they share similar structures. Shane, Destry, and McCullough exist in societies as strangers, but they use their special skills to defeat villains who threaten the citizens. Wright summarizes formulations to western films, which help audiences to recognize the differentiation in western films. He analyzes most films of classical plot into sixteen steps. On function of the classical plot is “The society does not completely accept the hero”

'Classical Hollywood cinema possesses a style which is largely invisible and difficult for the average spectator to see. The narrative is delivered so effortlessly and efficiently to the audience that it appears to have no source. It comes magically off the screen.'

A journey in a hero myth is an intriguing concept in learning through trial and error. This is a result of character development for the protagonist in this type of story. These stories remained significant for decades and are timeless by avid readers. One example would be the film “Rocky” starring Sylvester Stallone. It is considered a hero myth primarily because Rocky, the main character, is chosen to face a difficult challenge which will test his worthiness as a hero. Several emotional moments also happen as he will meet many important figures that will change his character. The reasons why “Rocky” is considered a hero myth because Rocky lives in an ordinary world, there are important archetypes from supporting characters, and there is a huge test that leads to a special reward.

In Michael Hazanavicius’s 2011 movie The Artist, a silent film actor named George Valentine struggles to find success with the rising popularity of sound films and stars. Through the use of symbols and characterization, the movie demonstrates how sometimes one must overcome pride and come to terms with one’s own shortcomings, as well as the potential dangers of failing to do so. The protagonist, George Valentin, goes through inner conflict from refusing to adapt to the present. This stems from his character as an older man, the opposite of a typical “quester”: young and foolish, with much to learn (Foster 3).

In the following essay, we will identify the narrative, stylistic and thematic conventions of our term project. There will also be an editing pattern analysis of our reference film James Bond. We will then look at the 5 skills I have chosen and elaborate on them. Our film’s genre is action and its sub-genre is spy, the title of our film is Agent Brody. Our film deals with many narrative, stylistic and thematic conventions.

Film is a new age media, compared to literature, where directors have more ways to bombard us with literary devices. Precedent to movies were books; both mediums can express ideas through symbolism and metaphors. However, film directors have a wider set of tools to express the same idea. In this literary review, we will be identifying this. Ultimately, we will be discussing what symbolism is, how we can identify them and how they are transformed through cinematic and theatrical techniques.

Almost Famous (2000) is a dramatization of writer/director Cameron Crowe's real-life experiences as a teenage rock reporter for Rolling Stone. Based on thinly-veiled autobiographical material from the precocious beginnings of Crowe's early career, the screenplay shapes sentimental memories into movie magic. But how did Crowe give his own coming-of-age tale such universal appeal? A closer look reveals that Almost Famous, like most films worth their salt, is yet another incarnation of the greatest and only mythological adventure, "The Hero's Journey." This relationship can be explained using