The Differences Between Three Kings And Apocalypse Now

There’s no doubt that Star Wars is one of the most impactful films of all time, having changed the movie-making game ever since it premiered in 1977. It quickly became a global phenomenon and has accumulated some of the most passionate fans in the universe. Star Wars: Episode IV - A New Hope is a great example to use in order to illustrate the properties discussed throughout the course. In this paper, I will analyze the entire movie. To begin, I will start by giving some basic information about the motion picture, such as the director and type of film. Next, I will provide a brief summary of the film.

The strong imagery paints a picture of the battlefield and draws a connection between the past and present leaving the football players with a feeling of loss.

Editing, Cinematography, and Sound in Gladiator The film that I have chosen to analyse is Gladiator. I have chosen to analyse the scene where the gladiators are battling in the Middle East. The scene contains many features and editing techniques which make the fight sequence exciting and thrilling.

gives us simple a wide view, so that we can see lot more scenes and

Almost every piece of cinema seeks to give the viewer an understanding by intricately assembling shots in a coherent, and a sometimes muddled, manner; the techniques used in editing places various shots in purposeful sequences, to emphasize certain relationships between shots. The shots can be arranged smoothly and logically, or shift abruptly from shot to shot; different methods of the aforementioned arrangement of shots are utilized in either discontinuous or continuous editing. Sherlock Jr. and The War on Drug’s music video “Holding On”, are two motion pictures that offer spatial relations, by applying techniques of both continuous and discontinuous editing.

Over the many years of filmmaking, there is no doubt that classical Hollywood has made an interesting name for itself. The classical Hollywood style has become quite predictable in relation to film narrative because of their unique filmmaking choices using devices like continuity editing, three-point lighting, centered framing, and musical scores. When we think of a classic Hollywood film, we usually imagine a story with a happy ending. A phenomenal film that performs all these functions

In the words of Albert Einstein, “reality is merely an illusion, albeit a very persistent one.” Since its earliest forms, cinema has been a medium that tries to imitate, and even sometimes, expand our sense of reality (Manovich). In his article “Intensified Continuity: Visual Style in Contemporary American Film”, David Bordwell suggest that newer methods have built upon previous methods in Hollywood cinematography to modernize that sense of realism. In Bordwell’s words, intensified continuity is “traditional continuity amped up, raised to a higher pitch of emphasis” (p. 16). A modern movie that demonstrates the idea of intensified continuity is the 2009 Sci-Fi film, Avatar. The film is set in the future on a planet called Pandora where humans

In both The Things They Carried and Apocalypse Now, transitional archetypical roles are used to show the degradation of innocence, as a result of the conflicts of war. In The Things They Carried, Mary Anne Bell, the young girlfriend of solider Mark Fossie, is brought to Vietnam in the heart of the war to be with him. In the beginning of her visit, Mary Anne is extremely soft, kind, and ignorant to the nature of the conflict taking place around her (O’Brien 91). Her relationship with Mark is one that appears as overly romanticized: “Mary Anne Bell and Mark Fossie had been sweethearts since grammar school. […] [someday] they would be married, and live in a fine gingerbread house near Lake Erie, and have three healthy yellow -haired children.

In Heart of Darkness and Apocalypse Now, both Joseph Conrad and Francis Ford Coppola create similar statements through their creations as they both centralize their views upon the effects of environmental changes that affect the human condition. The film Apocalypse Now vaguely reflects a similar message pursued by Conrad’s novella, due to the difference in time period, place setting, and circumstances in which the film was created. Conrad wrote his novella during British colonization, focusing upon imperialism. Coppola’s film similarly focused upon the barbaric nature of man, which demonstrates the insanity of the Vietnam War. In Heart of Darkness, Conrad centers his main focus upon the journey of Marlow, a sailor, who travels into

In the early 1900’s silent films amazed audiences with images, later talkies impressed with sound, today we have 3D. As technology continues to evolve so too will film genres. Genres, while having some shared characteristics, also differ in terms of stylistic devices used. For instance, the dramatic film “The Notebook” effectively uses color to reinforce theme and has plausible performers as the two main protagonists.

To convey the terrible truth that the Allies lost 10,000 men on June 6th, the director had to recreate the gruesome blood soaked waters and beaches and the piles of dead and dying soldiers. The scene when Miller’s men go rummaging through the huge pile of dog tags is surreal.

A realist film that shows great accuracy is the war film All Quiet on the Western Front. The storyline incorporates just enough action to inform viewers that it is a war movie and at the same time it also embodies many other aspects such as the politics, emotions and hype involved with the war (Ronald, R. 2013). This gives the viewer a more accurate view as all aspects of the war are covered. Throughout the film we see that real locations have been chosen to enhance the realistic vision and accuracy of the film.

Since 1968, there have been at least 25 films made that portray the events of the Vietnam War. Historians have to ask themselves when watching these films, "Did the fictional character represent historical figures accurately? Is this how a soldier would react in this situation?" The point of view of the director of the film can change with simple alterations in camera angles. For example, a view from the ground of a battle seen can show how the innocent people had the war in their own backyards. The view from a helicopter can show Viet Cong firing rounds at American troops and the troops can't tell the difference between the innocent and the enemy. The audience feels empathy and sympathy for the person from whose point of view the

In Francis Ford Coppola’s, Apocalypse Now (1979), you follow the journey of Captain Benjamin L. Willard, as he makes his way up the Nung River on a US Navy patrol boat in Vietnam to assassinate Colonel Walter Kurtz. Coppola’s film reflects the Vietnam war and all the horrors –seen and unseen— associated with it. Specifically, the dissent into madness and the dehumanizing effects of war. Coppola uses the river to symbolize this dissent into madness. The further up the river the crew got, the more dehumanized they became. Even Coppola’s choice of title Apocalypse Now screams what this movie is about. This symbolism accompanied by perfectly paired music and camera angles that often cast shadows strongly show the madness of war.

The first fascinating difference between this work and the majority of other war photography presents itself in a fairly obvious manner. The soldiers’ faces in “Into the Jaws of Death” are turned away from the photo so as to make them invisible to the audience. Instead, we see only the supplies on their backs and the camouflage on their uniforms. The effect of this lack of eye contact is that the audience cannot connect with the people in the photograph. The majority of other wartime photographs used iconic images of courageous and vibrant soldiers rushing fearlessly into the glory of battle or contained motivational quotes requesting support for the troops. “Into the Jaws Of Death” does neither of these, entirely on purpose. Because we as the audience do not have eye contact