The Film Moonlight Film Analysis

“Steel Magnolias” is a story about the close-knit relationships between six eccentric Southern women living in a small town in Louisiana. The film has a home spun, unpretentious feel to it. The plot alternates between humorous, everyday events with good-natured quips and the seriousness and heartaches to life’s unexpected crises. Through the laughs and tears, the six women learn to endure hard times and emerge from the struggles with grace and dignity. The film is set in the 1980’s with a tight knit homespun atmosphere. The Southern belles who are goofy on the outside but strong enough inside to survive any challenge that life deals them. Friendships help with a

The film Moonlight was released October 21, 2016. Moonlight is all African American cast, and was awarded over 25 awards including the Academy Award for best picture. This film is a coming of age story that follows the dramatic ups and downs of the life of Chiron, a young Africa American man growing up in Miami. The plot begins from the time he is in elementary school to the time he reaches adulthood. The plot is structured in three stages of the life of Chiron and touches on the topics of the struggle of dysfunctional households via socialization, sexuality and sexual identity, physical and emotion abuse, and the process of accepting ones self.

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

Princess films are beloved classics that range from the beloved Disney franchise, to live action films such as the Princess Diaries, to historical tales as those seen is polish films. No matter what the format or genre these films typically have a prince searching for his love the princess and contain recurring scenes. The film The Princess Bride offers a new comedic approach to this classic genre. While scholars have explored how princess films are able to succeed through the use ideas such as nostalgia or nationalism, The Princess Bride succeeds through the use of comedy. Through the use of comedic devices such as mistaken identity, absurdity, and good old-fashioned slapstick comedy, The Princess Bride is able to parody the traditional

The movie Before Night Falls directed by Julian Schnabel offers viewers a glimpse of how the homosexual community in Cuba was being mistreated under Fidel Castro’s regime. The true story is told in the eyes of Cuban poet Reinaldo Arenas. The film depicts Arenas life in Cuba and all of the awful experiences that he had to deal with as a homosexual. Eventually he was arrested for false accusations of being a molester, however, he was actually under arrest for being a homosexual. Between the 1930s and 1990s, the Communist Cuba was abusive to the LGBT community as shown in their actions of harassment towards homosexuals, imprisoning the homosexuals, or sending them to re-education camps.

“Here’s Johnny!” A famous line from The Shining, when Jack Torrance goes mad and is hacking at the bathroom door with an axe to mutilate his wife, Wendy and son, Danny into many little bloody pieces for disobeying him. The Shining is a 1980 psychological horror film directed by Stanley Kubrick. Jack Torrance played by Jack Nicholson, quits his job as a school teacher and takes a job as caretaker at the isolated Overlook Hotel in Colorado during the winter, hoping to cure his writer 's block. He moves in along with his wife, Wendy portrayed by Shelley Duvall, and his telepathic son, Danny played by Danny Lloyd. Danny is later told that he has an special telepathic ability called shining, hence the title.

Barry Jenkins’ Moonlight depicts the coming-of-age of a young black boy as he struggles with and endures abuse for his sexuality, causing him to hide his internal conflicts. The life of the protagonist, Chiron, is split into his three main stages of life, with each part focusing on the physical and emotional abuse he endures due to his homosexual orientation. When the viewer first meets Chiron, he is running from bullies. As he ages, the bullying follows him, causing him to harden and avoid vulnerability in his adult life. Jenkins uses climactic scenes in Chiron’s life to portray how prejudice against black sexuality forces him to conceal his true identity. In Moonlight, Jenkins’ cinematic style illustrates Chiron’s public and private

The Movie steel of Magnolias is about six women that come together in this hilarious and heartwarming story of life, love and loss in a small Louisiana parish. At the center of the group is Shelby Eatenton, newly married and joyfully pregnant, despite the fact that her diabetes could make childbirth life-threatening. Terrified and angry at the possibility of losing her only daughter, M'Lynn Eatenton looks to her four closest friends for strength and laughter as she battles her deepest fear of death in order to join Shelby in celebrating the miracle of new life.

Cinderella Man was an incredibly magnificent and uplifting film that followed the life of the “Bulldog”, later entitled “Cinderella Man”, starring Russell Crowe as James J. Braddock, the American heavyweight boxer. Primarily, Cinderella Man embodies strength and willpower as once-undefeated heavyweight fighter, Braddock’s loses started to rapidly accumulate, so bad that he was released from his boxing contract and was merciless impeded from fighting. Correspondingly, deprived of work the bulldog began to undertake hard labor during the Great Depression to counterbalance myriad bills and overdue payments. Moreover, Braddock and his wife Mae together had three children to nourish. Correspondingly, years later, Joe Gould played by Paul Giamatti, was Braddock’s old boxing manager and contracted him one last concluding fight, which he won. Hence, the Bulldog started to train again and James J. Braddock was reborn after countless winning comebacks. Ultimately, Jimmy undergoes a fairy tale rise from a poor local fighter to the heavyweight-boxing champion of the world.

“The most exciting moment is the moment when I add the sound… At this moment, I tremble.” (Akira Kurosawa) Sound is arguably the most important concept in cinema studies, being there ever since the beginnings. It can radically change the way a motion picture is looked at and it can render what the director may sometimes find hard to depict using only his camera. Looking upon silent cinema one discovers an era which wasn’t at all silent, but rich in sound of different forms, from the simple narration of the images shown on screen, accompanied by a piano, to the complex score later composed specifically for that film. An example of that complex score is shown in Sunrise, a film by F.W. Murnau, which lies at the border between silent cinema and sound cinema. Considered to be one of the first films with an actual score, Sunrise is a great example of the multitude of dimensions and effects sound can have.

Masculinity is presented throughout this film in a manner that forces Chiron to become isolated from his peers. As it is shown in opening of the “i. Little” chapter, he is instantly being ridiculed and severely bullied for being weaker than the rest of the boys in his class. It is stated in “Machismo and Hollywood’s Working Class” that, “Images of men are neither domesticated nor ‘sensitized.” This statement forms a parallel

Identity is transitional. Not one identity is held constant throughout one’s life. Thus, the intersectionality of one’s identity conveys how complicated humans are. This complex nature of humans is brought to life in the movie Moonlight. Directed by Barry Jenkins, this coming of age film explores the many facets of identity in the main character, Chiron. Chiron is not the only fully thought character; every named character parallels people of all walks of life. Through the intricacies of the characters, stereotypes are presented and shattered. But, the film’s central point is not to counter stereotypes. Moonlight tells a story of reality where stereotypes are rooted in truth. Consequently, Moonlight plays into a majority of stereotypes of class, race, gender, and sexual orientation.

The arc from the innocence of the little boy to the uncomfortable vulnerability hiding underneath the muscles and gold fronts of the hardened adult is moving on multiple levels. Observing his difficulties forces you to absorb the conflict and inescapable trepidation that surrounds the shared character. Pressing his heart to your own makes for one of the most moving and rewarding film experiences of the past few

Film noirs describe pessimistic films associated with black and white visual styles, crime fiction, and dark themes. Sunset Boulevard is a 1950 film noir directed by Billy Wilder. Sunset Boulevard presents many themes that are common with the genre film noir, but also introduces some differences from the typical movie in that genre.

Presented in an engaging and intensely graphic visual style, Waltz with Bashir uses the medium of fluid animation to present layers of history and effectively communicate concepts surrounding how we deal with trauma. Often referencing traumatic events that which current society did not encounter directly themselves, Waltz with Bashir triumphs in the struggle against ethical and visual implications of animated form, evoking a strong emotional response in its visual style. A vector based, frame by frame animation technique was used to present a re-enactment of the events that took place; referencing live-action footage as visual reference for the stand-alone animation process. The opening scene of the film sets up the dramatic visual style; as the camera tracks along, rabid dogs run loose on the streets of Beirut. Initially just one dog running towards the camera, eyes wide and vicious, swiftly multiplies into a pack of dogs, snarling and drooling; tearing through the highly stylised war-torn streets. This dramatized, surrealist scene we later find is actually a visual interpretation of a nightmare that Folman’s friend Boaz has connected to his experiences from the war in Lebanon. Typically a convention used in narrative film, Folman’s process removes us from the reality in the film because of its surrealist animated form and we become lost in the spectacle of animation. This allows the feature’s concepts to