The Importance Of Realism In The Film The King Of Kong

Indisputably, Tim Burton has one of the world’s most distinct styles when regarding film directing. His tone, mood, diction, imagery, organization, syntax, and point of view within his films sets him apart from other renowned directors. Burton’s style can be easily depicted in two of his most highly esteemed and critically acclaimed films, Edward Scissorhands and Charlie and the Chocolate Factory. Burton ingeniously incorporates effective cinematic techniques to convey a poignant underlying message to the audience. Such cinematic techniques are in the lighting and editing technique categories. High key and low key relationships plus editing variations evinces the director’s elaborate style. He utilizes these cinematic techniques to

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

clever camera techniques which create tension and fear. The camera shots also pay close attention to detail. For example, when the man with the dog throws a stick for his dog to fetch into the sea, the camera

Looking at The King of Kong: Fistful of Quarters, we can see the first aspect used is the on-camera interview. The opening shot of this movie is an interview of the World Champion Donkey Kong player. The film itself has multiple interviews with different people. Most of the film is footage from the interviews. The directors take time to interview the World Champion, the challenger, the referee, other world champions of other games, and the families of the competitors. The interviews gave the audience a sense of who the person was and gave us some background information on their skill and how they came to like the game. Given the interviews, we were able to gain extra information about the gamers that we might not have been able to see from just watching them play the game. Additionally, it would be hard to make a movie about the Donkey Kong Champion without making it a documentary full of interviews. The interviews conducted informed the audience on the

This allows the scene to create greater tension with the use of darkness diverting the audience expectations. For the camera movement, firstly it is a long shot to show the location and they are going to fight, and then it use a lot of close up, over shoulder and extreme close up to illustrate how they fight with using different Kong Fu and weapons, during they are fighting, it also has some bird s eye view shot to show how intense of their fight, because it also show the ground fault of the weapons and the struggle traces shows the suspension. As a distinctively visual technique, audiences are able to feel the suspense. The way in the shooting, the director Ang Lee has done all the details in every possible way. In the light text effect, he spent most of the low key lighting to keep the mystery of kung fu; the lens shooting, he spent a lot of The third-person perspective and two shot make the audience appreciate the traditional Chinese martial arts, and he can also take care while a lot of details, such as eye contact play against the two sides, the audience can understand the meaning of what they want to say without the dialogue. The scenes is showing a back and forth between two characters staring at each other, then that is most likely the use of the shot-reverse-shot technique.

This is accomplished with different camera angles as well as the movement of the camera. For example, in many scenes as the camera follows the action it is shaky rather than sturdy, as if you as a viewer are walking around and seeing the action through your own eyes. One may also notice that an escalated level of action or conversation on the screen is mirrored by the pace of the film from frame to frame. In essence, a heated argument would involve a quick paced transition of shots, going from a close-up of one character to another at a rapid pace in tune with the argument.

Film and realism are connected to one another; it gives the audience an opportunity to interpret the film in their own perspective, in relation to the real world. As someone with a firm opposition to editing and montage, Bazin stated that the mise en scène truly represents “true continuity” in film, reproducing the real world more realistically. (Cardullo, 7) There are two editing systems: Classical Hollywood Cinema and Neorealist Cinema. From their similarities and differences, it can be said that Neorealist Cinema portrays the real world more realistically and effectively than CHC… In order to produce Bazin’s “true continuity” and reproduce situations more realistically, the filmmaker must choose an effective editing system, refrain from interrupting the flow of images, and use minimal editing, proven through the two films Bicycle Thieves (Neorealist Cinema) and Stagecoach (CHC).

In this movie, different filmic techniques are used, however, in my opinion, they are not very effective and thus it fails to improve or contribute to the success of the movie, which I believe it should. The filming techniques used in

The stop motion animation sequences were filmed separately from the live action scenes with the actors. These two parts were then combined to create the illusion that the ape was towering over the actors. In the 2005 remake of the film, director Peter Jackson relied on Computer-Generated Imagery (CGI) to animate Kong. This use of CGI gave the director greater artistic control of the narrative. Many of the sets were computer-generated, as well as Kong himself. To combine both the actors and the computer-generated images together, chroma keying was used. In the scene where Ann Darrow is placed in the hand of Kong, the actress was filmed against a green screen, and held by a large green hand. When this scene was merged with the digital Kong, a composite image shows Kong holding her. Since chroma-keying technology did not exist in the 1930’s, a full-sized, fur covered hand had to be constructed to create the effect of Kong holding the actor. The difference between the visual effects in both versions is significant, making is apparent that the remake has displayed great technological advancement. These advancements also make the film more believable, and emphasise the story.

The film, Jaws, uses a variety of different photographic techniques. Panning was used quite often in this movie to remind the viewer that they were a long distance from the shoreline. Additionally, plenty of filming was done underwater. This allowed the audience to get a realistic feel for the surrounding environment. The brilliant underwater imagery resulted with help from the naturally dark and chilling emptiness of the foreign ocean world. A notable climatic shot is

Anderson uses camera movements to speed up the pace as well as to show a constant forward motion. Having an upbeat pace makes the audience feel more elated because it is going so fast they do not have the time to process the sad parts of this story. He also quickens the pace by having short takes so the audience does not have a lot of time to process what has just happened. The constant forward motion of the camera, which is created by either moving the camera on a dolly as they walk, e.g. when the Scout Master is walking past all the tents with the khaki scouts in tow, or by pan the camera extreme fast between each frame, e.g. the beginning and end scene in the house with Suzy’s family.

The captions also imply that the set locations are real and not created in a Hollywood studio. The use of black and whites also adds to Spielberg's objective of realism, as black and white is more reminiscent of the time of the Holocaust. He makes effective use of handheld cameras in a few of his scenes; this creates a sense of urgency and fear. This also conveys that the film is not a Hollywood studio made film and mesmerises the viewer into believing that the events are nothing but the sober reality. The documentary styling contributes to the intensity of the film and creates stronger emotions within the viewers by adding to their disbelief and horror.

When Will is trying to solve a formula he writes his work on his mirror with a dry erase marker. The camera blurs out will and focuses on the formula and also does the opposite. While writing the formula out, the shots fade to the same shot but at a different angle creating a feeling that some time is passing by. Also, to support this feeling each time the formula is showed there is more added to it than one can write in the brief moment that it took to come back to it with the camera. Additionally, the benefit of having the scene of him writing on the mirror lets the viewer see him concentrating on the formula and lets the viewer see the formula being written out which shows the viewer how intelligent Will must be, since the formula probably made little sense to him or her. Another effect was a fight scene captured in slow motion. After the fight scene the cops showed up and many flashes of the scene from different camera angles appeared creating a feeling of confusion and made it seem speeded up without it being filmed in fast motion. During this movie many close ups were filmed where the eyes were the only bit of color on the screen. When Will starts talking to prove a point, which is several times through out the movie, the camera zooms in on him concentrating on his eyes. However, while Will and his friends were in the car the camera looks at each one individually from a distance while mellow music is playing while it is

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

By using this type of editing to include slow motion, the editing expanded chronological time. By expanding chronological time the events of the scene are dragged out so the viewer can see every element and detail of the scene. The way the film maker edited this film allowed the film to display battle scenes and excellent scenery that completed the appearance of the film. Through the use of editing of a film, the filmmaker is able to incorporate special effects, slow motion and expand chronological time in order to give the correct film effect on the audience.