The Movie ' A Real Hero '

After this, the shot pans along the road, and turns into a shot of police cars storming down the street. The fact that the street name, which serves as an embodiment of Norma and all associated with her, is so low to the ground emphasizes that the images of grandeur often associated with Hollywood are a facade, and that the true Hollywood is dark and grim, like a dirty street curb. The street pictured is dirty and unkempt, with weeds peeking out the cracks and piles of loose garbage and leaves strewn all over. This image serves as a stark contrast to the typical impressions people have of Hollywood, and reinforces that the true Hollywood is not the one seen so often on the big screen. Rather than opening with a scene showing off Hollywood’s magnificence, Wilder exposes to the audience what the “real” Hollywood is: a degenerate place full of misery and squalor. Moreover, opening scenes tend to set the tone of the movie, and leave lasting impressions the audience that carry through the entirety of watching. By showcasing the dark side of Hollywood before anything else, Wilder asserts that it is this dark, twisted version of the city that truly defines its inhabitants. In addition to pan shots, Wilder also incorporates music in the opening scene, which further adds to the dark image being relayed about Hollywood. The score is borderline cacophony, trademarked by sharp bursts of drums and trumpet that build suspense and

As a result, Ajay seems to talk to his portrayal of God more than his family. The cars in the parking lot can represent Ajay and his desire to have people who give him more attention and love then his present situation. The cars “waited for an opening in the traffic, their brake lights glowing” which could represent Ajay waiting for the right timing or opportunity to focus on and change his path. Throughout the story, many moments imply that Ajay wants to change his life, such as his interactions with his family and his conversations with his portrayal of God. In a way, these moments are like the brake signals that glow when the cars are waiting for an opening to leave. Ajay is constantly wanting to break free from his current circumstances, but does not have the right timing and support.

The car is one of the most important elements that develops and supports the theme brotherhood. The car is a symbol that is meant to show Lyman and Henry’s close bond, and it holds the key to their definitive separation. The red convertible is also a symbol of success, and a connection to the white world for both Henry and Lyman “ I was

At first glance, it takes a second to realize that the car is driving backwards and works only in reverse. This represents how people feel when dealing with conflict and hardships. When in conflict, Victor feels that he can never move forward. When he tries to move forward, he stays in one place or moved back yet another step. Many people today can relate to this and experience this same feeling in their struggles. This can also be said for the Indians living in the reservation. Ever since Columbus came across the ocean, the Red man has been constantly pushed backwards, unable to get ahead.

Unlike most films, Baby Driver integrates sound and cinematography in a unique manner, creating a symphonic orchestra of film composition. The initial heist and getaway of the film is a prime example of how audible and visual filmmaking can have such a large influence on each other, creating a piece of cinema that is driven by a distinct beat. Although in most films no actions are arbitrary, Baby Driver takes this premise to an entirely different level, directing every action to sync with the music in the scene: whether it be diegetic or non-diegetic to the character. Within the first five minutes of the film, the audience is introduced to the characters, setting, plot, and general motivations of the story without any dialogue. The opening scene employs a brilliantly creative combination of cinematography, music, and directing to convey the characters’ location, purpose, and emotion. This scene also sets the mood and tone for the rest of the movie. Director Edgar Wright and Director of Photography Bill Pope’s manipulation of mise-en-scène—through the use of sound, shot composition, and direction—creates a masterful scene of cinema that captivates the audience, pulling them into the world of crime and the story of a reluctant getaway driver. Each shot and beat is perfectly paired with a specific purpose to communicate the story to the audience. As a result, the opening scene of Baby Driver is an archetypal example of how to communicate a story to an audience without any

The tension rising in the stopped car is showed even more so when the car wouldn’t start quickly and Jean Louise responds, “‘No good for city driving.’” (Lee 14). This failing transportation shows the tension of Hank and Jean Louise’s relationship. The movement that Lee creates also clearly shows how Jean Louise has hardly changed and how she refuses to change in a continuously changing

In life, you never know if you can see the person you may see on the sidewalk or even across the stress. But, in all realities, that person may have a connection to your life. They can be your future spouse, boss, or the murder who may kill your loved ones. In the movie Crash, everyone has connected to each other in a different or common way. The film takes place in Los Angeles, where minorities are dealing with racial tensions while living in the city. The film broadcasts live of many individuals from different socio-economic classes, which they have life-changing experiences during challenges with prejudices and stereotypes. The film shows interpersonal communication which is “The ability to process and gain information between two or many people” (William 20). The film follows the lives of many resides of different races, social class, careers. The group main character in these groups is John Ryan and Tom Hasen who are Caucasian LAPD police officers. Cameron and Christine Thayer who are a young African American couple. Peter and Anthony who are young adults African- American car thief’s. Farhad who’s an Prussian business owner. Daniel who’s an Latin American locksmith. Lastly, Shaniqua Johnson who an African American administrator.

Carter said, “That car ain’t run in fifteen year,” like the automobile this quote, portrays that even if you stopped moving for some time, with some adjustment you can get moving again. The road sign said, “Drive carefully. The life you save may be your own.” This quote and it is also the title of the short story, shows to keep moving in life you have to keep safe, and choose the right decision, based on Mr. Shiftlet situation it is like a reminder to seek change anything he has done wrong, before he misses the chance of redemption. To sum this up, the automobile is important in the short story, because it shows that people keep moving on, the automobile shows Mr. Shiftlet’s final act of corruption by abandoning Lucynell, and she was his opportunity of salvation, but instead he took the automobile which he has set his eyes on for a while, Mr. Shiftlet went back empty, wandering

This use of colour continues throughout the film, with the bright yellow VW bus, which acted as a motif. We used the colour yellow to evoke feelings of happiness and optimism, symbolising the families journey of re-connecting, of hope, and to reinforce the individual versus the collective action- working together for a change rather then separating themselves as individuals. We chose the ridiculous loud and irreparable car horn to symbolise and reinforce the dysfunction of the family, and convey the initial lack of connection.

In Road Rage mateship is also illustrated to depict Australian culture. Mateship is highly evident throughout the second half of the film. It is represented as something that unites the community of drivers. An example of this is when the aggressive driver changes mood and shows empathy towards the negligent driver. Having both the characters on the same level, creates equality between the two, and close up shots of both men’s faces each with expressions of sorrow. Another example is the use of mis-en-scene, when the enraged driver hands the negligent driver his handkerchief, this action symbolises the change in mood from aggression to compassion. It is clear Road Rage represents mateship in Australian culture.

The movie, Crash, demonstrates the lives of various individuals from divergent socio-economic classes, who have life changing experiences in between their conflicting prejudices and stereotypes. The theme of multiculturalism has also made its influence on the major characters of the movie: a white American district attorney and his wife who is constantly scared of "the other"; two African American thieves who steal their car, a racist police officer who offends an African American TV producer and harasses his wife, a non-racist police officer, a Latino lock maker, a Persian family and another African American detective in the search of his brother.

The video is about the Reuther brother's, primarily Walter Reuther and his ways in uniting those involved in the automobile industry, in creating a Union. It all started in 1920 when the automobile industry was doing really well so a lot of jobs were available to the general public. Walter Ruther was a Steel Maker and as a young adult got a job at a manufacturing company. Not as much Walter but the majority of those who worked for these automobile companies “killed themselves.” Steel labor was 10% of those who worked within these companies compared to the 90% who ran the work line in the automobile industry. Walter’s brothers Victor and Roy Reuther began to talk with others about stepping up to create a union so everyone could get

Driving Miss Daisy depicts a strong friendship that progressively builds between an elderly Jewish widow named Daisy Werthan and an African American chauffeur named Hoke Coleburn. After crashing her car into a neighbor’s property from pressing the reverse peddle too hard, Miss Daisy Werthan lost her privilege to drive on the road. Since she cannot drive, her son hired Hoke to be her personal chauffeur. At first, Miss Daisy refuses to let Hoke drive her anywhere out of fear of losing her independence but out of necessity; she began to accept his offers. From driving to a local Piggly Wiggly to Miss Daisy’s brother’s 90th birthday party in Alabama, the two characters begin to appreciate and respect one another that gradually forms a loving

As they are travelling Richard gets a phone call from Stan Grossman, a business man he made a deal with so he can earn something from his motivational programme. Richard loses him so he stops over at a petrol station and calls him. Richard is excited at first but his facial expressions change drastically, Richard finds out that he isn’t successful with his programme and that he didn’t get the deal. This comes as a shock to Richard as he tried really hard with his programme. In the bus Edwin goes to Richard and tells him that he is proud of him. The camera cuts to a two shot of Edwin and Richard, this shows that Richard and Edwin connect and start to unite. This is also emphasized by violins and cellos playing a sombre tune in the background. They stop over at a motel to spend the night, Richard and Sheryl start arguing about what their problems and they didn’t get any money from the deal. Richard decided to go to Scottsdale and meet up with Stan Grossman, we see Richard trying to push the bus all by himself. This shows us the obstacles Richard is facing, this is also emphasized by the background music which sounds like slow carnival music which reminds us of a sad clown. As Richard is traveling on the highway he looks small and ridiculous travelling on a small scooter on a huge highway, he doesn’t fit in the picture. A sign on the road says Scottsdale 23 miles; this again shows the obstacles that Richard has to face by

An analysis of how cinematography, editing and mise en scene creates meaning and response in the Blood Bath scene of Taxi Driver (d. Scorsese 1976) Taxi Driver was directed by Martin Scorsese and written by Paul Schrader, in the film the director explores the journey of Travis Bickle (Robert De Niro) and his slow descent into madness and eventually to murder. In the final scene of the film Travis goes to a brothel to murder the people inside and save the young prostitute, Iris (Jodie Foster). Meaning and response is provoked by lighting, shots, editing and costume and I will discuss how this relates to the context of the time. The scene opens with Travis parking the taxi, the colours in the scene are muted and desaturated creating a dismal atmosphere.