The Movie Manhattan Directed by Woody Allen

This essay is going to look into how the film American Graffiti (dir. Lucas, 1973), depicts a teen experience. In order to understand how American Graffiti depicts a teen experience the camera, sound, characters and mis-en-scene will be analysed. It will be discussed on how Lucas portrays teen experiences through each character 's action and how their teen experience changes through the film through the use of the camera, sound and mis-en-scene. Also, it will be discussed how each characters teen experience differs through the use of the camera, sound and mis-en-scene.

Lee uses a lot of different methods of film to create this masterpiece. Lee shows fear and power in the neighborhood of Lexington Avenue and Quincy Street. He shows that every character and person in this story and movie is important in their different and very own ways. Lee shows that each person has an important role in the movie and

The film Sunset Boulevard (1950), directed by Billy Wilder, Norma Desmond exemplified a Borderline Personality Disorder (BPD) by being demanding, intense and unstable. These behaviors that are consistent with the elements of abnormality include suffering, social discomfort, dangerousness, and irrationality and unpredictability. The first element that is consistent with Norma Desmond’s character is suffering. Desmond being one of the greatest movie stars in history suffers as she experiences the fall from stardom. She also suffers from identity disturbance as she reaches an unstable self-image notion. In one scene when Desmond recognizes for a moment about her age, she claims, “Look at me. Look at my hands, look at my face, look under my

The 1955 dramatic film, East of Eden, directed by Elia Kazan, is a movie adaptation of the popular book written in 1952. Throughout this drama, moviegoers embark on a journey through various thematic topics such as the idea of good vs evil, the importance of repentance and redemption, and the human ideal of free will. For example, multiple characters in the film are split into two categories: those who are naturally good and those who are naturally evil. With this idea, characters either act how they are born or act on their free will to be who they want to be.

“Oh that’s a Steven Spielberg movie” isn’t a given all the time. The reason I say this is because there’s one prominent filmmaker that you can always tie movies to, Wes Anderson. When you watch one of Anderson’s films, you immediately know he was the director behind the piece. The real question is: how can you know? What makes him stand out from the rest?

“A Bronx Tale” is a film about directed by Robert Di Nero about a boy named Calogero an Italian American male, and his life as he grows up in a town occupied by the mob in the 1960’s. Calogero has two strong influences in his life. They are his father Lorenzo a proud middle class bus driver and a mob boss named Sonny. In the film there are three scenes that especially demonstrate the influence Sonny and Lorenzo have on Calogero.

The Bronx Tale is a movie based in the 1960’s. There were a lot of differential discrepancies between races. In this period of time, it was taboo for a white Italian to have any kind of relationships with a person of color. One of the main characters named Calogero was surrounded by friends who discriminated against blacks. However, Calogero was raised in this kind of environment, he seem to be optimistic about black people.

Robert Altman’s The Long Goodbye and Roman Polanski’s Chinatown are both good examples of neo-noir. They both carry elements of classical film noir with them, such as the “hard boiled detective” archetype, the “femme fatale” archetype, and they both deal with the gritty side of human nature. But while they both have some overlapping noir tropes that can be seen in classical noirs, these films are actually incredibly different from one another. They both act as examples for John Cawelti’s Modes of Generic Transformation. They both share one mode, but then have different modes in addition, making them noir-like in essence, but still incredibly different films.

Often regarded as one of the best films of all time by AFI, IMDb and film critic Roger Ebert, Citizen Kane, is a movie directed, co-authored, produced and starred by Orson Welles and released in 1941. The film follows a series of flashbacks to solve a mystery, and is based upon newspaper magnate William Randolph Hearst. The movies subtle comparison between the fictional protagonist, Charles Foster Kane (played by Orson Welles) and William Randolph Hearst leads Hearst to ban any mention of the movie in his newspapers. Citizen Kane shows the harsh realities of the lack of ethics in journalism as well as yellow journalism’s effect on public perception and politics that is ever-present to this day.

I have recently viewed the film ‘The Hurricane’, directed by Norman Jewison and starring Denzel Washington as Rubin ‘Hurricane’ Carter, the boxer jailed for crimes he did not commit. This emotional drama is a fantastic watch, with Rubin and his friends battling for his freedom after twenty years of unfair punishment. This film has been a hit all over the world and not only is it a great watch worth every penny but it sends out messages about believing in yourself and never giving up in what you believe. This action packed review will attempt to talk you through this roller-coaster of a story. Hold on tight!

Near the end of Woody Allen's 1977 film Annie Hall, Diane Keaton's role as Annie says to Allen's character Alvy Singer, "You're just like New York City. You're an island!" However, the link between Alvy Singer and New York City is not simply a fictional creation. Nor is the connection between Allen's character Isaac Davis and New York in his 1979 film Manhattan fictional adoration. Woody Allen loves New York. It is through the various characters he portrays and through a camera lens that he shows New York in the most majestic and beautiful way that he can. However, both films do so in very different ways. In Woody Allen's Annie Hall and Manhattan, Allen uses the camera lens to convey how big and majestic the city can be. This is done in

In Wes Anderson's The Grand Budapest Hotel, I believe the movie's design has a unified feel. By understanding Anderson's approach to cinematography, we can tell that the costume and visual designs ensemble a true Wes Anderson's film. In fact, he is indulged with patterns and lively colors. His plot mainly reflects an old- fashioned, nostalgic feel and he is a bit playful with camerawork. On the other hand, the Grand Budapest really feel like a lively, happy hotel. The use of colors and contrasting hues made the setting almost looks like a painting. For example, the frame narrative where the Grand Budapest Hotel became the setting, the mise-en-scène and the lighting of the film become almost too symmetrical and mannered, especially during the

Webster’s definition of the word Pariah includes adjectives such as outcast, persona non grata, leper or undesirable. It is believed within the Christian tradition and one that I adhere to, that Jesus walked the earth as a pariah. Divine, but also a human being who was an outcast to the powers that be. To many he was a threat to their sense of law and order. He was also a man of color as well as one without means. This I am sure (and as we read) created many a raised eyebrow or sheer rage at the thought of him being the one true messiah. Similarly, he was not the usual white, blue eyed creature we have been brainwashed into believing that existed in antiquity. On the contrary, Christ was a man on the margins. He ate with tax collectors, conversed

‘The Grand Budapest Hotel’ (Wes Anderson, 2014) combines a perfect mix of nostalgia and history. The film explores the themes of war as it recreates history through mise-en-scene. Anderson also incorporates other themes such as racism and elitism during pre-war Europe. The film widely explores Europe from many viewpoints, one of which is of Mr Moustafa. His nostalgia is seen through flashbacks of when he was a lobby boy that went by the name of Zero. As an audience the depth of his nostalgia is seen through mise-en-scene. With the help of cinematography and props we see can see the time and place that Moustafa acknowledges. Anderson shows how history is reimagined through ones nostalgia. Mr Moustafa recalls events, which he was not present in yet he explains them as if he were there. This also shows how one reimagines history from another due to emotions and personal attachment. Despite the outcome being the same there are many viewpoints it can be seen from.

In the Film The Pianist directed by Roman Polanski. We witness a scene where Szpilman is injured, filthy and starving he rummages around looking for anything to sustain himself. He finds a can of gherkins which he struggles to open he finds some fire stoking equipment and begins opening the can however due to the state of Szpilman he drops the can and the contents falls and drains at the soldier 's feet. In the Hosenfeld scene Points which will be covered are the visual aspects, the aural elements, the mise en scene aspects and post production elements and how all these elements relate to the “big Idea” of having something or someone to hold onto can make you stay focussed and not give up.