The Movies Badlands ( 1973 ) And Days Of Heaven

I will talk about how auteur theory can be applied to the study of Hitchcock’s North by Northwest and vertigo.

David Bordwell wrote his article ‘The Art Cinema as a Mode of Film’ in an effort to convey the main idea that “art cinema” can be considered as a distinct mode of film practice, through its definite historical existence alongside other cinematic modes, set of formal conventions, and implicit viewing procedures. Rather than searching for the source of the art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it defined itself against the classical narrative mode; especially with the way it deals with space, time, and the cause and effect link of events.

Hollywood cinema is primarily subjected to telling stories. The inclination of Hollywood narratives comes not just from good chronicles but from good story telling. The following essay will discuss Hollywood’s commercial aesthetic as applied to storytelling, expand on the characteristics of the “principles of classical film narration” and evaluate alternative modes of narration and other deviations from the classical mode.

Orson Welles was born on the 6th of May in 1915 and died in 1985, on the 10th of October. He used to play magic, paint, and play the piano as a child, a later on he found himself directing, producing, writing and acting. Orson Welles performed in Romeo and Juliet, and started a radio career at the same time in 1934.

All films, regardless of their intended purposes, tend to capture a piece of history and culture within them. Film’s ability to capture images and produce a visual is truly unique, as other methods of storytelling, such as writing a book, fail to truly encapsulate the human experience. Using an aesthetic lens, film directors essentially preserve time, and bring us back to our roots. Through masterful manipulation of the aesthetic properties of film, Milos Forman succeeds in illuminating the historical and cultural significance of One Flew Over The Cuckoo’s Nest, making it worthy of placement in the National Film Archive.

The greatest art in films is by the means of the ability to create an emotion in the viewers of the film and by the means of and imagery. Alfred Hitchcock, for long time, has been a household name since he began filmmaking. Hitchcock has been able to accumulate a well known and distinct cinematic techniques making him stand out as one of the best filmmakers around the globe. What makes Hitchcock’s films ‘must watch’ movies are how he draws his viewers’ emotion and leave them in suspense (Maher 246). Hitchcock’s The Birds is an American horror-film dropped in 1963. The film is loosely based on the 1952 story of Daphne Du Maurier and focuses on a sudden series, unexplained powerful and violent birds attacking the people of Bodega Bay (Maher 247). In this movie, the fact that viewers do not get to know the details of the birds makes it an interesting but a suspense film, which evokes thoughts of the audience to know much about the birds. On the other hand, Identity, which was directed by James Mangold in 2003, revolves around the life of ten people who seeks refuge in an isolated motel when a vicious storm breaks out in the desert of Nevada (Falsafi, Khorashad, and Khorashad 2521). As they seek refuge, a serious murderer, Taylor Vince awaits his execution for killing a group of motel guests. This paper, using terminology resources and cinematic techniques, seeks to expatriate the similar technique styles adopted in the two films to enhance suspense. The cinematic techniques

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

The films Stagecoach (1939), High Noon (1952) and Unforgiven (1992) lend from popular themes from frontier myths, however they employ these themes in different ways that are representative of the social change present during the decades in which they were produced. These themes include gender roles, villains, and the issue of justice within a community, glamorization of violence and the genre-typical structure of the Western move. An overall trend in the Western genre is evident in the way that these movies continuously challenge the “progress” that was representative of the frontier West. Initially, western films did not have any social connotations attached to them other than the glamorization of the west, but as the films progressed with time we see this time evolving.

In Notes on the Auteur Theory (1962), film critic Andrew Sarris formalised auteurs theory by explaining the auteur, the main creative force behind a film, must consistently demonstrate three premises: technical competence, personal style and interior meaning (Sarris, 1962). Wes Anderson accomplishes all of these criterions of value. Each of his films, which are inspired by personal experiences, are concerned with triggering nostalgia through “...common themes of childhood, adolescence, maturity, desire, friendship, male bonding...”, the trappings of wealth/luxury and familial dysfunction (Dilley, 2017, pp16). As such, by analysing key scenes from throughout Anderson’s oeuvre of work, one can see how Anderson’s auteur status is justified. For the purpose of remaining succinct, key scenes will be drawn from only Rushmore (1998),

In the late history of film, few individuals have truly made something so unparalleled that it could influence the entire business. Tim Burton has delivered an extraordinary measurement of movies that elevate the inquiry, is Burton one of these individuals? Might he be clever to merely be a ordinary, if topsy-turvy, producer who has figured out how to convince everybody he is phenomenal, or would he say he is the splendid visual craftsman who utilizes his abilities to make marvelous motion pictures? The director's part in present-day Hollywood is loaded with controversy. He has earned the status of auteur. Burton is a director who has had an effect—both in the business and on the silver screen goers—and whose movies, so uncommon in their honest

Citizen Kane (1941) brought about change to the way Hollywood made movies. It is likely the most famous and highly-rated film due to the extraordinary innovative cinematic techniques used throughout this black and white film by its star, director, and producer, Orson Welles. This paper will discuss some of these techniques and provide a few examples from this remarkable movie. Orson Welles, in his film Citizen Kane (1941) challenged the traditional narrative and technical elements of classic Hollywood through innovation with techniques such as deep-focus, moving through objects, wiping, low angle shots, inventive use of light and shadow, and storytelling.

Over a group of films, a director must exhibit certain recurrent characteristics of style, which serves as his signature. The way a film looks and moves should have some relationship to the way a director thinks and feels. (Sarris) Tim burton’s vision of the world is reflected in themes that are strongly shown throughout in his films. The gothic imagery with his ghostly music and misfit theme is a predominant part of Burton’s signature making his films easily recognisable.

The illustrious screenwriter and film director, Alejandro Gonzalez Iñarritu, has been showing unlimited resources in different genres in a meritorious career spanned for more than 15 years. He’s the author of memorable films that were able to resist the difficult test of time, cases of the stylish dramatic thrillers, “Amores Perros” and “21 Grams”, the pungent dramas, “Babel” and “Biutiful”, and the deliciously weird black comedy, “Birdman”, with which he won the Academy’s prestigious prizes for best picture, original screenplay, and best director. All of them exhibit a superior quality that allows me to consider him an essential contemporary filmmaker. His new cinematic creation, “The Revenant”, a riveting wintry western set in the 1980's

Andrew Sarris, a renowned film critic, clarified the Auteur Theory to be the notion that “the way a film looks and moves should have some relationship to the way a director thinks and feels,” and that “good directors express style and theme across their body of work,” (Stam 89; Sampson, Lecture 8.2). Although director Jonathan Glazer has a diverse body of work, his personal themes and style are able to shine through across all visual mediums, thus proving him to be a good director, according to Andrew Sarris’s interpretation of the Auteur Theory. In his “Odyssey” commercial for Levi Strauss, his music video for “Rabbit in Your Headlights” by Unkle, and his film Birth, the combination of his themes of persistence and unclear identities, along with his style of capturing people’s faces and use of tracking shots reveals his worldview that human beings are complex and strong entities.

The intention of this essay is to discuss the romantic notion of a film director who has etched their own cinematic vision into the body of their film work, and whether the theory and practice is dead and an infringement of the spectator’s imagination and is it the spectator who finds meaning in the film. I will be closely looking at critical material, primarily André Bazin and Roland Barthes and applying them to several case study films directed by Christopher Nolan including The Following (1998), The Prestige (2006) and Inception (2010), to examine whether Nolan possesses the qualities of an auteur and if so, does that imply an ideological view of what the auteur resembles or an artistic one.