Thelma And Louise Compare And Contrast

In the book, Directing: Film Techniques and Aesthetic, the author describes the importance for different perspectives, “shifts of POV between characters five empathic insight into multiple characters’ thoughts and feelings, and portray a fuller and more complex understanding of the events of a narrative” (120). The music video switches between two perspectives, the husband and the wife. While the perspective of the wife follows her inner demons, the perspective of the husband follows the everyday struggle of helping her cope with those demons. For example, the wife is seen drowning emotionally and physically, while the husband is dealing with her outbursts at a party and attempting to calm her down. These two contrasting events allow the viewer to see how the wife’s actions effect the husband and the people around them. In “Coping with Mental Illness: a Family’s Struggle for peace, Stiles argues, “the main cause of caregiver burden is uncertainty. For instance, not the patient, doctor, family, or nurse can predict episodes of violence, outbursts, relapses, or other impulsive behaviors, such as suicide attempts” (140). By changing the perspectives throughout the music video, the viewer is able to see this uncertainty and its burden on family members. During a barbeque with friend, the wife has an outburst and yells at guests and her husband. This scene is told through the husband and the wife’s point of view. The husband is clearly shocked and surprised at his wife’s outburst, and is embarrassed about her behavior which leads to sending the guests home. The point of view of the wife shows the battle going on in her brain, which sparks compassion for her. However, the husband’s point of view allows the viewers to have sympathy for him because he is required comfort her, but also manage the consequences of her actions. The contrasting

  In Kate Chopin's "The Story of an Hour," the main character is a woman who has been controlled and conformed to the norms of society. Louise Mallard has apparently given her entire life to assuring her husband's happiness while forfeiting her own. This truth is also apparent in Henrik Ibsen's A Doll's House. In this story, Nora Helmer has also given her life to a man who has very little concern for her feelings or beliefs. Both of these characters live very lonely lives, and both have a desire to find out who they really are and also what they are capable of becoming. Although the characters of Nora and Louise are very much alike in many ways, their personalities

In Lyddie by Katherine Paterson and Lyddie the movie, both have similar same plot lines but with slightly different plots. Some People, such as Diana, have different ways to leave the main story; other characters like Triphena are outright gone, and a few characters never fully develop a complete personality.

It is believed, that there are many pieces to the story of To Kill a Mocking Bird left out of the film version of the novel. I agree with this statement, and I am here today to show you four select scenes and/or characters that (in my opinion) were significant to the story. To Kill a Mocking Bird is a coming of age story for two young children, as well as a story that shows that people are not always what they seem to be. The scenes that I have chosen are very important role in supporting to these themes.

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

There aren’t very many special effects involved which added a natural, country feel to the movie. When Hilly drove her car to Skeeter’s house the camera shot from above with an open angle. The scene continues with their conversation, where Hilly is filmed from above Skeeter’s head shooting down on her, whereas Skeeter is filmed from Hilly’s shoulder height looking up at her. This shows that Hilly is inferior to Skeeter. The camerawork also employs zooms, such as when Aibileen is leaving in the final scene, and Mae Mobley recites the three sentences Aibileen taught her. This increases the importance of the scene, and gives introspect into the intimacy of their relationship. The camerawork creates an optimistic viewpoint when the camera incorporates wide angles, for example, when Minny is looking at Celia’s house for the first time, or when Skeeter is talking to her job editor in New York. A low-to-high tilt shot was used when the movie was introducing Celia Lightfoot that drew attention to Celia’s physique.

It is an unimaginable thought that something so similar can be missing so much. They can be both so unique and incomparable. In the book To Kill a Mockingbird by Harper Lee the main character, Scout and her brother Jem fight prejudice through a young person perspective. The main characters go on a journey against Bob Ewell throughout the sleepy town of Maycomb, at the 1930’s. Bob Ewell has falsely accused Tom Robinson of a crime. On the process the characters grow a lot and find things that spark their curiosity. This makes an interesting plot with many turns. The movie, To Kill a Mockingbird, has many differences from its book, many plots and characters are missing which greatly impacts the movie directed by Robert Mulligan.

Children today have access to many forms of literature, some of which are books made into movies. As the children become older, comments such as “the book was way better” or “the movie didn’t even come close to matching the book” or “the movie and book are the exact same, so save time and just watch the movie” are heard once children begin to make connections between the book and the film. It is important to me, as a future teacher, to be able to address such comments from my students and, in turn, help them understand why and how movies can either help or hinder the book’s original value and message. To help me prepare, I will compare a children’s film to the literary work that came from it.

Thelma and Louise is no ordinary road trip movie, the dynamic duo start their road trip in order to take a break from their selfish partners after feeling they are not being treated properly. While out of town they find themselves at a bar, several drinks and flirtations later Thelma finds herself in trouble with the local bar rapist, Louise comes to her rescue to only end up killing the man. While the viewer could see this was a moment of self defense for her friend, the women worried the local cops wouldn't see it their way so they fled the scene yet still managing to be scene. The movie continues exploring the different reactions and cchanges between both Thelma and Louise while on the run.

One particular scene uses close up to effectively show the emotions displayed on Mani and Lola’s face. Mani portraying fear and anguish while Lola has a face of stress and her body language gives of the feel of her feeling responsible. This scene takes places as the start of the film and gives the story of the plot and an opening to the story. Close ups are used to get the audience's empathy or connection to the character. It gives a clear view of the emotions that are being depicted by both Lola and Mani.

This is achieved through the use of pan shots, combined with non-diegetic sounds. In the scene where Brandy was reading her diary, a pan shot was used to show that she was living in a poor neighbourhood and the negative conditions associated with it. When her dad aggressively pulled her mum through the room and out of the house she described the violence the family experience at the hands of her dad. A mid shot was used to express the anger in the dad's face but also the tears and screaming in her mum’s face. This focuses the audience's attention on the domestic violence that Brandy experiences. The director portrays this through Brandy’s voice over dialogue, “ I watched my mother being half beaten to death…..” This is a powerful use of non diegetic sound combined with a pan shot. This allows the audience to see that the whole family was living in a small house with one bedroom. The reason why the director combines the panning effect with sound is to have a stronger effect and draw stronger emotions from the audience. The use of voiceover and non diegetic sounds create a stronger and more realistic mood for the audience. The use of voiceover during the scene of her mum getting violently pulled and pushed is mixed with panning shots to also show the reaction of the rest of the family as they witnessed the violence. Through the use of these techniques the director encourages audience to think about and emotionally understand what a lot of young people in abusive families go through and the struggles which make them who they are

Alfred Hitchcock’s film North by Northwest (1959) is famed as a classic man-on-the-run thriller, following protagonist Roger Thornhill as he flees across state lines in a mad dash to save his life and unravel the mystery to his extraordinary predicament. However, mid-way through the film Thornhill’s quandary is further complicated by the introduction of Eve Kendall, a beautiful yet mysterious woman he encounters on a train during his escape from the authorities and people trying to kill him. During the dining room scene on the train, Hitchcock expertly uses the camera to convey the characters thoughts and feelings. Interestingly, in a film that has several sequences with complicated cinematography and editing, the dining car scene is

The particular shot chosen from the film to analyse is the shot after Lisa Berndle (Joan Fontaine) rejected Lieutenant Leopold von Kaltnegger’s (John Good) proposal, and they walk towards Frau Berndle (Mady Christians), Herr Kastner (Howard Freeman) and Lieutenant Leopold’s uncle to break the news.

The camerawork emphasizes the sense of detachment between the characters, and Billy’s inability with connecting with others. In addition, the film has a contrasty, bleak look to it, like a faded photograph. Gallo shot the movie on reversal film stock to capture that contrast and grain, in attempt to reproduce the same look of football games from the late 1960’s and early 1970’s.

Sexual harassment was a major problem for the women working in the mine. The men would write horrible slurs about the women in their locker room. Josey would always turn to her boss about the constant sexual aggression towards her. But her boss did not