Un Chien Andalou

Love plays a crucial role in telling the story of Romeo and Juliet, clearly shown in the appropriated Luhrmann film. Using film as a new medium, cinematic techniques explore the love between Romeo and Juliet. The balcony scene is a clear example of how Luhrmann expresses this. To show his love for Juliet, Romeo decides to sneak into the Capulet mansion to confess his love for her. When Romeo sees Juliet through his window, light shines around her and he describes it as, “ the sun.” This suggests that Romeo is calling Juliet the brightness in his life. Luhrmann decided to portray Romeo

a film. It is what the viewers sees, hears and experiences while watching a film. A film’s Mise en Scene subtly influences viewer’s mood as they watch a film, much like decor, lighting, smells and sounds can influence our emotional response to an actual place. In Film Art: An Introduction, Bordwell (2001), explained that in Mise en Scene, realism can be achieved by giving the settings an accurate and convincing look or letting actors express their emotions through performance as naturally as possible. This paper will discuss and analyse the significance of Mise en Scene in Wong Kar Wai’s In The Mood For Love

There are numerous ethnographic surrealist films that have an intriguing relationship to aesthetics and politics. A film that exemplifies this relationship is “Las Hurdes: Tierra Sin Pan” (Land Without Bread). This film is only 27-minutes and is directed by the infamous Luis Bunuel in 1933. Bunuel was a Spanish filmmaker of the 1920’s to the 1970’s. He is often attributed to being one of the major contributors to the surrealist movement of the 1920’s. “Ethnographic surrealism is a utopian construct, a statement at once about past and future possibilities for cultural analysis.”(Clifford, 119) ‘Land Without Bread’ has a clear connection between politics and aesthetics. It uses many techniques, specifically

One of the most important components in the movie is aesthetic. The reason is aesthetic that can create atmosphere and mood. Especially, one of the most famous Hong Kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements in Aesthetic such as mise en scene, sounds, editing and the cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audiences into the movie. In this essay, I will argue that the subject of heartrending but romantic narrative has been depicted through the four components which are mise en scene, cinematography, editing and sound. This will be done by analyzing every scene, followed by analyzing each element of the film aesthetic.

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

Wes Anderson, director of several films including Moonrise Kingdom, Royal Tenenbaums, and The Grand Budapest Hotel, has a very unique style of cinematography, often recognized by his use of long duration shots, excessive panning, and symmetric and centered frames. In his short film, Castello Cavalcanti, which tells the story of a race car driver who accidentally crashes in his ancestral village, Wes Anderson implements several different techniques such as pans in camera movement, juxtaposition in sound and music, contrast in colours in mise en scène, and editing to show the story to the audience on a deeper, more emotional level.

Director Alfonso Cuarón’s 2006 film Children of Men paints a disheartening picture of the future: a prolonged period of worldwide infertility has led to the near collapse of society by the year 2027. The essence of the film is chilling, undoubtedly due to Cuarón’s attention to detail in designing this dystopian society. His meticulousness lends the film a sense of authenticity and makes its story even more compelling. An element of film style that Cuarón uses to achieve this believability is mise-en-scene. Mise-en-scene consists of all of the elements that are placed in front of the camera and appear in the frame. Four categories that exist within the broad scope of mise-en-scene are setting and props, lighting, costume and makeup, and staging and acting. A filmmaker can manipulate the elements of mise-en-scene in many different ways, and these decisions have a significant impact on the film as a whole. In this particular scene Children of Men, Cuarón uses the first two categories, setting and props and lighting, particularly effectively. He uses these two categories of mise-en-scene in order to depict a believable dystopian future and to highlight the hopelessness that plagues the characters in this world.

Synthesis Paper Meshes of the Afternoon is a short surrealism film by Maya Deren and her husband Alexander Hammid. An original silent film until Teiji Ito, Maya’s third husband, composed music for the film. The introduction of the music to Meshes of the Afternoon gave the film more ominous, intense, and dramatic pull that very well goes along with certain angles, situations, and it particularly went very well with the dream-sequence throughout the film. Meshes of the Afternoon of the afternoon is an interesting film that has the ability to confuse, giving a sense of distorted reality, and introduce a dream-life sequence to the audience, a dramatic and intensifying experience.

This film analysis will delineate the diverse directorial decisions of The French New Wave cinema movement, and how they have been utilised and developed to challenge and subvert the typical Hollywood filmmaking conventions and techniques of the 1950s and 60s Hollywood cinema, in François Truffaut’s The 400 Blows (1959). Hollywood produced films of the time used a very limited variation in film techniques such as camera, acting, mise-en-scene, editing and sound. This can be mainly attributed to the low innovative thought of creative and expressive camera movements, angles, etc… due to technological hindrances. In particular, this film analysis will de-construct the filmmaking elements of the revelatory French New Wave movement in Truffaut’s The 400 Blows ending scene (01:34:42 – 01:39:32) portraying the main character Antoine Doinel’s escape from juvie and trek to the bespoken beach.

My feature article will be exploring the depth of romance and how and why Coppola decided to develop theses deep ideas of love. I will also be discussing Coppola’s decision to use very old film techniques. This is will allow the reader of the feature article to further understand why Coppola did the things that he did and therefore allow them to have a better understanding of the film. I will also be exploring the attitudes, values and beliefs that were held in the time period of the original novel and how Coppola developed and presented that to a modern 90’s audience.

One of the most important components for the movie is aesthetic. The reason is that aesthetic can create atmosphere and mood. Especially, one of the most famous Hong kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements of Aesthetic such as Mise en scene, sounds and cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audience to the movie. In this essay, I will argue that the subject of heartrending but romantic narrative has been depicted through the two components which are mise en scene, cinematography and sound. This will be done by analyzing every scene, followed by analyzing each element of the film aesthetic.

Montage, a name synonymous with Editing, is an original film style with different techniques used by the Soviet filmmakers between 1924 and 1930 to construct a film narrative. Montage is the connection between one shot and the other, a continuous or discontinuous relationship between shots. According to David Bordwell and Kristin Thompson (2012: 478), Soviet directors maintained that, “through editing, two shots give birth to a feeling or idea not present in either one”. This ‘feeling’ or ‘idea’ then guides a viewer into understanding or making a “conceptual connection” of the narrative (Bordwell 1972: 10). Strike (1925) and Mother (1926), directed by Sergei Eisenstein and Vsevolod Pudovkin respectively, are films made in the Soviet Montage era that show a juxtaposition between shots across the film. This essay discusses the different techniques used in these films that show the functions and effects of Montage.

Shakespeare’s work in The Tragedy of Romeo and Juliet is outstanding in that it presents the audience with a very compelling and forbidden relationship between two people. The highs and lows of this play are a rollercoaster for the audience’s emotions and it can make the experiences ever so involved. One of the scenes that can really affect the audience and their emotions is the scene when Romeo and Juliet have their first kiss. In this short writing, I will analyze a clip from the 1968 version of the play by Paramount Pictures, as well as the 1996 version by 20th Century Fox, and in doing so I will closely look at what the director was trying to accomplish through the use of music, lighting, camera angle, and actor choices. This will allow

Marguerite Duras publishes The Lover in 1884. A book that becomes one of the best sellers she had written. Almost a decade later it was adapted to film (1992). Both the book and the film are set in French Indochina and tell the love story of a French young girl and a Chinese man in 1929. In both versions, the love affair between a white and Chinese people is a taboo. Thus, their romance starts with an economic interest because the French girl is poor and the china man is milliner. They know that their relationship has to end when the time come. This won’t impede them from falling in love deeply. In fact, they relish their prohibited love. However, the film is different from the