City Of Ember Analyse

“Beneath the gore and smoke and loam, this book is about the evanescence of life, and why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow. In the end it is a story of the ineluctable conflict between good and evil, daylight and darkness, the White City and the Black.” (xi) This shows the contrast between the White City and the Black City. One, perfect, beautiful, magical, the other dark, filthy, evil. The two work together yet against each other in the battle to win over the hearts of the people who visit, and those who decide to stay

The shootings of the film were considered more artistic than that of the typical styles accounted in a documentary. The lightings it presented were far beyond the usual expectations of a documentary. There were scenes where pools of light were alternating in the background of the stage as the

In Jeanne DuPrau’s book The City of Ember it takes place in a very dark city without power or electricity and nobody's happy. And when two kids are presented with the opportunity to help save their city and risk their lives, they are the ones who want to do so. They go on this journey and hit many obstacles on the way but they have the mindset to never give up and it may or may not help them. One theme that can be supported throughout the book is that when someone risks their life for others they can earn great respect from other people and other peers.

The image is brighter and sharper in the film. The contrast of the film really affects the mood. Since the contrast is so bright the viewer is bound to stay focused and aware because everything is so catchy and noticeable. Also, the exposure changes throughout the film. At the very beginning the film starts in black and white and changed to color as the story progressed. The filmmaker uses a lot of Long Takes, each shot of Dorothy meeting someone new is pretty lengthy.

The scene that I will be discussing for this paper is called “He’s a spy” from the movie Young Guns. In this scene, Billy and his gang are confronted by Murphy’s men. With the mise-en-scene, this helps the viewer identify that the time period being portrayed here is the late 1870’s or the early 1880’s. The mise-en-scene being used for this movie is important in telling the story from a different era as in today’s world, no one dresses this way anymore. Also to include from this scene is the lighting. I will attempt to give an explicit description of the use of the lighting and the sun and how the cinematographer designed for the use of it. Furthermore, I will also discuss the people that are directly involved with the making of Young Guns, the director, the production designer and the art director and their roles and responsibilities.

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.

Do you like mysterious books? If you do, then The City of Ember is the book for you. The City of Ember is about a girl and a boy named Lina and Doon who were not friends at first, but then became best friends. Then they found a set of instructions to get out of Ember and figure the the words out because their city was dying. After, they find a huge room full of boats to ride down the river to get out of Ember. At the end they get out of Ember. First I thought that The City of Ember was about saving the city, now I know it’s way more than that. I now know that the novel is about using teamwork to accomplish goals. Lina and Doon exhibit teamwork throughout the novel because they worked together through the whole book to accomplish a goal by figuring out the words to the instructions and finding all the boats and saving the people of Ember.

One of the ways why cinematography made the film was the lighting. To get the feel, the lighting appeared to be fake shadows that were painted on the set. The fake shadows that were painted on the set gave the lighting appeared to be harsh and sharper to set the mood for the audience. If it weren’t for the painted shadows, the movie wouldn’t have been so successful in the horror genre. Since it was a silent movie, if it weren’t for the shadows, you wouldn’t of seen it as a horror film, but as an original film that was trying to be creative.

Cinematographers and art directors play a very important and creative role in film production. They work closely with the director and give a film its unique visual look and identity. The art director was David Lazan and cinematographer Mauro Fiore. The entiriety of the movie is comprised in a single day which can be challenging for cinematographers and art directors. The film seemed to be filled with brief stints of consolidated action and emotion. This gave the plot of the film the feel as though it was unfolding in only a single day.

The main element that made this film was the acting. It was necessary that all acting be overdramatic, it was the only way for the audience to truly grasp the emotions of the characters on screen. The best example is the scene where Freder wanders into the hall of machines and witness’ the

Casablanca, first released on January 23rd, 1943 is undoubtedly one of the masterpieces of Classical Hollywood film. Written and released in the midst of World War Two it explores themes such as love, desire and especially sacrifice. Although the love story of the protagonists is the cause and catalyst for most of the narrative, one would not necessarily associate it with the conventional Classical Hollywood love story. Rather as a fabula based on the principle of the importance of sacrifice in order to overcome a common enemy, in this case the Nazis. Casablanca does indeed contain many of the common characteristics identified with the Classical Hollywood film. An example being the the way director, Michael Curtiz used a mainly chronologically ordered narrative structure and the utilisation of a Cause and Effect chain. In this essay I will looking at the various ways I believe this film does fall into the criteria of a Classical Hollywood narrative and also how some could perceive that it does not.

The City of Ember describes a destructive and destitute future for the world. Doon realizes the decaying of his world because of the

His cinematography “creates an exceptionally inviting, varied look for this nocturnal story, and special visual effects are smoothly integrated into the action. The makeup that adds pale eyes, ghostly pallor and tiny blue veins to the principals' faces manages to create a frisson of danger without marring the actors' attractiveness” (Maslin). Rousselot used dark-lensing, a way to attain low key shots and thus created a huge contrast to the sets and costumes (Maslin). This made the characters seem as though they were the only important things in the otherwise dark and gloomy shots.

In service of this argument, the essay unfolds in three parts. The first section sketches an appropriate framework for understanding how cinema marshals and moves viewers by engaging them in a fully embodied experience.4 The second section offers a brief overview of the film's plot before turning to an analysis of its triptych narrative and affective development. The third and final section considers the methodological, critical, and theoretical implications suggested by the preceding analysis.

An example this beautiful cinematography the takes place near the beginning of the movie in a battle scene between the risk-taking “lightening” and a German battleship The shot setup of the Regular scenes also shows a genius in the subtle touch of drawing in the viewer. This is best exemplified by a long slow roll over the Italian countryside as “Lightening” drives to meet his love. Overall Mister Aronson and his crew do a fantastic job in the visual effects of this movie, making it enjoyable to watch.