Cinéma vérité

“classic Hollywood film” has evolved over time. What one calls a classic film by yesterday’s standards is not the same as that of today’s standards. The film Casablanca is no exception to this. Although David Bordwell’s article, “Classical Hollywood Cinema” defines what the classical Hollywood film does, the film Casablanca does not exactly conform to the very definition that Bordwell provides the audience with in his article. It is true that the film capers closely to Bordwell’s definition, but in

Sam Maloney International Cinemas September 19th, 2011 Restivo, MW 12:00 EXAM 1 “One artistic strength of Hong Kong cinema, then, is its use of parallels and motifs—musical, visual, or verbal—to bind together episodically plotted films.” : In Plots p 120 So far in this Chinese Cinemas class, I have noticed something every film we have viewed in class and every Hong Kong film I have watched outside of the lecture: the stories flow perfectly. At first the films could come off as confusing

When someone says the word “Hollywood”, my mind has no problem painting a detailed picture. Films with grand orchestras, multi-million-dollar lighting, costumes, and makeup, big name actors; these things all come to mind. However, in the third chapter of Bordwell and Thompson’s Film Art, a set of conventions considered to be part of classical Hollywood filmmaking are listed. These conventions are tagged on to what we would expect to see in a classical Hollywood film. They are included in the themes

a man face. The Follow (2001) quoted by BMW films. BMW took place along the major film studios with the production of short films that can unite the talents of several fields of various high effort crossed. Wong Kar Wai is not denying the author a cinema feature and a mystical, which stands apart from many mainstream Hong

The War within Paradise of the Blind Paradise of the Blind is set in Vietnam where communism has taken over the country after the Vietnam War. The whole war changed the lives of the Vietnamese people; in which the story revolves around Hang and her views of her family members. Aunt Tam and Que are two members that Hang thinks dear of, even though they are beloved to her, Hang still views them very differently since she has lived and experienced events with them. What Hang sees can be represented

An Analysis of Duong Thu Huong’s Application of Audio in Paradise of the Blind During the turbulent setting of post-war Vietnam, Duong Thu Huong projects the chaos experienced by her characters through auditory expression and musical elements. Primarily a bildungsroman, Paradise of the Blind portrays the protagonist, Hang, guided by her hometown’s chants and foreign influences. Although the timeline of this novel is nonlinear, aspects like the cripple’s chant consistently transform, adapting to

The 1948 “Paramount decision” and the mostly subsequent “Hollywood blacklist” can both be seen as pieces of the larger, 30-year process of breaking up the “studio system”; each altered the course of filmmaking in America to a greatly varying degree. The former signaled the end of the beginning of studio divestiture and the “Studio system” while the latter is a microcosm of the “McCarthyism” taking place in the greater American society at the time and the fear and turmoil created by any large scale

While changing social attitudes toward female sexuality and premarital sex are in part responsibility for the changing portrayals of the women in Where the Boys Are and Where the Boys Are ’84, an evolution of industry policy is also a major factor. One element that greatly influence the 1960’s version of the film is the Production Code. The Production Code, also known as the Hay’s Code for its creator, was a set of rules and regulations governing motion picture censorship created by the Motion Picture

The Narration of the film doesn’t really fit in to Broadwell’s narrative structure; it has its own meaning of structure. The way movie and its plot have been written it completely challenges the structure of a classical Hollywood movie. The only common factor here was the “non-diegetic elements” of the movie, the background score. What we can also see in a conventional classical Hollywood film. According to Broadwell feature of Narrative structure, a film must have “Chain of events” which will be

the artistic director of Pacific Arts Movement and of the San Diego Asian Film Foundation who received his PhD in Cinema and Media Studies at UCLA. His lecture presented grave insight into National cultural specifics but emphasized mostly on China and Hong Kong. He also broke down genres as they play a role in the film industry. Martial-arts as a genre are very specific to Chinese cinema and Japan has samurai films of loyalty and justice. As a genre, martial-arts take place at a temples or a forest