The outstanding 2013 black and white film Nebraska rolls a heartbreaking drama and relatable comedy all into one. Although nominated for several Academy Awards, including Best Picture and Best Original Screenplay, it is still argued that the authentic film was produced out of its time, and that its seemingly original techniques for the twenty first century, such as avoiding the use of color or dramatic actors, were merely just borrowed from the New Hollywood of the 1970’s. However, the heart wrenching plot sand the extraordinary strengths combined with few weakness from director Alexander Payne, create a story of realistic, relatable people marked by flaws and plagued by their own mistakes. The film starts off with the worn Woody Grant shuffling …show more content…
The film illustrates several authentic aspects, the major one being the use of black and white film in the twenty first century, an age where colored pictures add meaning. The lack of color may slightly detract from the story, restricting the viewer to dull and dreary emotions with grey skies and colorless personalities. On the other hand, the absence of distracting colors permit the viewer to focus more on the plot and characters, enticing them to follow each aspect of the plot and engage in character development. The plot itself is full of adventure and comedy, creating characters that everyday people can relate to. Also, a clear depiction of the Midwestern life is presented through Nebraska, a place where small towns are accompanied by never-ending drama, such as Woody’s forty yearlong air compressor grudge, and a certain closeness that is difficult to obtain elsewhere. However, although this film has many strengths, one major weakness is the slow pace of the plot development. Also, it would have been nice to see Woody’s relationship improve with his wife and his other son as
The road movie embodies the human desire for travel and progression. The vehicle of journey is a contemporary metaphor of personal transformation that oftentimes mirrors socio-cultural desires and fears. Thomas Schatz believes that one “cannot consider either the filmmaking process or films themselves in isolation from their economic, technological, and industrial context.” This statement is especially applicable to the independent American films of the late sixties, a time of great political and social debate. Easy Rider (1969) was considered a new voice in film that was pitched against the mainstream. In the 1960s, there was a shift to highlight the outsiders or the anti-heros in film. This counter-cultural radicalism seems to have also influenced the 1991 film, Thelma & Louise. The characters of both films act as figures of anti-heroism by rebelling against the conventional and unintentionally discovering themselves at the same time. Despite their different backgrounds, the protagonists of Eas...
The economical and societal conditions and their changes during the film had a dramatic affect on the story. The movie starts off with James J. Braddock, in the twenties which was a great economical time, and it shows when he comes home, with a bundle of cash from the boxing match he has just one, to a beautiful house that is filled with nice objects in a nice suburbia neighborhood. This shows the audience the wealth of this time period and how many people could do no wrong and buy whatever they want. During the twenties unemployment was low and the stock market was up. This scene also points out where the Braddock family is now because it all changes in the very next scene. The next scene flashes forward to the thirties during the Depression and the setting changes to a small dim apartment located in the Bronx. During this time Braddock’s kids are not playing with any fancy toys or anything but his daughter has what looked like a home made doll. The significance for the movie to do this is to show the audience the hard times and the living conditions of the Depression. People did not have a lot of money. Braddock gives his meal up to his daughter when she says she is still hungry after she finished hers. He had to give up his...
The visuals of the film scene are filled to the brim with green and brown, setting a scene befitting of the first big thaw of Spring, rather than the “depths of winter,” described in the story. It is far from a simple difference in pallette and time of day however. Where the passage gives off the impression of solitude and barren terrain, referring to Grant and Fiona as being “under the full moon and over the black striped snow,” painting the image of two lone wanderers, isolated between two forces of nature, the movie scene is bright and alive. Grant and Fiona are walking under tree cover, but an abundance of light filters through the foliage. Even the camera shots are warm and inviting, with close views of the actor’s faces, and with great emphasis on every word spoken.
The film stays in line with classic noir in many ways. The usage of dark sets and high contrast lighting, which creates heavy shadows on the actors faces, makes the movie feel like it all happens at night and in dark alley ways. The story focuses on the inhumane parts of human nature. Each of the main characters experiences some kind of tragedy. For Vargas his tragedy was in dealing with Quinlin who has set out to frame him and his wife. For Quinlin his entire life represented a man consumed with darkness who lives his life with a “Touch of Evil.” Menzies was a hopeful man who looked up to Quinlin but was let down. For the viewer, film noir represents truth, even if it is not a truth that all people would like to hear.
These are our intentions when we are producing these films. Our films are to promote Chickasaw culture and history. We are focused on building new ways of cultural learning, new types of artistic expression, and new ways of preserving traditional stories. We have an opportunity and an obligation to prepare our future generations to continue preserve our heritage and history. Chickasaw Nation Productions thrive on working together and building bridges as a means to a greater end. As technology changes, so do people. We make our films to adapt to these changes, and being innovative in our methods of artistic expression and storytelling. It’s how our cultures have always communicated, and our oral stories were passed down generation to generation. Understanding those films can lead to positive representations of Native people and how to integrate them into educating collective masses is a vital step in defining our future. Our films are part of the Chickasaw Nation’s effort to tell the true story of Native Americans from a Native American perspective the social, emotional, and intellectual tools we provide to our
Alongside the classic Coen cinematography, like darker color palettes and a skillful use of shadows, Barton Fink (1991) has strong elements of desire for money and success. The titular character Barton is a highly successful playwright living in 1941 New York City. Even though he is loved by his audiences, he feels as though he is lacking something. As fate intervenes, Barton receives an offer to write for “the pictures” in Los Angeles. The job offered to him is to write a boxing picture, a subject Barton knows nothing about. Barton’s only wish is to write for the common man, but his subconscious goal is to gain success. This goal of success is similar to that of the screwball male. Barton wishes to be the savior of the common man, while the
Meneghetti, Michael. “Review: Ellis Cashmore (2009) Martin Scorsese’s America.” Film Philosophy 14.2 (2010). 161-168. Web. 6 Apr. 2014
This movie is a wonderful production starting from 1960 and ending in 1969 covering all the different things that occurred during this unbelievable decade. The movie takes place in many different areas starring two main families; a very suburban, white family who were excepting of blacks, and a very positive black family trying to push black rights in Mississippi. The movie portrayed many historical events while also including the families and how the two were intertwined. These families were very different, yet so much alike, they both portrayed what to me the whole ‘message’ of the movie was. Although everyone was so different they all faced such drastic decisions and issues that affected everyone in so many different ways. It wasn’t like one person’s pain was easier to handle than another is that’s like saying Vietnam was harder on those men than on the men that stood for black rights or vice versa, everyone faced these equally hard issues. So it seemed everyone was very emotionally involved. In fact our whole country was very involved in president elections and campaigns against the war, it seemed everyone really cared.
When the film begins on the farm in Kansas, the scene is shot in black and white, creating a sepia tone of colour to represent the country dust in the air adding to the effect of the ordinary unsaturated colour of the Kansas landscape. In contrast to the Kansas setting, lighting is profoundly used by the director to enhance the overall emotions of the film. Fleming uses a combination of the set, lighting techniques, and colour to create a magical place with very bright colours and deep focus lens to bring the land of Oz to life. In the scene where Dorothy enters Oz, the lighting is positioned between Dorothy and the foreground plants. The director uses the three point lighting technique so both Dorothy and the colour plants are highlighted but no shadows visible. This shot was done with a background of the black and white house behind Dorothy. The Land of Oz is filled with beautiful colours to create the illusion of a happy world that enhances the feel of fantasy. The allusion of contrasts between the real world and the land of Oz support the central theme there’s no place like home. In this way, the director enhances the picture of the film by the use of colour to reflect a mood experienced by the character in the different places. This colour transition used by the director, incorporates two completely different Mise en scene
Roman Polanski's 1974 film, 'Chinatown', revolutionized the film noir genre. Aside from the absense of voice-over, the film shares all the same characteristics with earlier noirs. That is, of course, except for the fact that ?Chinatown? is filmed in color. Because of this, it is more difficult upon the first viewing to immediately classify the movie to this genre. In movies such as ?Double Indemnity? even scenes that take place during the daytime are dark, and since it is a black and white film, this is easy to do. However, in a film with color it is much harder to create this dark effect, especially in scenes that are filmed outdoors. Polanski makes references to symbols that remind the audience that although ?Chinatown? is in color, it still belongs in the genre. For example, one of the first lines in the movie is, ?I just had [the venetian blinds] installed on Wednesday.? Venetian blinds are often seen in the genre, and the reference immediately makes the connection between this...
As a fan of cinema, I was excited to do this project on what I had remembered as a touching portrait of racism in our modern society. Writer/Director Paul Haggis deliberately depicts his characters in Crash within the context of many typical ethnic stereotypes that exist in our world today -- a "gangbanger" Latino with a shaved head and tattoos, an upper-class white woman who is discomforted by the sight of two young Black kids, and so on -- and causes them to rethink their own prejudices during their "crash moment" when they realize the racism that exists within themselves. This movie does provoke a dialogue on race that, according to author and journalist Jeff Chang, "has been anathema to Hollywood after 9/11. " During the first viewing of this movie, the emotionally charged themes of prejudice and racism are easy to get caught up in. (125) Privilege is inclined to white males through every facet of our everyday lives that inconspicuously creates racism through classism.
As one can see, Tennessee Williams used colours in several ways. The significance of colours reveals the real appearance of Blanche throughout the play. The colours have their own meanings. The significance of colours is a central theme in Tennessee Williams’ A Streetcar Named Desire; the author uses colours to reflect states of mind, make further commentary on particular characters, and what sorts of things specific colours represent.
Debra Granik presents the unforeseen and diametrically opposed stereotypical, Hollywood representation of America in her film Winter's bone. She provides the audience with multiple visual elements (key scenes). She outlines the idea that, “in the land of opportunity, opportunity is not given”. This means that many in America such as Granik’s character “Ree Dolly” have no ability to pursue their hopes and dreams. They face difficulty standing on their own two feet, without being so reliant on society. Because the opportunities that are supposed to be freely given, are just not given. This gives the audience intuition to think and comprehend what opportunities they have. Additionally, it outlines that American's are free to, but not free from
The timing of this film was a significant factor in the story line. In the middle of the Great Depression unemployment and poverty were a major
Forth are Lighting and color. In case of Lighting, this film uses High key light that makes this film look like natural light and feel warm. In the case of color, some scene of this film use warm color to express love and warmth to audience such as in the wedding scene or some scene use dark color to express about sad feeling such as funeral scene and in scene that Rosie knows her dad was died. I think in some scene if you watch it in HD, it’s very beautiful such as in scene that Rosie drinks a cup of coffee and thinks about the past in sunset time because Lighting and color of sunset time is very