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Analysing film techniques - pleasantville
Psychological aspects of movies
Analysing film techniques - pleasantville
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The film 8 ½ centers on a filmmaker, Guido Anselmi, who struggles with the making of a new movie. Throughout the film, we see Guido’s fantasies, dreams, memories, and reality and often the line in between these moments is blurred. It is hard to indisputably tell whether a particular scene is truly happening in the reality of the film. What we do know, though, is that every scene is happening, either consciously or not, for Guido. Even if he does not really live in a house with all of the women in his life, that scene can reveal something about Guido since he is the one having the fantasy. Many of the non-reality moments in the film refer back to his childhood. Similarly, in the reality scenes in the film, we can see that Guido’s decisions …show more content…
In this dream, we see that Guido feels as though he has been a disappointment to his parents and he seeks his father’s approval. His father will not answer the questions that Guido has for him. Rather, as depicted in the image on the right, his father complains that the ceilings in the mausoleum are too low and that it is ugly. He wants Guido to fix this. He then asks Guido about Luisa and Guido lies to him and says that things are fine. His father responds, “you two together have been my joy” (8 ½, 22:19). Guido’s parents, as far as the viewer can tell, had a good marriage and Guido feels guilty that he cannot do the same. “Art Film Reflections,” an online blog, analyzes this scene in the film saying, “this dream further reveals Guido’s psychic orientation. It shows that to some extent he remains in childhood. Even though his parents are now dead, he is still unconsciously trying to please them. He is still trying to live to their expectations, and he feels shame that he has not done so.” We see throughout the film that, whether in reality or fantasy, people are constantly asking Guido questions and insulting his work. This is especially present near the end of the film at the press conference. Whether or not this scene occurs in reality, Guido feels more pressure similar to that from his father. At this point, he has had enough and metaphorically, it is
shoulders, this could be viewed as a sign that he has forgiven Bleeker. The father
In the film, Guido is a Christ figure to his son. During their imprisonment in the concentration camp, Guido explains things to his son in a way that shelters his son from the reality of what is happening. Guido loves his son and he protects his son from being hurt, even if doing so involved breaking rules and getting in trouble himself. In such a way did Jesus Christ love his followers. Jesus suffered to protect His people. Jesus loved his followers and was not selfish toward them. He always did what was right for the well being of His people, even when it was considered wrong or unla...
But through all of these images of the horror and sadness of the time period, hopes are constantly raised by the humor, and personality of Guido and the magic his character brings to the story. Riding into a hotel ballroom on a green horse, and riding away with his princess—stealing her away from her fiancé, much like the old stories from the past. In the film, the concentration camp is a playground for a young child. And in the same town that Mussolini was driving through, Guido first meets his princess.
To begin with, Borges is very vague in his ideas on the semantics of his story. He begins filling in the details somewhat with the story taking place in Ireland…. But Borges himself says that this is simply, "(for narrative convenience)." (Borges 72) Borges then expands on his idea within an Irish backdrop… Bertolucci keeps the story intact, and simply transplants it to Italy in the twentieth century. The names are all changed; but that is because Borges chose Irish names which would not work in the new setting. The entirety of Borges' story is written in vague possibilities of ideas. He uses "for example" a number of times throughout the story and only offers these examples to give the reader an idea… not the actual plot. It is more the plot than the setting which concerns Borges… and Bertolucci does exact Borges' plot with his movie. At the beginning of the story, Borges says that our narrator is writing an autobiography of his great-grandfather, the hero. However, in the movie, Bertolucci's narrator is summoned to his father (not great-grandfather)'s hometown by his father's ex-mistress. (Borges does not mention an "ex-mistress.") He has no interest in knowing about his father. It is only in concern of the health of this ex-mistress that he actually chooses to stay. (She has a propensity for fainting on cue.) It is for her that he actually undertakes the pursuit of the truth of who the traitor was that caused the death of his father, as opposed to in Borges' story where the narrator undertakes the truth for the purposes of his biography. Bertolucci had to take some artistic licenses with character motivations in order to make the movie's pace keep going.
“Who ever gets a thousand points wins the prize, which is a real tank.”(Life is Beautiful) People could say this is just how Guido is, everything is a joke to him, but to me he knew what was going to happen to them and seeing a smile on his sons face wouldn’t just help his son but everyone there with them. Even when Joshua knew there were no more children let if in the camp and that something was wrong Guido told him “well that’s because they are hiding they don’t want to caught and lose the game, they are very good at this game.”(Life is Beautiful) I believe that Guido was right in every action he took in the film because why would you want your son to know at just a young age of all the evil in the world and that his little life was about to come to an end. I am one to always make a bad situation into a funny one and make people laugh because I believe that life is to short to be upset or mad. This could also be when at funeral receptions when family and friends get up to talk about stories of the person’s life, they are usually funny stories to
...are and an anonymous woman. Another common belief about Giovanni was that he was the Pope’s child, but this was practically impossible seeing as the Pope was sixty-seven. Although Giovanni was mysterious to the public, his mother loved him. It is commonly mistaken that Lucrezia had nothing to do with him, but she tried to give him the best upbringing possible. When in public, she referred to him as “little brother” so no one would question if he was her child. She didn’t want to put him through that drama. Lucrezia’s care for her son represented her compassion and love for her family. No matter what happened, family was an important value to the all of the Borgia’s.
As the Godfather is commissioning work his daughter’s wedding continues on outside the house. This scene is extremely important to the movie, explaining the family’s background and also the group’s cultural background. Throughout this scene they introduce the audience to all of the characters ...
Gran Torino is an interesting portrayal of communication dilemmas, spread out across several characters and in particular that of main character Walt Kowalski. After the death of his wife, Walt is bombarded with unwanted attention from several angles and attempts to “deal” with the attention to the best of his ability. There are many examples of communication struggles in the film, but they all seem to follow a similar pattern, and that is distance in time and culture. I’d like to focus on some of these communication barriers between his family, neighbors and priest and see how some of these walls got broken down, or could have been removed more easily.
at the beginning of the Movie LIfe Is Beautiful, Guido seems naive but as he is forced to come to terms with the reality of his family's seemingly uncontrollable situation, his views shift and his character changes.Guido cares immensely about the well being of his family and their happiness. Seeing the pain that others are going through, being separated from his wife and not knowing whats to come makes this is an extra difficult experience for him. The Camps that they are forced to stay in are visibly inhumane; however, Giosue is able to keep his innocence because of the fathers caring and playful nature. Guido faces sees some unthinkably horrific images in the camp, such as when he stumbles across the mountains of dead jewish bodies he is
This film goes back and forth between what is reality and what is fantasy. To the people watching the film it becomes difficult to decipher what is really reality and what is fantasy. If you watch the film closely some say that Guido touches his nose when he switches from reality to fantasy while others have no idea what the difference...
... between Petruchio and Kate is contrasted with the superficial properness of the relationship of bianca and lucentio.
Hocus Pocus is a 1993 film directed by Kenny Ortega. It is a very enjoyable movie with a good cast. The movie genre is comedy, horror, and fantasy. The film is based on a story about Garris and David Kirchner. And it is starring Bette Midler, Kathy Najimy, and Sarah Jessica Parker. The story follows the villainous trio of witches, who are inadvertently resurrected by a teenage male virgin. It takes place in Salem, Massachusetts.
A League of Their Own (Marshall, 1992) explicitly characterizes an American era when a woman’s place was in the home. Even our modern perspective implicitly follows suit. Although women have gained rights and freedoms since the 1930’s, sexism remains prevalent in America. This film offers an illustration when men went to war and big business men utilized women as temporary replacements in factories, sports, and so on. Here, course concepts, such as gender socialization, gender expressions, role stereotypes, emotion expressions, and language, correspond to the film’s characters and themes.
Rappaccini’s Daughter does not consist of many characters but each one of them contain interesting characterization. Giovanni Guascounti is a young man from Napels who moved in order to attend school in Padua. Giovanni fell in love with Beatrice and became the subject in one of Dr. Rappaccini’s experiments. In the story it is exclaimed that Giovanni’s window is lofty and overviews the garden which could suggest his perspective on the light and dark in Beatrice. Giovanni is the young protagonist, therefore he found Beatrice, at once beautiful, which could state his weakness to women, not excluded to her. When Giovanni first understood that Beatrice was dangerous he dismisses his thoughts of any truth to the possibility. Eventually, he comes to terms with facts but becomes concerned for himself. Giovanni calls Beatrice a “poisonous thing”, and made him feel “as hateful, as ugly, as loathsome and deadly a creature as her”. However, at the end of the story Giovanni’s selfishness diminishes and flips to being completely in love with Beatrice. As a result, he give her an antidote in hopes it would reverse the poison in her and allow a live a life full of love with him. As known, this hope did not become reality. Youth in love should have been the way Giovanni and Beatrice played out but it was merely curiosity, lust, and...
Childhood can be a fragile thing. It is commonly believed that children see the world through different eyes. Everything seems fresh and interesting to them, where we become saturated with the details of our everyday lives. The eyes of Vittorio Innocente act as a safeguard, seemingly protecting him from truth and danger that he cannot see. Since the incident with the snake, Vittorio had noticed that his mother had been keeping to herself, working in the garden. However, he could not understand what was wrong with her, and could not figure out why the household seemed so empty. ‘…A veil seemed to have fallen between us, and for a while I had nursed this estrangement like a precious wound I could somehow turn to advantage; but the passing days brought only a growing awkwardness, as if my mother and I had suddenly become strangers, with no words now to bridge the silence between us’ (74). Vittorio’s ‘safety-goggles’ also help him when the gang of boys inv...