The Road Within The Road Within is a film written and directed by Gren Wells about a young man, Vincent, whose Tourette’s manifests itself in the form of uncontrollable jerking movements and profane, belligerent outbursts. After Vincent’s mother dies, Vincent is put in a behavioural centre by his estranged politician father. The use of different camera angles in the scene where Vincent and Alex are introduced, the camera is seen to be trembling to bequeath the audience the first hand experience of the view when afflicted by seizures with the film being all about sharp edges and abrasive personalities coming into conflict. The different camera angles also imposes a more psychologically invasive style allowing for more confrontational rawness, giving the film a rougher indie edge. …show more content…
The film is congratulated by many amongst the film industry and especially the Tourette community as it did not rely on society’s preconceptions of the genetic disease. The scene where Vincent is standing on the boulder, when he climbed up to the top looking out onto that expansive view and appreciating it, standing in the natural lighting, with the camera taking a wide shot from behind, is seen as the most significant throughout the whole film as depicting the notion of journey because he ticked but was okay with it. That moment in the film where Vincent accepts his situation and himself for who he is. The film title makes it inordinately clear, these bickering outcasts aren’t just in for a long car ride, theirs is destined to be a deeper, more inward journey, one that will teach them the importance of forming deep friendships and not walling themselves off from each other or from
poster typically has the white cowboy large, presented front and center, with the antagonists and co-stars all behind him. An iconic western, The Good, The Bad, and the Ugly, has a poster picturing the white cowboy alone. Clint Eastwood stands there tall, stoic, and singular. Typical of most other westerns, the white cowboy is the center of attention. Here, however, there are two non-white figures presented: Bart, the Black cowboy, and a large Native American chief. This movie poster has the same style as other westerns with the color and layout, but is unique in the fact that a black man is presented where a white man would normally be dominating. Once again, this makes a statement about racial improvements. Previously having a black man at
For example, the sound, camera angles, emotional influences and ways of grabbing audience’s attention. The director expresses moments by using sad soundtracks, dialogues and actions. Dialogues between the journalists and others related to the war within the film are portrayed crucially and important in order to follow the story and identify its key message. Those conversations give the viewer a brief explanation about where the narrative is leading and who probably is the victim. The director of the film knew how to properly convey the message by finishing it with a clever and proactive angle of editing in the film. The camera movements and angels of vision in relation to the object and its speed in which it reproduces actions and the appearance of the person are controlled in many ways in which editing is applied. (Rotha, 1966:79). There is one scene in the film in which the director shows us the archive footage of ordinary, unarmed and innocent citizens being tortured and attacked by the U.S. military in their houses. Later in the second scene, when the statue of Saddam Hussein is being removed on the square, citizens are cheerful about it. This gives a strong evidence of what director was trying to convey in his documentary. The director furthermore added scenes of journalists giving their views about the same event to intensify his message.
A theme that can be found within almost any film is the importance of friendship. The four texts I have chosen are Stand By Me (the novel), Goonies, Stranger Things and The Sandlot. Each of these text display the importance of friendship through compelling stories of each individual's personal experiences with friendship. I will explore multiple sides based on the truth behind friendships and how they can impact the individual. One side, touching on the bad experiences within friendships, where the characters can find a way to positively build off it to better their friendship. The other, exploring the pure heartwarming relationship between friends.
The film, “Iron Road” improves the viewer's understanding of the pushes and pulls that brought china men to Canada, what was happening in china at the time, the CPR, the working conditions and racism. China was an economically unstable country in the mid-1800s. Two wars, the Opium War and the Taiping Rebellion took the lives of millions of people, natural disasters such as floods created complications with food production. Social stability declined, gangs and bandits threatened villages, the result was severe poverty and starvation. Impossibly high rents and taxes consumed the farm's profits, faced with such dire conditions, many peasants moved away from their farms Guangdong, to look for work. The competition for jobs was intense, and the
Human nature is often displayed when a person is found in the state of superiority or inferiority, the usual results are people acting in a malicious or harsh way. A Class Divided, a Frontline documentary, produced in 1985 displays an experiment regarding human nature. In 1968, in Riceville, a small all-white Iowa town, Mrs. Elliot, a third grade teacher, felt empathy about the death of Martin Luther King Jr., decided to give her third grade class a lesson about discrimination and racism. She realized that her third graders did not understand the problem with discrimination, so she concluded that for the students to comprehend what had happened, they must experience what discrimination feels like. Mrs. Elliot separated her third grade class
Sunset Boulevard is a film noir movie shot in 1950. It tells the story of a washed up silent movie star Norma Desmond from the 30s trying to gain her fame with the help of a screenwriter by the name of Joseph Gillis. Even though this story mainly focuses on Desmond, it is told in the eyes of Gillis in past tense. The whole movie is told as a flashback. Sunset Boulevard is characterized by its symbolic usage of light, complementary main characters, camera angles and choice of sound.
This is best seen within one of the film’s more complex filmed scenes, “The Car Scene”. Following Cuaron’s exemplary interaction between characters and their backgrounds, as the audience we come to form a synesthetic relationship with the way the film moves. Moving much like the characters might and swaying to the smooth movements of the camera. This isn’t only due to Cuaron’s use of a documentary like shooting through his use of steadicam or handheld but also through the interaction of the characters and the world around them, ultimately creating a 3-D like reaction from the audience. Initially within the scene we see ourselves like the characters compacted in a small car, creating an uncomfortable and awkward setting inside the realm of the film and outside in our realm as the receivers. It isn’t until Julian’s playful interaction with Theo that the tension in the car lessens. This is also seen though the change in lighting, while initially they are in the same gray scale as their environment their eased tension can be seen through the beautiful sun shining through the trees into the car as they interact with one another. For a moment we feel a sense of comfort and community before we are dragged back along with the characters to reality, as a storm of people descend on the
Throughout the movie the director breaks down the message in clever ways and makes the message very precise and clear. In the movie the director was attempting to teach the viewers a life lesson. In order to have peace of mind and continue to actually “live” it is important that you don’t hold grudges, believe, have faith, and no matter the situation don’t ignore signs due to your stubbornness or convincing yourself otherwise when you know the truth.
One of the most exciting new technologies being developed today is the manufacture of replacement body parts to be used to treat illnesses in humans. Today, this is accomplished in part through the use of bio-printing to 3-D print living cells into more complex structures. In the movie, The Fifth Element, there is a scene that takes this technology to the extreme and manufactures an entirely new human. The process used in the movie starts from a sample of one cell, preserved inside of a metal gauntlet, and then proceeds to recreate the person whose cell that used to be. The print in the movie is physically done by creating one part of the body, such as the skeleton, at a time. The entire print in the movie only takes around two minutes.
Most of the cinematography, in fact, consists of similar long takes with very limited cutting to emphasize realism. Dialogue scenes, such as the awkward bedroom interrogation scene between Alex and his flamboyantly cautious social worker, or the turning point when Alex shares his discovery of the Ludovico treatment with the Prison Champlain, feel more tense when shot in real-time. But then there are scenes of excessive violence where montages and hand held camera angles are utilized. During the final scene in the first act, when Alex fights off the Cat-lady, the fight is shot in quick cuts from a hand held/wide angle lensed camera to give the scene a thrilling encounter.
The opening scene begins with a stark extreme close up of a woman’s face in black and white. The camera focuses on her startled eyes that dart from side to side in an ominous manner that is coherent to the genre of thriller and its ability to perpetuate a feeling of unease. As the camera continues to zoom inwards towards her pupil, the image turns a deep red and we notice the emergence of animated spirals superimposed onto her iris. As the screen changes from monochrome to red the non-diegetic sound of mood music alerts the viewer to the insidious nature of the thriller, instilling a feeling of unease. Hitchcock’s use of the colour in this scene is unconsciously interpreted by the viewer as menacing or foreboding, as the colour red suggests an allusion to blood and death. The spirals foreshadow the plot’s concern with vertigo and hypnosis, anticipating the use of the spiral motif throughout the film. This use of psychedelic animation with film produces a metaphor that is sustained in the plot, whereby reality becomes inseparable from illusion. Scotty is first introduced to the illusionary construct of the character of Madeline in the catalytic scene set in Gavin Elsters office. A contrast is made between the affluent and powerful shipyard owner Elster and the unemployed, disabled figure of John Ferguson in order to establish a hierarchy of power. This power relation is reflected in Hitchcock’s use of Mis En Scene, camera angles and diegetic dialogue. The spatial relationship between the two characters is confirmed through the use of an establishing shot that situates the commanding figure of Gavin Elster dominantly behind his desk in order to convey that Scotty is subservient to Elsters plan. A series of shot reverse shots ensue ...
The film portrays the life of two young best friends who set off on a
The Road is a movie with little plot besides a father and a son walking down a road. Alt-hough this movie is very dull it has parts that put u back into watching the rest of the movie. The plot it does have can be divided into acts of violence, selfishness, and mer-cilessness.
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
A.I.: Artificial Intelligence is a Steven Spielberg science fiction drama film, which conveys the story of a younger generation robot, David, who yearns for his human mother’s love. David’s character stimulates the mind-body question. What is the connection between our “minds” and our bodies?