Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
film analysis inside out
film analysis inside out
analysing film techniques - pleasantville
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: film analysis inside out
Colour and lighting are used to depict the narrative of a film in spite of other elements of film style. Colour attracts attention and creates ambience of a film affecting the perception of the audiences (Boggs & Petrie, 2004, p. 204). In the meantime, lighting, which is essential to make a film, helps to create different meanings presented by one scene. Memories of Matsuko (Tetsuya Nakashima, 2006) uses a rich colour palette and different features of lighting throughout the whole movie to portray different stages of Matsuko’s life. A particular scene is chosen to study on the fantasy diegesis created. It is a scene after Matsuko becomes the mistress of Okano, and tracks him back to his house. She is satisfied after meeting Okano’s wife, imagining that Okano will divorce with his wife for her sake. Another film selected to make a comparison is a Taiwanese-Chinese film Starry Starry Night (Tom Shu-Yu Lin, 2011), based on an illustrated book by Jimmy Liao. The scene chosen from this film happens when Mei and Jay are on the train going to Mei’s grandfather’s shack on the outskirts of the city to watch the splendid starry night. Both of the scenes form a fantasy diegesis as a depiction of desire, innocence, happiness and pursuit of dream. They reflect the imagination of the characters. However the colour effects and lighting used are different in these two scenes. Throughout the chosen scene in Memories of Matsuko, an extremely rich colour palette is applied. From the flowers planted in front of Okano’s house, to the imagined flowers and birds along the road and finally the pathway leading to ‘the moon’, a warm colour palette is used in major. It is defined as a surrealistic use of colour as this scene has “an oddly dreamlike or unre... ... middle of paper ... ... music is played as a hypnotising music into the silence and beauty of the night. Similarly, these two scenes use the same style of cinematography in filming the unreality. Long shots and extreme long shots are commonly used allowing the audiences to get a big picture of the fantasy and get indulged in the imaginary world. The simplest yet appropriate costumes and make-up are applied to reflect the pure intentions insisted by the characters and their genuine expressions in their fantasy. Both of the films selected have different or similar filming techniques in depicting the characters’ fantasy world, but they consist of the same meaning of creating the fantasy diegesis: that is the portrayal of desire, happiness, innocence and pursuit of dream. Works Cited Boggs, J. M., Petrie, D. W. (2004). The Art of Watching Films (6 ͭ ͪ ed.). New York, NY: McGraw-Hill.
From across the room I could see the bright yellow, pink and red flowers. Taking some steps forward there was even more to like. The overall appearance is a depiction of everyday life. The setting is outside in a grassy area. The sky looks grey but is turning brighter. There is a house in the country whose owner is in the front milking a cow. There is a dead tree that stands bear in the center. The objects that appear closest are a broken fence and the intensely bright colored flowers. All of the objects seem animated and do not seem realistic. The clouds are grey and sharp. Making the viewer feel that something is wrong. It looks like a storm was just taking place. The wind blew the clouds away and is still blowing the grass to the right.
Statement of intent: This formal report was written with the intent of discussing the mise-en-scene element of film which is used in two of Wes Anderson’s most popular films. Both films The Grand Budapest Hotel (2014) and Moonrise Kingdom (2012) showcase the limited colour palette and costume aspects of mise-en-scene.
use of the camera the sound and the mise en scene. I will analyze the
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: McGraw-Hill, 1997.
Kracauer, Siegfried. “Basic Concepts,” from Theory of Film. In Film Theory and Criticism: Introductory Readings, Seventh Edition, edited by Leo Braudy and Marshall Cohen, 147–58. New York and Oxford: Oxford University Press, 2009.
Lewis, J. (2008). American Film: A History. New York, NY. W.W. Norton and Co. Inc. (p. 405,406,502).
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.
According to Munsterberg’s film theory, the motion picture is an original medium in that it aesthetically stimulates the spectator’s senses. Although both still picture and theatrical play can possibly leave images on the spectator’s retina or brain, each element of motion picture, including camera angle and work, lighting, editing, music, and the story itself, appeals to somewhere more than just retina or brain— the element of motion picture truly operates upon the spectator’s mind. Speaking of Darren Aronofsky’s Black Swan, the film unfolds a story of physically and mentally repressed ballerina’s life. Due to the film’s effective filming and editing techniques, the film successfully increases excitement as well as suspense in the story. Since Black Swan captures not only the real world the ballerina lives in but also the other side of the world the ballerina has within her mind, its spectator would experience a fantastic world where one ballerina lives in two different worlds at the same time. Even though the still picture and the theatrical play also give the spectator either a visual or an aural image, motion picture is the one that stimulates the spectator’s senses with its story, color, sound, acting, filming, and editing.
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: The McGraw-Hill Companies, 1997.
Piper, Jim. Get the Picture? The Movie Lover’s Guide to Watching Films. 2nd ed. New York, New York: Allworth, 2008. Print.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
Looking at landscape art, especially when painted by one of the masters, many have undoubtedly pondered: what would it be like to live there? Shapes and attention to detail are, of course, important in a painting. However, it is color that draws the eye and inspires the heart. Oscar Wilde, an Irish poet and dramatist, spoke well of this when he noted that, “Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways. (qtd in “color”)”. Vincent Ward had a similar understanding of this impact when, in 1998, he directed the movie What Dreams May Come. Looking at this film, one can easily imagine being inside a living painting. The use of color to emphasize the emotional state of a character or event is common in films; nevertheless, Director Ward goes even farther in using color to represent the actual characters themselves. Red is the shade chosen to signify Annie and likewise, blue is used for Chris. Both of these, as will be shown, are accurate in defining these fictitious people. However, it is the profound use of purple in this film that is the true focal point. When mixing red and blue paint, one would find that, after being mixed, they cannot be separated. Likewise, this is true of the life and love these characters build and share. Purple represents the many ways in which Chris and Annie are melded, and joined.
Gallagher, T. 2002. Senses of Cinema – Max Ophuls: A New Art – But Who Notices?. [online] Available at: http://sensesofcinema.com/2002/feature-articles/ophuls/ [Accessed: 8 Apr 2014].
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
Few paintings capture my imagination quite like Vincent Van Gogh’s The Starry Night. From the first time I ever saw it I was captivated by the seductive swirls of light in the sky and sleepy town in the distance. Like many college students in the early 2000s I had this poster framed on my dorm room wall along with another famous piece by Van Gogh called Café Terrace at Night.