Scott Pilgrim vs. the World tells the classic story of boy meets girl, boy falls in love with girl but first must overcome problems which the girl brings from her past that interferes with their relationship. Initially defeated, sad boy realizes that this girl is “the one” and so goes into battle for her once more, and this time he is victorious. Where Scott Pilgrim vs. the World is fresh and unique is in the combination of styles and influences from comic books (Scott Pilgrim originally being a comic before being made as a film) and video games, particularly styles of video games popular during the early era of home video consoles in the 1980s and 1990s for which the intended audience of the movie, whose childhoods largely occurred in that period, would feel a deep nostalgia. Costume design, props, and the stylized gestures and vocal delivery of the actors (pp. 125-130, 139-146) all contribute to creating a feel reminiscent of said “old-school” video games. Director Edgar Wright structured the editing of the film so as to create the feel of a continuous stream of action, as though the romance is seen as a never-ending, fast-paced conflict. Sound (pp. 279-280) and visuals (p. 118) are also used in such a way as to create the sense of a universe which is deliberately unrealistic and as direct as possible a translation of the original comic book into film format. Although the film uses a restricted narration (p. 93), with the audience only seeing events as far as Scott can see them, the extensive use of visual and sound cues, as well as the deliberately formulaic plot structure and references to many old video games and classic “boy-meets-girl” stories, the general structure and plot (pp. 80-82) of which the audience is assumed to b...
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... and substitutes the common traits by the use of unique and innovative elements from a different medium. The style and the pop culture references (especially to video games) which the film is full of helps connect with the target audience, and also show the significant of how fantasy, video games and comic, can stylistically distribute a classical convention to the distinct overall formal system (pp. 56-58, 60-61). In other words, this film that incorporates stylistic elements of comic books and video games to tell a story which is already familiar fodder for movie audiences also makes it especially relevant to an audience demographic raised with video games and manga. Perhaps such prophetic in the integration of stylistic elements from different forms of popular entertainment media into film, can be something which audiences in the future may well come to expect.
In conclusion, by using the production elements of both allusion and symbolism; director Tim Burton has created the film in such a manner by making deliberate choices in order to invite a certain response. The film is constructed and given greater depth through the allusion to elements from other genres and ridicules the suburbia’s materialism and lack of imagination, which in turn enhances the invited response.
"HER ORIGINAL NAME was Patricia Neal"(Reynolds1), but the author of Fried Green Tomatoes is better known under the alias: Fannie Flagg. In the novel Fried Green Tomatoes she uniquely compares the modern day world to the world in the early and the middle 1900’s. As the novel shifts from the 1930’s to the 1980’s the significance of life is seen through two of the main characters, Mrs. Cleo Threadgoode and Evelyn Couch, as life ends and begins. Fannie Flagg shows that living life to its fullest indeed has its consequences, but is the only way to live a happy life without regrets.
Duckworth, A.R. (2008). Blade Runner and the Postmodern use of Mise-en-scene. Available: http://ardfilmjournal.wordpress.com/2008/08/26/blade-runner-and-the-postmodern-use-of-mise-en-scene/ Last accessed 21st Dec 2013.
Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.
Frank Darabont (writer-director-producer) in 1999, returned to the director’s chair for the first time in five years. Darabont, who not only directed Shawshank Redemption, but adapted it from a Stephen King story, followed the exact same path with The Green Mile. The film was released by Warner Bros. Pictures, and Produced by Castle Rock Entertainment, Darkwoods Productions, and Warner Bros. David Valdes is the producer, David Tattersall, B.S.C. is the director of photography, Terence Marsh is the production designer, and Richard Francis-Bruce is the film editor.
...has come an extraordinary way from being an avid film viewer to establishing and making films himself. He ornately uses dark, gothic themes across the majority of his works that distinguish him from others in the industry. It is to Burton’s huge advantage that nobody “can see any of [his] films and not know immediately that it’s [his],” (Weinstock, 217). His recurring ability to introduce characters that are an obvious extension of himself, allows viewers to connect with Burton as an individual as well as find comfort in their own imperfections. He excels in developing characters that adopt the role as the anti-hero and protest against the conventional hero. Together, the themes intertwined into Tim Burton’s works function to push the boundaries of film away from the ordinary, and to allow him to exclusively remain an outsider working in a mainstream business.
The only real way to truly understand a story is to understand all aspects of a story and their meanings. The same goes for movies, as they are all just stories being acted out. In Thomas Foster's book, “How to Read Literature Like a Professor”, Foster explains in detail the numerous ingredients of a story. He discusses almost everything that can be found in any given piece of literature. The devices discussed in Foster's book can be found in most movies as well, including in Quentin Tarantino’s cult classic, “Pulp Fiction”. This movie is a complicated tale that follows numerous characters involved in intertwining stories. Tarantino utilizes many devices to make “Pulp Fiction” into an excellent film. In this essay, I will demonstrate how several literary devices described in Foster's book are put to use in Tarantino’s film, “Pulp Fiction”, including quests, archetypes, food, and violence.
Williams juxtaposes the three genres together, to reveal similarities and differences, and, in turn, their similar and different desire effects on the audiences. Specifically, she points out the physical reaction of characters in the films, and how the audience members mimic them. Firstly, in regards to the physical body, Williams discusses the similar uncontrollable “convulsion or spasm,” that comes with the different genres; a body on the screen is “’beside itself’ with sexual pleasure, fear and terror, or overpowering sadness.” (729) Next, she dissects the sound of these bodily reactions – the overpowering moan, scream, or sob that the chara...
This analysis observes the opening scene of the Coen brother’s film No Country for Old Men (2007), a neo-noir crime thriller set in Santa Fe, New Mexico. The film does conform to classic Hollywood style in that the story is character-centered and plot and narrative change to serve character exposition. As well as the character’s actions changing plot and narrative and that style is subservient to the story as the ultimate goal is to develop a fictional world that is perceived as real, as Bordwell put it the classic Hollywood style should be “seamless” and “style-less” (Bordwell, 1988). But does have Post-classical influences such as lack of musical score and modern editing techniques and special effects.
Juror #1 originally thought that the boy was guilty. He was convinced that the evidence was concrete enough to convict the boy. He continued to think this until the jury voted the first time and saw that one of the jurors thought that the boy was innocent. Then throughout the movie, all of the jurors were slowly convinced that the boy was no guilty.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
Since its emerge as a genre of science fiction in the 1980s steampunk has transformed into a sub-culture with developing fan communities all around the world. Its distinctive features based on Victorian fashions, recreation of this fashion with modern tools and equipment, and solving modern day’s problems with steam powered, bronze coated unrealistic machinery. (Ferguson 66). Although the elements that created steampunk were mainly based on fashion, Rebecca Onion expanded this idea by claiming most steampunk works based on aestheticism, and a relationship of visuality between retro-Victorian style and contemporary technology (Onion 138). This relationship between style and technology helped creating a unique connection for popular entertainment of today and became intriguing for the generations of modern age. As one of the most popular ways of entertainment, video games were the most suitable choose for answering public demands and steampunk games started to be published by game developers. The children of the modern age showed their interests almost immediately and steampunk themed video games became one of the most loved genre for video game enthusiasts.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Analyzing film has been around since the making of movies in the early 1900s. Here in the United States film really blossomed in the 1920’s. Production of films started on the West Coast in Hollywood. The earliest films were organized into genres or types, with storylines, settings, costumes, and characters (Dirks, 2010). Films are made to entertain, and when viewers watch the film they find themselves drawn into the characters personality and the plot. Because of film’s popularity many people use films as an agent of communication, education, and learnin...