There have been countless numbers of films produced and directed in the past decade that could be labeled as weird or bizarre, however, one of the most head-scratching and unusual films to hit the big screen in the past decade was Donnie Darko (2001), directed by Richard Kelly. The film depicts a troubled adolescent named Donnie (Jake Gyllenhaal), who after surviving a near death experience, finds himself at the center of numerous acts of violence and vandalism in his community, possibly due to his growing insanity. Arguably, one of the highlights of the film, if not the main highlight, occurs during Donnie’s first day back at school since his close brush with death. This dreamlike and hyper amplified school-entrance montage that Kelly takes the viewer through has a major contribution to the film in its entirety because it gives a much deeper meaning to the film in terms of the audio-visual style. One could righteously make the argument that films today have advanced in numerous aspects in terms of the audio quality, cinematography, and not to mention the advances in editing. Based off of that argument, one could claim that the filming process is in fact at its epic peak; with advanced green screen technology and the use of computerized editing, films today have completely evolved from the early versions of motion pictures. With these advances, directors like Kelly are more able now, than ever before, to include better audio, visual and cinematic effects to better enhance their films and portray a deeper and more emotional feeling to the piece at work. In regards to the “Head over Heels” montage in the film, Kelly was able to accurately and systematically show what was going on around Donnie’s school without a word of scripted di... ... middle of paper ... ...gue, the love song, written by Tears for Fears in the background accurately portrays the hidden theme of love, whereas some of the characters actions in the scene signify hatred and rebelliousness, much like Donnie’s relationship with his family and the people in his life. In terms of cinematography and Donnie’s back door exit from the bus, one could interpret this canted angle shot as Donnie exiting a casket, a visual representation of him cheating death, much like he did the night when the jet engine crashed into his unoccupied room. Overall, the sequence gives the audience a more straightforward look at the life of Donnie, the people in the community, and people influence one another, much like a domino effect. The cinematography, editing, and sound all play one major role in the film; signifying a representation of human interaction without the use of dialogue.
Films are designed for numerous purposes, some entertain, frighten, enlighten, educate, inspire, and most make us think about the world we live in. This paper will be focused on the cinematic interpretation of the film "Stepping Razor Red X", the Peter Tosh Story. The makers of a film from the writer, director, cinematographer and the art director, design, and conceptualize what they want the viewer to see.
After experiencing a traumatic car crash, Michelle, the protagonist of director Dan Trachtenberg’s film 10 Cloverfield Lane, wakes up in an underground bunker owned by a man named Howard. Howard claims to have saved her from a widespread chemical attack that has contaminated the air, with his bunker being the only place to take refuge for the next couple of years. Yet as the film progresses, Howard’s controlling and threatening demeanor eventually brings Michelle to escape, allowing her to come across the actuality of the situation outside the isolated bunker. Throughout the production, Trachtenberg arranges close frames, manipulates the camera’s focus, and chooses specific lighting to create an ominous tone that mystifies and disturbs viewers.
I have discussed how Francis F. Coppola exploits a wide array of audio and editing techniques to create suspense, tense, and anxiety in the sequence to affect the audience’s feelings. Despite the simple fabula, this multifaceted film requires certain intellectual involvement and efforts of the audience to grasp fully its underlying meanings and subtle nuances.
The opening sequence sets the stage for the surreality and subjectivity of the picture and sound of Apocalypse Now. Initially, helicopters fly over a palm beach in slow motion. Rotor blades beat much too slowly to be those of a life-speed helicopter. The viewer can immediately distinguish this as indicative of a dreamlike perception because common expectations suggest that life runs at normal speed and thus film of real life do the same. This gives the sequence a surreal feeling. Smoke, stirred by the helicopters, drifts subtly; elegantly; leisurely. However, the shoreline soon erupts into mini mushroom clouds of napalm fire. Still in slow-motion, it appears to the viewer both artful and fascinating. A normal shocked reaction to the destruction is suppressed in favor of wonder because of the films illuso...
Spike Lee, through his undoubtedly inventive yet obtrusive camerawork, embodies emotional impact. From lateral panning and jumpy camera sequences to his use of perspective, Lee inspires intensity and apprehension. An odd synchronicity between the camerawork and subject matter fosters these emotional reactions and inspires inquisition; the viewer conceptualizes the camerawork to uncover a significance the narrative cannot deliver. The cop sequence retains suspense and effortlessly transfers Flipper’s anxiety; a “voyeuristic” perspective stimulates the former while rapid camera shifts and altering points of view maintain the latter. The scene in which Flipper asks for a promotion illustrates Lee’s emphasis on viewer impact and impression, sometimes at the cost
The picture Crash, produced by Robert Haggis, features the several battles confronted with the current racial stereotypes, in to a collection of numerous connected, social predicaments fall upon by the picture's multi ethnic forged. Robert Haggis uses the dialogue and physical actions of his characters to illustrate the various racial stereotypes that are pre-assigned to each race by every individual. This movie is an enchanting bodily melodrama that reaches the feelings of spirits and its crowd's minds. Several of the components given by Haggis in this movie are impersonated in intense sets. This design of reversing is communicated opposed figures and by his character, the picture's possibly nighttime or daytime environment, and additionally in the hearth and snowfall moments. In this movie, the varied functions performed by the several contests of contemporary America are revealed to the globe by Haggis. Through coldly racial difficulties confronted by his figures, an intentionally affecting movie that drives his crowd to challenge their own ethical principles is created by Haggis. Each contest is signified through the picture and coldly exhibits ethnocentrism and racialism. Paul Haggis incorporates the use of identification, parallel plots, reaction shots, point-of-view shots, shot/reverse shots, diegetic music, and post-modern film in the film. Through his character development, editing and special effects we are drawn into.
He points out that elements such as non-diegetic music and the topics of some conversations between characters make up life in the 1980s. Trainer highlights the dinner conversation at the beginning of the film in which Donnie’s sister Elizabeth and his father Eddie discuss who they support in the upcoming presidential election. According to Trainer, the film’s social commentary extends to its use of non-diegetic music, both Echo & the Bunnymen's “The Killing Moon” (in the original theatrical release) and INXS’ “Never Tear Us Apart” (in the director’s cut) help establish a temporal location; the 1980s. Throughout his article Trainer presents Donnie Darko as a film about coming of age, science fiction, psychology and drama, but also as a commentary to life in the 1980s and about the dysfunctionality behind the 1980’s neo-conservative, middle-class, suburban
Just about everyone can voice their opinions on a film that viewed as we all do after leaving the theatre. It may be found to be useful when a friend or individual is interested in seeing the film themselves. However, I believe the only way that you could understand a film is by analyzing the film beyond the average person. When one begins to analyze they begin to develop an understanding of the film and may grow to love the film. The director Hitchcock is a fairly well known director. He has directed many different films from Vertigo to Psycho that are found to be popular with the viewers. In this paper I am going to analyze certain elements that spoke out to me during the film. Those elements that spoke to me the most during the film was the lighting techniques, camera movement, and symbols.
In the opening scene of the movie we see Frank’s character played by Denzel Washington. Right away we are shocked by his violence and see his power. This is the first motif we are introduced to. We see Frank stand tall over his victim, and the dark shadowing we see on his face and body show his dominance. Another motif we are introduced to is how real this film is setup to be. The car headlights that setup the background and introduce where we the setting is as well as motivate lights. They have a purpose in the film in promoting its authenticity. We also hear the all the sounds in the forefront. When hear the sounds up close it dramatic for us as viewers. We hear every 7drop of gasoline that is poured on the man’s body and we even hear the flick of the lighter as Frank sets the man on fire. This is the director Scott Ridley’s way of saying to the audience I want to fool you, and I want you to feel like you were there and what you are watching in front of you is real.
Modern day horror films are very different from the first horror films which date back to the late nineteenth century, but the goal of shocking the audience is still the same. Over the course of its existence, the horror industry has had to innovate new ways to keep its viewers on the edge of their seats. Horror films are frightening films created solely to ignite anxiety and panic within the viewers. Dread and alarm summon deep fears by captivating the audience with a shocking, terrifying, and unpredictable finale that leaves the viewer stunned. (Horror Films)
The idea for the film is based on every parent’s worst nightmare. The concept based-plot is filled with twists and turns, captivating the audience. This film succeeds in creating the desired feeling of suspense with its sound score and creates heightened emotions by filming on location and often in the dead of night. Filmed in realistic color, the storyline takes place on Thanksgiving and the days after. The scenes are often filmed outside, in the cold ...
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
...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.
Adaptation is an essential part of the motion picture industry, with a majority of films based on literature and other forms of source material coming out of Hollywood every day. One of the most controversial examples of adaptation, at the time, was the great Stanley Kubrick’s 1971 dystopian drama A Clockwork Orange, based on the novel by Anthony Burgess. In a futuristic society ruled by gangs, corruption, and “ultra-violence,” psychotic teen Alex (wonderfully portrayed by Malcolm McDowell) volunteers for a government-regulated experimental treatment to rid himself of his wrongdoings after committing an act of murder. Through the film, we follow this tragic anti-hero’s journey to discover the central theme of fate - whether the government controls human order, or if there is a freedom of choice. Although the film was originally blasted by critics for its excessive use of violence and sexuality, it has since become recognized as one of the most psychologically captivating pieces in cinema, earning its place among AFI’s “100 Years...100 Movies” list. Clockwork Orange’s fascinating mise-en-scène (staging, lighting, costuming), cinematography, music selection, use of voice-over-narration, and narrative structure brilliantly establish the novel’s realistic satire of the dystopian future, making the film one of Kubrick’s most successful adaptations.
Twenty-eight days…six hours…forty-two minutes…twelve seconds, that is when the world will end. The movie Donnie Darko, Frank tells Donnie that the world will end in just a short time. Throughout the movie, different literary devices are experimented to give the movie a deeper meaning. This provides the audience with a hidden message that gathers the viewer’s attention while keeping them entertained. Donnie Darko is a movie that has imagery, symbolism, and foreshadowing and by merging these devices creates a film that holds their audience’s attention.