- Walter This methodology was deliberate, unhurried which created a prolonged version of scenes that took the viewers to recognise what is happening without making them to hypothesise. This recognition with the viewers made them not to analyse the cuts but to revolve with the sequence, that brought the tactical editing invisible which still is an aesthetic art of filmmaking. “The editor needs to have a rigorous discipline, to know why you're doing t... ... middle of paper ... ...is modernised editing might become classical building a barrier by comparison. The perfect synonym of describing the process of film editing is, expression. Conveying the emotion and rhythm according to the script.
Thus, auteur theory has been modified to include different approaches including structuralism, feminism and social and political concerns. By using different auteur theories to look at the work of these two directors, we shall try to determine whether the director can be referred to as the artist or author of his films and whether the auteur theory is still relevant today. Before auteurism was solidly established as a theory by the French critics of the Cahiers du Cinema, there existed criticism that acknowledged the director as the artistic centre of a film. This criticism tended to privilege directors with more creative freedom than their peers including directors such as D.W. Griffiths, Orson Welles and John Ford in America, and Sergei Eisenstein and Marcel Carne in Europe. Much of this writing was concerned with “constants of style and world view across the works of the directors concerned” but lacked “the systematic, polemic thrust of auteurism proper” (Hill and Gibson, 312).
This notion drew the attention of the major stakeholders in the film industry into investigating why some of the directors would present the given qualities while others could not (Truffaut 103). From the onset, auteur theory would appear simple; its primary premise that the director under certain circumstances would be recognized as the author of the film (Thompson and Bordwell 105). However, the underlying question is what the issues and circumstances investigated for a director to be considered an auteur would be. Should they be the scripts that the directors choose to use or the dominant th... ... middle of paper ... ...his works. In summary, Hitchcock, Burton and Renoir were each considered auteur based on the dominant theme and the identical style that was evident in their film collections.
The script and directorial decisions of this film is exactly what make it unsettling, in the sense that, Christopher Nolan’s innovative decisions regarding the film make the film difficult to simply associate it to all the customary Hollywood productions. Initially, it is not entirely clear for the audience why the film is indicating that there are three different time segments; however as soon as the events all tie up, it is quite clear that though the story was intended to be presented as non-linear, by understanding
According to Paul Schrader, “Each of Dreyer’s individual film “styles” is, to be more accurate, a synthesis between three basic and opposing styles at work in his films. In order to define Dreyer’s aesthetic, one must confront to opposing artistic schools: the Kammerspiel and Expressionism.” The Kammerspiel or chamber-play style concentrates on just the basics, placing reality front and center. This is most evident in the concentration Dreyer places in the close ups of the faces. The expressionist style is less evident since the power of reality is what is most important. The expressionist elements are found mostly in the sets.
Perhaps, though, the real reason that both Coppola and Tarantino still have problems in avoiding the audience identification with their heroes is the astonishing persuasiveness of classical Hollywood forms. The learned patterns of classical Hollywood narratives and the associated identification with a strong central protagonist are likely to take over if given even the slightest chance. This is the price Coppola and Tarantino must pay if they wish to harness this form of filmmaking for commercial advantage.
The concept of "Auteur" is deriding and damaging to the screenwriter and to the director, according to William Goldman because Goldman understands that there are many independent parts working together to create a movie. Screenwriter, such as Goldman, have a very difficult task to adapt the script and the storyline in such a way that the whole story can be told with themes and symbolism without losing the viewer and without giving the viewer too much to take in and grapple with. Screenwriters such as Goldman often have to make complex and voluminous works succinct while ensuring there is flow and that it is possible to encapsulate visually. Goldman, himself, was an accomplished novelist before he became a screenwriter. He penned Marathon Man, Misery, The Princess Bride, and All the President’s Men (Queenan 1).
It was o... ... middle of paper ... ... an audience and those luck enough to work with him, is hidden in the complexities of his work. Although he has touched some of the established genres of film, his style is all his own. His movies continually arouse critical analysis and raise questions about the state of humankind. Stanley Kubrick’s gifts to society will be remembered as frighteningly truthful and creative. Works Cited: Ciment, Michel.
Every image and sound is chosen deliberately by the director to signify specific things. Looking further into this, comparing both Zeffirelli and Luhrmanns introduction, we can see the different uses of cinematic technique used, and the particular meaning that comes across from it. I can already see from the introduction to the film that Baz Luhrmann is an adventurous director. He uses different cinematic techniques and although the genre of the play is a romantic, Luhrmann displays it as a traumatic story. However, from Zeffirellis’, it is more traditional, filmed using the original costumes and settings as at the time of when the play was being written.
Postmodern film directors such as Ridley Scott, Woody Allen, Quentin Tarantino, The Coen Brothers, David Lynch, Christopher Nolan and others, make films that are often highly original, by reproducing the very popular mood of anxiety, fear, uncertainty and cynicism that reflects in the general society. The film’s story does not simply shines forth, but is also the foundation of the plot. The film’s plot makes the traditional guidelines applicable... ... middle of paper ... .../how-does-postmodernist-film-challenge-convent-397407. Last accessed 21st Dec 2013. Sharpe, R. (2012).