Charlie Chaplin’s film City Lights (1931) is a romantic comedy that shows the audience all the thing people can do when they fall in love. The film mainly shows us all the difficulty things the actor went through to help a blind flower girl he was in love. The movie City Lights shows the courage that comes with love, all are much shown and stablished through cinematography acting and design.
In the scene when he went to box to obtain some money they give us two shot to set the scene. As well the audience gets a medium long shot to show Charlie’s clumsiness, and an over the shoulder shot to view the point of view of the opponent. When the music started the audience already knew something wasn’t going to work out. The music was a low trumpets
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We can notice that the boxing rink is light while the audience and the rest of the stadium are very dark. On the whole movie Charlie Chaplin keeps the movie interesting with the contrast of music his clever editing and cameras angle but mostly his humor. On this part I liked to share the camera never stopped rolling until the whole round were over. That keeps the audience busy and thinking that something else is about to happen and make them keep focused. The high pitches tones occurs when something had just happened and the low pitches tones when something is about to happen. On the whole movie they use a lot of lighting effects since Charlie Chaplin don’t talk in movies they need something else to keep the audience on playing attention. All the elements worked together in this movie because if the lighting wasn’t good we could not really appreciate what was going on in the movie. The music was appropriate too because when he was around this girl that he liked he always did this funny face and gestures with his eyes but as well the music indicate us that something good was happening. The mise-en-scene is very important in this movie because since City Lights lacks on sounds the acting and environment needed to be more heavy to give the message. The whole acting on this films rely on the movement of the characters the environment and the props the
The use of sound helped to create a story behind the scenes. The sounds of Drum’s gunfire and Ouiser’s dog barking create a humorous event outside of the set. This scene of family/neighborhood craziness is relatable to any audience member in some way and helped the audience to connect with the characters. The use of the radio at the beginning and end of each scene helped to establish a mood and in some cases a time change. It also worked as a signal to the audience when a scene was beginning or
Film Noir is a fairly self-explanatory name. French for “Dark” or “Black Film”, this style (not genre) of film is pretty much summed up in those two words. These films started being made in a 1940’s, Post WWII paranoia, with the threat of nuclear missiles looming over the heads of all United States citizens, Hollywood included. This paranoia led to disillusioned attitudes and existential feelings, which in turn were reflected in Film Noirs through things such as characters, with the two most prominent types being hardened male protagonists and femme fatales. Also, the “Darkness” of Film Noirs was not just a metaphor for the content of the film, but also a fairly literal description of the visual style was like. Taking influence from German Expressionism, among other things, the visuals of film noirs were often of gritty city streets, dark alleys, or smoky, cramped-looking rooms. To add to the dark appearance, the lighting included heavy use of chiaroscuro, a style that is characterized by a dark environment with single-source, high contrast lighting on the subject. While many film noirs fall into the crime genre, as well as detective, there are some exceptions, such as the drama/black comedy Sunset Boulevard. Despite it’s setting and characters being a bit unconventional for the Film Noir style (the film was a fairly realistic account of what goes on behind the scenes in Hollywood), Sunset Boulevard is definitely a Film Noir, due to it’s use of an archetypal Film Noir hero, a femme fatale, and conventional film noir cinematography and storytelling.
The artistic intensions of the film were clearly stated in the beginning when the credits appeared on the screen along with the recognition that this film received. Nothing in the background moved. The size and arrangement of the letters on the screen screamed to the audience that the main artistic intension of this film was for the audience to clearly recognize that this film itself was a piece of art in its finest form. The film very quickly and artistically set the mood and the location as well as the topical time period through the jazzy music in the background, the accents and grammar of the characters, the style of clothing and hair, the presence of a soldier, and through the scenery. Later in the film, some indicators of the time period were shown through the old radio Stanley threw out the window and the young man coming to collect for the newspaper. An indicator of the location was made more clear by the presence of African American people walking in Stella and Stanley's neighborhood. Back when this movie was made the black people and white people, especially of upper class society, were still segregated for the most part. The upstairs neighbors fighting with each other and yelling loudly and the appearance of Stanley's poker friends...
With introduction to “new techniques of scenery construction” (Guest, 14) the Romantic ballet productions were able to explode the spectacle of ballet performance and illusion. Color became a powerful contributor to setting the aura of a scene in a ballet. In Giselle, this is especially evident in the contrast between the earthy, warmly toned town scenes and the ghostly, white, eerie world of the wilis. With the “introduction of gas-lighting” the amou...
use of the camera the sound and the mise en scene. I will analyze the
Most of the film was shot with 50mm lenses on 35 mm cameras. This technique carefully lets the audience see the film as though watching a ‘live scene’. This has the effect of drawing the audience closer into the action.
...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.
Charlie Chaplin created amazing films with his career as a director, screenwriter, actor, producer and musician. City Lights is a story of the tramp who falls in love. He is blown away by the unexpected love affair with the flower girl. He does everything in his power to help her and along the way befriends the millionaire. The story shows the contrasts between the two very different worlds of the rich and the poor. The tramp befriends the damsel in distress millionaire and sparks a friendship where the tramp then sees the lives of both worlds. The mise en scene is a way that shows how different each scene is by the way each character lives their life. Not only in the contrast between the rich and the poor, but also a contrast to happiness verses the unhappy. The mise en scene shows symbols of props that represent how the characters are feeling and what we are suppose to be feeling as we watch what is going on onscreen. Mise en scene is used to tell the story and there are many aspects that come together. The composition, props,
generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much 95% of the light used. This really lights up the top of his head, which is bald, but there is no hot spot or reflective element which is good because reflection here would be aesthetically displeasing. The lighting causes dark areas under the man’s eyes, which emphasize the passion and eventually the hatred of what he is talking about. The scene is lit so that the background is completely black, so that the only thing we can see is the man. Even though this is logically unrealistic, the stylistic decision to light in this manner is warranted, since this or any other good film draws heavily upon our expectations and imagination to convey a message or meaning. We as audience accept the unrealistic elements, if they assist in making the story ...
When you first enter the theater, you are immediately in awe of the strongest aspect of this production: the set. The stage features a life-sized enchanted forest with “tress” as tall as the ceiling and a lit-up backdrop of a twilight sky. The tress would move around throughout the performance to make way for different scenes. In front of your very eyes, an enchanted forest would turn into the outside of a charming house with a lit porch and a well. The twilight sky would turn to a starlit sky and a soft spotlight simulating moonlight would compliment the faint sound of crickets. Suddenly the house and tress move around and you’re in a town with a little cart selling baguettes, or a lush dining room with Victorian wallpaper, a chandelier, and china displayed on the walls. The world shakes once again and now you’re in, inevitably, a ballroom. A white Victorian gate opens up to become the walls of the ballroom, and a white marble bridge and staircase appear for the outside of the castle. Adults and children alike were in awe of the craftsmanship and technology.
In the early 1900’s Georges Melies introduced his film “A Trip To The Moon” to audiences in France. This film, when first seen by viewers at this time, was jawdropping. Melies who happened to be a magician, and illusionist before becoming a filmmaker, made one of the first-ever narratives in motion picture history. Similarily throughout “Trip To The Moon” and many of his later films, Melies, who also worked in theatre, took full advantage of what is known as Mise-en-scene. Mise-en-scene is defined as: All the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and make-up, and figure behavior. In “Trip to the Moon” Melies created a world to which no one had ever seen on film, and utilized all the characteristics to which mise-en-scene is based upon.
In the film “The Great Dictator”, Charlie Chaplin predicted many things that were totally different from how the actual events had occurred. Often there are scenes or clips in films that get misinterpreted but not as bad as they did in Charlie Chaplin’s film “The great Dictator”. One thing that Charlie Chaplin had the wrong ideal of was the way the Nazi concentration camps were ran and set up. When Chaplin made this film he basically made a rip off assumption of the concentration camps. Nothing that was shown was accurate about the setup and way of living inside of the concentration camps. The term concentration camp refers to a camp in which people are detained or confined, usually under harsh conditions and without regard to legal norms of arrest and imprisonment that’s acceptable in a constitutional democracy. Charlie Chaplin’s ideal of a concentration camp seemed extremely well kept than how the actual camps were. In the film the beds were seen as individual beds that were placed side by side when in reality a couple of people or more slept in confined spaces that seemed somewhat smaller than bump beds. Not only were the beds different but the building itself and the way that
We have all seen it done before, either in real life or in the movies. A situation is funny because of the misinterpretation of someone's actions or the complete conflict of what a situation seems to be and what it really is. People come into contact with sight gags all the time. One might be trying to be sneaky and hide something and then when someone looks, one pretends to be doing something else not to get caught. One could also pantomime using an umbrella as a baseball bat. These are both basic forms of sight gags.
Today, most movie goers categorize ‘silent films’ into one genre and discard the stark differences that make Arrival of a Train at La Ciotat, The Great Train Robbery, and Broken Blossoms vastly dissimilar. In my opinion, these films clearly illustrate the evolution from silent film projection on a cafe wall to the birth of the hollywood that we know today. The profound contrast is most apparent in their stories, their performances, and the emotional response each film invokes. Collectively these films provide viewers with a clear perspective on how early film progressed from silent stills into what we call today, The Classical hollywood “silent” film era.
Fritz Lang’s M is very much a product of its time, receiving huge influences from German Expressionism during the 1930s. After World War I, this form of presenting film became very prominent in Germany reflecting the cynicism and disillusionment that encapsulated the country. As a result of Lang’s expressionist approach to the film along with his own unique take on the genre, M is also a very early example of film noir.