Christopher Nolan's 'Inception' is polished with sincere finesse, yet holds a symphony of striking visualised metaphors of cinematic achievements. It moves away from the narrative restraints and embraces the transition from the mere mechanical bases of cinema towards the legitimization of the medium as an art form. There will be, however, many spectators who appreciate the aesthetics of 'Inception' as an art form, and many who shall not, dividing audiences. The metaphorical world of dreamscapes, labyrinths, illogical staircases. The entourage of evocative emotions, augmented, entices the spectator to delve into the world of the protagonist Cobb, on his journey. The visual aesthetics being led through manipulation and constructed to a point that is perceptible to the mind's eye. These concepts interpret the quintessence of photogenie, the pure essence of cinema. …show more content…
The close-ups and mobility focused on the prop of a spinning top provides a relationship between the trio. Nolan provides a veneer of life to a simple prop, therefore becoming a character within the plot. The question of Cobb's existence between the two worlds is ultimately focused on the use of the unspoken characterisation, the top becomes a metaphor in order for distinction between what is reality and what is dream. The intensification of emotions directs the spectator through a labyrinth of time and space, the ingenious ability of Zimmer's orchestral piece 'Time' further evokes the emotive state of the spectator, who, if invested, shall walk alongside Cobb as he deciphers and questions where his existence lies. In order to sustain this state of being, Nolan omits any implausibility, which therefore allows the plot to be one of
Pans Labyrinth directed by Guillmero Del Toro is presented in a way that creates meaning through audio and visual elements. This essay will examine these techniques within the opening sequence of the film that introduces the protagonist, motifs, themes and overall aesthetic of the film as well as discussing the sequence in the overall context of the film. This sequence incorporates elements such as music, non digetic and digetic sound, camera framing/angle and movement techniques, colour, lighting and editing to establish a diverse range of interpretations. Throughout Pan's Labyrinth, there are several contrasting factors all introduced in the opening three minutes. The sequence first defines the kind of story that Pan's Labyrinth is, a childs book and a sort of sinister fairytale. Then the following elements are juxtaposed., adulthood and childhood, cruel reality and imagination, and a kind of heaven is contrasted with a type of hell, these elements are all incoperated into the picturebook like imagery. This essay will analyse the opening sequence of Pans Labyrinth in depth, using film techniques as evidence.
Fuss and Barthes, they share an interest in photography, they share an interest in the foundation and principles of photography, moreover they share an interest in photography that is deeply personal. Fuss takes the camera out of photography. Barthes takes photography out of art. Both men want to get to the essence of what a photograph is, one by thinking and writing about it, and one by doing it. In this paper I will show how Adam Fuss’ work matches up with and demonstrates the ideas of Barthes’ in Camera Lucida.
...the reflective camera work and the metaphorical visuals. In the film, it is likewise the language of the camera that creates the spectacle.
In Black Swan, director Darren Aronofsky uses multiple tools and aspects of the medium of film to create a surreal narrative. The film Black Swan qualifies as art by Rudolf Arnheim’s standards because of the ways that the viewers’ experience of the film differs from our experience of reality. Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, then the illusion may take place.... ...
The camera is presented as a living eye in her work, capable of bending and twisting, contorting reality in its own light. It is at the same time a sensuous device, one that exp...
The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound helps to resolve the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various
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].
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 the 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 a 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.
Christopher Nolan, the british-american director of the critically acclaimed “Momento” and the most recent “Batman” movies has a fearless mentality for the complicated plots and epic themes which his films bestow. And one of his most epic new thrillers and astonishing new story is his 2010, “Inception.” Over ten years, Nolan had contemplated the idea of a movie around the dream world where action scenes could be manipulated and redoubled continuously. And that time of sitting on the idea led Nolan to dig much deeper into the idea that though before, diving into the realm of dreams within dreams and tiered action within each dream level as they go deeper into the subconscious. In Christopher Nolan’s “Inception,” the main character Cobb remarks, “The mind creates and perceives our world. It does it so well, we don’t realize that we’re doing it.” To tell a story about a man washed up on the shore of his own subconscious, Nolan captivates audiences by propelling them along his non-traditional narratives full of complex themes and intricate story lines. He blurs the lines of reality and dream through parallel editing, set design and architecture. As a result the audience believes whole heartedly the repeated notion that “downward is the only way forward.”
A picture is more than just a piece of time captured within a light-sensitive emulsion, it is an experience one has whose story is told through an enchanting image. I photograph the world in the ways I see it. Every curious angle, vibrant color, and abnormal subject makes me think, and want to spark someone else’s thought process. The photographs in this work were not chosen by me, but by the reactions each image received when looked at. If a photo was merely glanced at or given a casual compliment, then I didn’t feel it was strong enough a work, but if one was to stop somebody, and be studied in curiosity, or question, then the picture was right to be chosen.
Best known for his unique and non-linear style and to many people as the best director of the past decade, Christopher Jonathan James Nolan or just simply Christopher Nolan, is one of the most talented and influential film directors and screenwriters of our time. He, like most directors have never studied film and is a self-taught filmmaker. In this essay I am going to write about his early life and how he got into filmmaking. His early career and his rise to fame with Batman movies, his personal life and the influences he have had on the film industry which makes him one of the best directors of all time and my personal favorite.
Have you ever seen a painting or picture that captivates you and directly stirs up emotion within you? More than likely, you have. Usually, viewers merely observe the picture and enjoy the way it looks and how it makes them feel. But, have you ever asked yourself, “why?” What about the picture makes it pleasing to the viewer? With each strategy the photographer uses creates their own touch and passion that floods all over the picture. The emotional connection nearly goes unnoticed for when the picture is well photographed, the viewers experience the sensation in their subconscious. This is one of the most powerful tools that a photographer holds in their hands. If one can become a master of manipulating how the photo affects its viewers, the said photographer can potentially maneuver people’s minds and thoughts with one click of a button. The time spent with my mentor has opened up the door for me to tap into that power though the use of background, focus, shutter speed, angles, and most importantly, lighting. Even with all these techniques, the person behind the camera must remember that creativity must be at the forefront of all operations. Caleno (2014), when writing about the basics of capturing a beautiful moment in a picture commented, “If we want to be creative we must drop these pre-conceptions and start looking at things from a small child’s innocence.”
The setting of Inception is idiosyncratic for it divides each section of its dream world into distinct sceneries to help the audience differentiate location and tone. Cinematographer Wally Pfister designed the film’s location with diverse color hues and modern decor. Each dream level portrays an exclusive appearance from cool blue mountain peaks to warmly lit hotel floors. This separates the worlds allowing the audience to appreciate each setting in its entirety. Likewise, these settings provide insight into the tone of the narrative structure. The film exhibits expansive, sleek dream environments to contrast with angular, warmly lit locations paralleling a contemporary psychological thriller with science-fiction. The pressure for Cobb to complete his mission progresses from the tonality of each setting in v...
Women desire to become beautiful and powerful, even if they don’t say it in words. And the Photographer plays with that concept and creates that desire, that you can become that person you see in the photograph. And live that lifestyle. Photographers use techniques from the cinema/cinematic, to create the desire of viewers/Buyer/Consumers. The cinematic techniques made it possible the way people lived and the...
“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.