During the 1920s, Metropolis was considered a place “where the new was in constant state of emergence” (Graf 2007, 89).Filmmakers were looking for creating a new experimental work that feature and document city life; they wanted to capture something of city spirit, using a new medium. City symphony film, a new genre of Avant- grade films emerged in this period, taking its inspiration from the city itself and trying to capture its life from” dawn to dusk”. The idea of city symphony films dates back to 1921, when Charles Sheeler and Paul Strand presented an abstract study of New York City in their film Manhatta. This film established the main feature of city symphony tradition, the dawn to dusk format which became a standard feature of city symphonies …show more content…
For Vetrov, “the city was not a “text” to be “read” but a sight to be seen, A visual rather textual experience” (Strathausen 2003, 24). Vertov asserted that images should speak for themselves; he used the intellectual montage to encourage his audience to participate actively in the film, to “revolutionize” their “visual thinking”. He had never imposed a “pre existing meanings” of his filmic text, he wanted the viewers to be part of the decoding process of his film (Russel 2009, …show more content…
He wanted to celebrate the crowd, machines and modern life, and the merge between these components. He wanted to create that using camera and editing, as he was aiming to prove that the kino eye (the camera) was able to present images that human eye would never be able to see them that way. Vertov saw the “kino eye” as a pure reform for the human eye. Through the film, he intended to depict the film production process itself, as he presented his brother carrying the camera to every nock of the city and taking shots from different angles and distances; in addition to presenting his wife cutting the film and creating the motion that we see. he wanted to show us how film is made, and as many critics argued, Vertov tried to celebrate the cinema itself and its cinematic apparatus, which were able to create a new visual language free from any spatial and temporal rules and as Vervone put it “city symphony alters our perceived ideas about the place and therefore establishes new modes of cognition and perception based on the images and the way they are selected and intended” (2012,
In cinema, lighting, blocking and panning drastically influence what an audience will notice and take away from a scene. Orson Welles’s 1941 Citizen Kane has numerous examples of effectively using these aspects within mise-en-scène, cinematography and editing to portray the importance of specific events and items in the film. The scene where Kane writes and then publishes his “Declaration of Principles” (37:42-39:42) in the New York Daily Inquirer after buying them focuses on important elements of the film, aiding the audience by combining lighting, blocking and panning to define significant roles and objects that further the movie as a whole.
In the Mozart movie it is foretold that a man named Antonio Salieri killed another man by the name of Wolfgang Amadeus Mozart. Many people have thought that Salieri killed Mozart out of jealousy and there is some information that proves this correct. Like Mozart, Salieri always wanted to be a great composer but his father never wanted him to follow his desire to become a composer. As for Mozart his father Leopold Mozart wanted for Mozart to be the best composer and Mozart started to compose for royalty at a very young age.
Next let us consider the vivid scenery depicted throughout this specimen of literature. Compared to other attempts at re-imagining this piece of literature none of them materialized virtually close to the number of scenes in this film. First, amidst the introductory we are given the scene of Lena catching the public bus transportation system home from work, affording us the opportunity to view the magnificent city on...
In 1927, German Director, Fritz Lang, directed the film Metropolis. Metropolis takes places in a futuristic city sharply divided between the working class and the city planners, the son of the city 's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences. Through this film, Lang attempts to shed light on the discomfort brought upon by the evolution of traditional gender roles, ultimately shaming the expressionism society for their black and conceptions of femininity and sexuality. The significance of archetypes of femininity, the relationship between femininity and technology, and lastly the relationship between politics, sexuality and femininity in Metropolis prove that the
After listening to all four movements of Beethoven’s Symphony No. 5 in C minor, I have suddenly been awakened to the tremendous influence that the Classical Form of music has had on modern day works, especially in the area of the film industry which it is used to create drama, tension, and joy. History owes a debt of gratitude to composers such as Ludwig van Beethoven, who build upon the legacy of pioneers such as Joseph Haydn and Wolfgang Amadeus Mozart to create his own unique blend of symphonic compositions which will be revered throughout generations because of their continued appeal to the
From the silent epic of Fritz Lang Metropolis (1927) to Ridley’s Scott’s spectacular Blade Runner (1982) the connection between architecture and film has always been intimate. The most apparent concepts that connect these two films are the overall visuals of both films and their vision of city of the future. The futuristic city of both Scott and Lang are distinct in their landscapes, geography, and social structure. These two films sought to envision a future where technology was the basis by which society functioned. Technology was the culture and the cities would crumble without it (Will Brooker). Metropolis and Blade Runner uses the themes relationships among female sexuality and male vision, and technology. However, Gender roles and technology seems to be the most important part in both films.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
The 18th century has marked the commencement of the innovation of cinematography. The invention of cinema owes its existence to a few investors and scientists who are broadly known for laying down its foundation. Among those pioneers are the Lumiere brothers who were some of the earliest contributors to cinema, inventing the first real film camera called the "cinematographe", which effectively functioned as a camera, projector and printer all in one (Barnauw, 1993:6). Thus giving rise to the art of film making. Initially, in the early years of cinema since there was no developed structure [or language] to tell cinematic stories, the early Lumiere brother?s films such as Workers leaving the Lumiere factory (1895) and The Arrival of a Train at the Station (1895), were composed of a single shot, no camera movement and only one continuous action from beginning to end (Obalil, 2007).
Therefore, the distinctive visual techniques employed by the composer provide a vehicle for the respondent to understand the ideas and themes prompted by people and their experiences. Tykwer’s film, Run Lola Run demonstrates the effect of the distinctive visual in Lola’s exploration of the themes of chance and time, whilst Mackellar’s poem ‘My Country’ provides the audience with an evocative experience of the Australian environment.
The Symphony Orchestra concert was preformed by The OU School of Music with Jonathan Shames as a conductor and they presented Sutton Concert Series. In addition, the Orchestra concert performed at Paul F. Sharp Concert Hall in October 12, 2015.There were like forty-one performers on the stage including the conductor using different types of instruments and and all of them were wearing a nice black clothes. The stage was a quite large with wooden floor and there were two floors for the audience with a comfortable seating. However, all the performers were on round shape and against the conductor.
Oscar Wild once said, “The truth is rarely pure and never simple” and he is right. But no matter what the outcome is, or how complex the truth is, we will always strive for the truth. The concept of truth is no stranger to film documentaries, and one filmmaker that certainty was aware of that was Dziga Vertov. During the 1920’s Vertov created a newsreel series to promote the concept of ‘Kinopravda” which translated to English mean “Film truth.” Unfortunately, Vertov was ahead of his time, and this concept disappeared along the filmmakers’ path. It wasn’t until the 1960’s that other filmmakers around the world once again recognized the importance of the truth. Two movements with the purpose of revealing the truth of life, emerge in different parts of the world, Direct Cinema in North America and Cinema Vérité in France. Although, both had the same purpose, their approaches towards getting the truth make them completely different. Cinema Vérité’s approach gave the filmmakers a chance to manipulate and distort reality by participating and observing at the same time, while Direct Cinemas approach was strictly observational, and there is no better way to find out the truth than observing without interfering.
Postmodernism is a vague term that can describe a variety of disciplines that include, architecture, art, music, film, fashion, literature…etc. (Klages). In the case of “Videotape”, postmodern literature would be the main focus or area of study. This type of literature emerged in the era that succeeded World War II and relies heavily on the use of techniques such as, fragmentation, the creation of paradoxes, and questionable protagonists. Furthermore, postmodern literature also exudes ambiguity and critical thinking where the focus is mainly on the reader and his/her experience of the work rather than the content and form. Building upon that, the selected passag...
The absolutely stunning film, Citizen Kane (1941), is one of the world’s most famous and highly renowned films. The film contains many remarkable scenes and cinematic techniques as well as innovations. Within this well-known film, Orson Welles (director) portrays many stylistic features and fundamentals of cinematography. The scene of Charles Foster Kane and his wife, Susan, at Xanadu shows the dominance that Kane bears over people in general as well as Susan specifically. Throughout the film, Orson Welles continues to convey the message of Susan’s inferiority to Mr. Kane. Also, Welles furthers the image of how demanding Kane is of Susan and many others. Mr. Welles conveys the message that Kane has suffered a hard life, and will continue to until death. Welles conveys many stylistic features as well as fundamentals of cinematography through use of light and darkness, staging and proxemics, personal theme development and materialism within the film, Citizen Kane.
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.
A.I.: Artificial Intelligence is a Steven Spielberg science fiction drama film, which conveys the story of a younger generation robot, David, who yearns for his human mother’s love. David’s character stimulates the mind-body question. What is the connection between our “minds” and our bodies?