An Analysis of How Narrative and Genre Features Create Meaning and Generate Response in the Opening of Martin Scorsese’s Goodfellas
Phillips, W. (2002). Thinking about film . In Film an introduction (pp. 403-438). Boston : Bedford/St.Martin's .
Horror is not a highly respected genre in the film industry. Even other not so famous genres like romantic comedies or westerns have numerous films that break the barriers of their respective fandoms and targeted audiences, and have been accepted as good art or cult classics, in fact. There have been certain horror films that do find support among film critics and interpreters of pop culture, however, as a whole horror films are seen as cheesy, goofy entertainment. They thrill audiences with violence and cheap laughs, and it is easy to write them off as jokes. However, there is a benefit to being overlooked, which is that as culture itself gravitates toward different concerns, the expression of those concerns changes within film and other forms of popular culture. In the 1950’s, the horror genre was characterized by a closed narrative that tended to reinforce the values of the traditional family and the government itself. Postmodern horror introduces new aspect to the genre¬–namely disrupting the order of society (primarily through the use of violence and other types of shocking ploy), and, unlike their predecessors, movies from the 1960’s and so forth left their endings open. In Wes Craven’s The Hills Have Eyes (1977), the body count of the “normal” American family, the Carters against the clan of the cannibalistic and incestuous Jupiter’s is high, and the ending is unsatisfying by the separate view of good versus evil. Even though the movie ends with two good characters living, the fear and tragedy remain behind, insurmountable, and viewers are left with the feeling that things have not been and will not be resolved.
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
Suspense is a 1913 film that portrays the story of a tramp intruding into a family’s home, where a mother takes care of her child while her husband is away. The plot is a common one that had been used previous times before the film’s release, such as in The Lonely Villa (1909). However, through taking advantage of the single frame shot, the filmmakers were able to create a masterful aesthetic of two separate stories that turn a basic plot into a complex story. The film created an inventive way of illustrating stories within cinema by allowing the audience the chance to consume more narrative in less time within just one take.
In The Pathos of Failure, Thomas Elsaesser explains the emergence of a new ideology within American filmmaking, which reflects a “fading confidence in being able to tell a story” (280) and the dissolution of psychologically relatable, goal-oriented characters. He elaborates that these unmotivated characters impede the “the affirmative-consequential model of narrative [which] is gradually being replaced by another, whose precise shape is yet to crystallize” (281). Christian Keathley outlined this shape in more detail in Trapped in the Affection Image, where he argued that shifting cultural attitudes resulted in skepticism of the usefulness of action (Keathley). In Robert Altman’s McCabe & Mrs. Miller and Roman Polanski’s Chinatown, this crisis of action is a key element of the main characters’ failure, because it stifles the execution of classical narrative and stylistic genre conventions.
It is impossible to deny the similarities of characters, setting, cinematography and more, between The Return of the Secaucus Seven by John Sayles and The Big Chill by Lawrence Kasden. This paper will focus on the similarities and differences in the themes between the two movies. Specifically, focusing on relationships, aging, and death. The two films differ in many aspects but parallel in other ways. Impacts of these themes within the two movies are important to recognize because they are relevant to everyday life, relatable, and realistic.
Would you rather be living in a town with a murderer and his gang on the loose or be on an island with a man who kills people for his own enjoyment? In the movie, High Noon, written by Carl Foreman, the main character, Will Kane, who is the retired marshal of Hadleyville, learns that a person from his past is coming back to kill him, which leads to him asking the townspeople for help, but since nobody agrees with Kane, he must face his enemies alone. In the story, The Most Dangerous Game, written by Richard Connell, the main character, Sanger Rainsford, who is an excellent hunter, has to survive on an island for three days with a madman who is trying to hunt and kill him, which leads to Rainsford being a changed man at the end of it. In both the film and the text, the themes are similar; however, the
High Noon and "The Most Dangerous Game" are both stories involving a main character who is being hunted. The main characters from each, Will Kane and Sanger Rainsford, both face similar challenges. The survival-based stories take place around the time of World War II but in different parts of the world. While High Noon and "The Most Dangerous Game" share similar characters, but they take place in different settings and contain different themes.
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
Tthe amazing story the most dangerous game and the movie high noon show messages, differnces and similarities between the stories high noon. And the most dangourous game show to never give up and at the end everyone is going high noon shows how the Kane had to fight himself to his everyone cheers at the end everyone is going to be alone no one is going to help you when you actually need the help of them Kane and rainsford had a similar situation I Kane had to kill Miller a person who he had once sent to jail for a murder and when. He asked his friends they refused and rather than helping and encouraging him they told him to run from the situation rainsford didn't exactly have the same problem but it's problem was a little similar he had ended up on an island and was going to be everyone is taught to not give up when they are in trouble and face the situation bravely sometimes someone might be brace and face the situation while someone is too weak to face the problem something like this message so protrywed to the story the most dangourous game and the movie high noon both stories had problems but they didn't give up and faced the priblem no matter how hard it was to face it they both had peoblems where it hard but they didn't give up they both had plenty of similarities but both of heir stories showed them not giving
So far, the viewer has been presented with an unnerving sequence of events in Don’t Look Now, and the style of the film helps to project certain emotions onto the audience. We are not able to skip a paragraph or close the book – we have to watch what the characters are watching and only what the director wants us to see. At the same time, we know this is only a movie and is not a depiction of reality. And the projections create yet another alternate reality within the movie. However, the audience can still interact with the medium, because we can turn it off or look away if we find an image too disturbing. But this movie seems to be about gradual build-up, and, as the father said, nothing is what it seems.
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
The stories of Nick Cassavetes The Notebook (2004) and Richard Curtis About Time (2013) are both similar yet different in their own ways. The Notebook is an American romance drama film starring Rachel McAdams and Ryan Gosling that was extremely successful not only in American box office but also shared great worldwide success. This film exemplifies the struggle between love and social class. Two young lovers have to face social class boundaries and put their loves on the line. The approach that this movie trying to make is a relevant topic in the world we inhabit today and undoubtedly contributed to this film’s success. The film is kind of slow, leaving some empty spaces along the way in order for the audience to fill in and fully engage with