Eastwood and Tyldum use particular cinematic techniques to support their underlying biases in what makes a national hero. Eastwood is very aware how the title of a national hero is branded on Sully and questions the validity of this. The ultimate scene of Sully was when he was questioned by his superiors a testament to Eastwood's belief. The NTSB interview scene is exemplified, as the public senselessly follow ‘national heroes', and Eastwood wants to show that Sully is a national hero as he fights for what actually happened, the truth. This is shown when sully corrects the NTSB official in the interview, ‘It's not a crash, it was a forced water landing', whilst Sully spoke calmly it did not rile the investigators allowing them to see into his …show more content…
Eastwood was directing the viewers’ attention to the main issue, the NTSB investigation, where Sully protested stood up for the truth, and that he did not intentionally endanger the lives. There was only diegetic sound, paired with the use of no non diegetic sound; accentuates a serious mood. The directorial bias of Eastwood’s opinion unveils by the use of camera angles and shots to allude to power and the heroism of Sully, ultimately transferred to the viewers. The use of the cinematic techniques allowed the viewers to relate to Sully and his actions; ultimately instilling belief into the viewers that Sully was right. In the final scene at the NTSB, Eastwood shows that there is a very fine line between being a hero and a villain. In the eyes of the public, Sully was a hero as he saved countless lives and in the eyes of NTSB investigators, they believed he was a ‘villain'. Dissimilar to Eastwood’s techniques of sharp cinematic techniques and the assertive use of language, Turing’s narration allows the viewer to make an assumption if Turing is a national
stunning visual style to consider the forces that threaten human agency. In the case of the charac- ter Raymond Shaw, he becomes brainwashed and easily controlled by his enemies and his own mother, who forces him into an being an unwitting murderer. Set during the Cold War, the film includes realistic representations of government paranoia, embedded into a fictional communist plot of memory implantation and brainwashing soldiers. Made clear to the audience in one of the most disturbing and entertaining scenes of the film, the American soldiers are unknowingly psy- chologically reprogramed into subservient robots with no control over their actions. If human agency
The Alamo portrays the historical battle between Santa Anna controlling the Mexican Army and the Texan Defenders who are defending The Alamo, a mission located in San Antonio, Texas. The film is heavily concentrated on the year 1836, specifically the months February and March, and the year 1835. The film stars Dennis Quaid as Sam Houston, Billy Bob Thornton as David Crockett, Jason Patric as Jim Bowie, and Patrick Wilson as William Travis. The Alamo is a historically accurate movie that involves history, war, and immense amounts of drama.
The personality of the character played by Henry Fonda affected the way things played out because he was analyzing all of the evidence and the whole situation. The character played by Henry Fonda, was an architect. In the first initial vote, he was the only one who voted not guilty. This juror which was #8, made sure that they went over all of the evidence and eye wi...
For years directors have been making sports movies that audiences love. Movies like the Gavin O’Conner film “Miracle”, based on the 1980 U.S. Olympic Hockey Team, and the Richard Linklater comedy “Bad News Bears” have stood the test of time and remain fan favorite movies. However, “Southpaw”, which premiered in 2015, is the next generation of sports films. The movie follows lightweight boxer Billy Hope as he struggles with the fame, fortune, and tragedy that come with being the reigning champion. Hope loses everything and must navigate a tough road before he can return to the ring. Unfortunately, critics didn’t agree on this film; some gave it great reviews, and some gave it terrible reviews.
This movie goes to show how such crucial facts and minuet evidence if not processed fully and clearly can change the outcome in such a big way. In this jury you have 12 men from all different walks of life, 12 different times, and 12 different personalities. Who have an obligation to come to one conclusion and that's whether or not the young man on trial is guilty of murdering his father or is innocent beyond a reasonable doubt. Under much frustration and lack of patience these 12 men began to get unruly and unfocused. Throughout this distraction key terms get misused, facts get turned around and more importantly emotions start to cross making it hard for these men to produce a verdict.
In this analysis paper, I cover the film “Gran Torino” directed by Clint Eastwood. For the background information to analyze and organize this paper, the story is in Detroit, Michigan, and focus on the transition of a stubborn and old man’s behavior and personality against neighbors. I acknowledged two people as a main character in this film. The one is Walt, retired assembly worker in the car manufacturing factory and Korean War veteran. Another one is his neighbor and a Hmong teenager, Thao. At the beginning, they happened to know each other after Thao’s failed attempt of the car theft. Then, Walt saved his sister by chance and they opened their mind against each other, and Walt was determined to seek the way to revenge for Thao’s
Initially the audience is witness to how particular sound techniques shape this film. For instance, one of the main details that the audience hears is the song that the murderer whistles. Due to the marvel of sound the audience can pick out that the whistling is related to the murderer. Along with the blind man who figured this mystery out, the audience could only put these two together with this sound technique. The director shows the audience how such a simple part of every day sound can be so important to solving such a terrible crime.
The Bad and The Beautiful (1952) and State and Main (2000) are films within films that unmask Hollywood Cinema as a dream factory and expose the grotesque, veneer hidden by the luxury of stars. The Bad and the Beautiful, directed by Vincent Minnelli, is a black and white film narrated in flashback form. The films theatrical nature requires more close-ups than wide-screen shots to capture the character’s psychological turmoil. For example, Fred and Jonathan’s car ride is captured in a close-up to signify their friendship; however their relationship deteriorates after Jonathan’s deceit. While the camera zooms out, Fred stands alone motionless. Here, Fred is captured from a distance at eye-level and he becomes ostracized by the film industry and
Clint Eastwood first made a name for himself in Sergio Leone’s Spaghetti Westerns in the 1960’s. Eastwood iconic Man with No Name in the “Dollar Trilogies” made him an international star, and it is only fitting that he would resurrect his career in a film of this genre. “Unforgiven” was directed, produced, and stared in by Clint Eastwood and received an Oscar for Best Supporting Actor, Best Director, Best Film Editing, and Best Picture in 1993. It is often credited as the best western made in the last twenty years, and for reinvigorating the western genre. Clint Eastwood wanted to bring us a film with a fresh perspective on the classical western, and directed in classical terms. Clint Eastwood is a straight shooting director who insists on tight budgets, filming on location; his films often portray authority figures as fascists, the hero is often morally handicapped, with strong female roles. In “Unforgiven” he accomplishes his goal through simple camera work, a well written script by David Webb Peoples, and using the natural landscape and lighting.
The entire movie is littered with anxiety. The movie makes you anxious as to what may happen next. This primary example is the scene where Skeeter ask Aibileen to tell her personal stories for the book Skeeter is writing. This rose a very serious anxiety in both women. Skeeter also found other maids to also share their personal stories. This scenario caused extreme anxiety because in that day and time if you were to publish or talk about what the maids have to endure, you could be prosecuted or maybe even killed.
Such has been the themes of recent comic book movies “Captain America: Civil War” and “Superman v. Batman: Dawn of Justice,” but “Sully” continues this year’s motto in a more non-fiction sense. Directed by Clint Eastwood, the film focuses on the pilot behind the Miracle on the Hudson, Capt. ___ “Sully” Sullenberger, rather than the actual event.
The movie I decided to analyze for this course was American History X (1998), which stars Edward Norton. Though this movie isn’t widely known, it is one of the more interesting movies I have seen. It’s probably one of the best films that depict the Neo Nazi plague on American culture. The film takes place from the mid to late 1990’s during the Internet boom, and touches on subjects from affirmative action to Rodney King. One of the highlights of this movie that really relates to one of the key aspects of this course is the deterrence of capital punishment. Edward Norton’s portrayal as the grief stricken older brother who turns to racist ideologies and violence to cope with his fathers death, completely disregards the consequences of his actions as he brutally murders someone in front of his family for trying to steal his car. The unstable mentality that he developed after his father’s death really goes hand-to-hand specifically with Isaac Ehrlich’s study of capital punishment and deterrence. Although this movie is entirely fictional, a lot of the central themes (racism, crime punishment, gang pervasiveness, and one’s own vulnerability) are accurate representations of the very problems that essentially afflict us as a society.
...n (Director) mistakenly seems to believe can carry the whole film. On the strength "based on a true story", he has rejected attention-grabbing characters, an imaginative plot, and unforgettable villains.
‘Our interest in the parallels between the adaptation inter-texts is further enhanced by consideration of their marked differences in textual form,’
In the film The Verdict, the opposing attorneys could not be any more different in their approaches to the case. The medical malpractice suit involves a young woman left comatose after childbirth. She was given anesthetics for the operation, after which she began to choke on her own vomit and became deprived of oxygen. Although the legal issue in the central focus of the case, the story is more about each attorney’s journey to the final verdict, rather the case itself. Frank Galvin, a hard boozing, has-been attorney represents the plaintiff in the case. In stark contrast, the high-profile, sophisticated attorney, Ed Concannon, defends the doctors of the Catholic hospital. Each lawyer differentiates himself with distinct tactics, philosophy,