Meirelles’ City of God (2002) depicts the struggles to escape a life of crime from the 1960’s to the 1980’s favela through the narration of our main protagonist Rocket. During the 1980’s, Brazil was beginning to see the rise of gangs, which led to violence and drug crimes taking place. Meirelles stylistic choices of using editing and cinematography contribute to the main themes of conflict and power to show how they affect characters. Whereas in the 1960’s Favela, there was also a lot of regeneration in the area with electricity, lampposts, and other equipment that focuses on Brazil modernizing. Meirelles’ stylistic choices to depict the major theme of poverty are presented by his use of sound and mise-en-scene to demonstrate the traditional culture in the 1960’s and in the present day in the film. Hood’s Tsotsi (2005) focuses on a journey of self-discovery based on our protagonist, David, and his change of character from a thug to a decent human being; despite living in an impoverished area where crime was the only way of living. South Africa is known for its history of the Apartheid and the effects of the apartheid are still evident in Hood’s film as he depicts the ever-lasting effects of the major theme of poverty through his stylistic choice of lighting to connote entrapment. Therefore, both directors’ stylistic choices of editing, lighting, sound, mise-en-scene and cinematography capture the themes and issues throughout the films to effectively portray the urban environment.
Firstly, the major theme of power is evident across the Meirelles and Hood’s films throughout. However, Meirelles stylistic choice of using editing to establish the significance of Lil’Dice killings in the motel demonstrates to audiences that he poss...
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...using the lighting can connote the there is parental guidance from the moon guiding the children to the right thing, which is similar to the street lights in the ending scene of the film which distinguish that Tsotsi has done the right thing which focuses on other major themes like decency and redemption.
Therefore, in conclusion the major themes of power, poverty, escapism across Meirelles’ City of God and Hood’s Tsotsi are explored throughout their stylistic choices to capture the characters struggle and their surroundings full of poverty and crime making it certainly hard to escape that particular environment. The use of editing, cinematography, lighting, mise-en-scene, and sound were all used effectively to provide a visually stimulating portrayal of the themes presented throughout the film which explores the characters’ survival in their urban environments.
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
It is a concurrent agreement in the film industry that Alfred Hitchcock is nothing less than a legend when it comes to the suspense and thriller genres of film. That being said, many filmmakers unsurprisingly aspire to adopt his style in more recent films. Movie critique Andrew O’Hehir suspects that this is the case with Mark Pellington’s production, Arlington Road, which follows the story of a man taken with the idea that his neighbors are terrorists. Although Pellington’s production possesses distinctively Hitchcock-styled qualities in its editing, storyline, and themes, O’Hehir argues that it is “…ultimately just another maddeningly ill-conceived tribute placed at [Hitchcock’s] feet.” However, it cannot be determined if Pellington meant for Arlington Road to be a tribute at all. The film may have a multitude of resemblances to Hitchcock film, but its finale fundamentally distinguishes itself unique to O’Hehir’s assumption.
The video MIDWAY a message from the Gyre: a short film by Chris Jordan gave me the chills and ultimately upset me. In the beginning of the short film the diretor shows us a glimpse of the seagulls that inhibit Midway Island, North Pacific Ocean, an Island that is more than 2,000 miles from the nearest continent. Jordan includes a clip of a mother gull feeding her baby gull before showing us snapshots of dead gulls with trash and plastic in their bodies. When i first saw these pictures I honestly thought that the photogragher arranged random pieces of plastic found on the isand into a dead seagull’s body. After the snapshots the director included a video of the photographer cutting open in a seagull’s body and taking random objects and pieces of plastic out. When I saw this my heart broke, I was in disgust and mad at us humans. The poor birds dying shown in the following clips were also very sad and graphic. These innocent birds are consumming
Movies are everywhere. They are a part of everyone’s life. Think about it, how many movies do you
By simply review, I will say, "City of God" ("Cidade de Deus") is the story of a boy who lives in a "favela" what is the word of slum in english on the outskirts of Rio de Janeiro. The "favela" is like a shantytown witch called "Cidade de Deus" in the film. And from the beginning to the end, throughout this stylish movie both the boy and the favela grow.
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.
‘Das Leben der Anderen’ (The Lives of Others) is a striking example of how a director can convey narrative links within a film by employing various styles and film techniques. The Lives of Others relies upon these visual means to assist with the telling of the story as much as it relies upon the script. In this selected sequence of the film, several narrative links are drawn here to form the conclusion of ‘Operation Lazlo’. These narrative links are further cemented by Donnersmarck’s use of various lighting styles, diegtic and non-diegtic sound, revealing camera shots and intricate mise-en-scene.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
Martin Scorsese has made a reputation from making movies that show a profound perceptiveness of human nature through their images of toughness and violence. On the surface, one would be hard-pressed to find a story more unlike Raging Bull or Goodfellas than The Age of Innocence, which seems better suited to a Merchant-Ivory production. However, Scorsese has placed his indelible stamp on this picture, not only through the camerawork, but in the potent tension that builds between the main characters. For while blood has often been Scorsese's method, the characters, and what exists between and within them, have always been his ends.
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.
This film is a multi-genre film— science fiction and film noir— which creates a very unique stylistic world. The film is characterized in the science fiction genre with flying vehicles— police cars and advertising blimps—, the futuristic city with congested streets, and advanced technology—picturesque billboards, Voight-Kampf machine, picture phones, and voice activated photo analyzers. It also depicts the movie genre of film noir with its low-key lighting consistent throughout Bryant’s office and Deckard’s apartment, the claustrophobic framing with various characters—the overcrowded nightclub—, heavy shadows caused by venetian blinds in Deckard’s apartment, and the rain soaked landscapes during the night.
With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.
Baz Luhrmann uses a postmodernist style throughout his films (Moulin Rouge, Strictly Ballroom, Romeo and Juliet, The Great Gatsby) to create a unique viewing experience. Baz Luhrmann creates films that reflect on real, emotional, moral stories that both excite and enthral his audience through a world so deceiving, while telling a story that inflicts on pain and the power of loss. He uses mis-en-scenes of shots, proxemics space and lighting that enhance his post-modern style. He embraces change through re-imaginings, capturing the youth through music and his very unique editing techniques. One simply cannot separate a director from his art. Therefore I strongly agree with this statement and I will elaborate on each film individually on his post modernistic style of directing.