There is a scene in the movie, The Piano Teacher, in which the main character, Erika Kohut, is punched in the face by a young man who has been attempting to pursue a romantic relationship with her. He then forces her to the ground and rapes her. However, the rape does not occur on screen, the only thing you see is Erika’s face while the young man is forcing himself on her. This scene in the movie is meant to make the audience react and it accomplishes this simple goal. This is what Michael Haneke does with every film he makes. Haneke is a director who understands that good cinema doesn’t mean that the movie goer will always leave happy. He is an artist that doesn’t want to shove happiness and rainbows down an audience’s throat. Haneke is particularly critical of moviegoers in America and the way in which they expect to be handed a happy movie. Through his movies, Haneke’s goal is to make an audience think differently about the world they live in. In order to believe this and accept the idea that good films don’t have to make an audience happy, we need to understand the approach that Michael Haneke takes to filmmaking. We have come a long way from when movies were considered nothing more than a business and Michael Haneke seeks to prove that films should be considered pieces of art. Haneke states, “The same is true in any form of artistic production. I’m trying to not merely make a living as a filmmaker, but am attempting to make a contribution to that artistic tradition.” (Porton 51). Like all other forms of art, Haneke’s movies are not merely something that an audience should see but rather something that an audience should experience and contemplate. In this regard, Haneke’s films evoke an intense emotional response and make an “experience” out of every film he makes. There is not a single film in which the audience leaves a Michael Haneke movie feeling happy.
A film intended to reach an audience unaware of the issues, Ziering and Dick take their viewers on a mission to seek justice. In the beginning of the film, Ziering and Dick use emotional stories told by victims of sexual assault. This approach quickly bonds with the audience. Therefore, setting the tone of the film is personal and serious. Kori Cioca, a former member of the U.S. Coast Guard.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Modern day directors use a variety of methods to hold ones interest. Ethan Hawke and Kenneth Branagh’s created versions of Hamlet that shared some similarities, but ultimately had many differences in respects to an audience’s appeal. An appealing movie is one that has an alluring ambiance and an intellectual stimulus. With these two movie versions, a setting and a mood forced an audience to acquire specific emotions, but Ethan Hawke’s version generated emotions more strongly and effectively. Also, these movies had extremely different uses of music and visuals, but both movie versions incorporated them well for the ambiance it tried to obtain. Finally, both movie versions drew characters to captivate the audience; however in Ethan Hawke’s version, the characters were used so effectively that it was easy to feel involved with them. While both these versions of Hamlet had a captivating ambiance, Ethan Hawke’s version was more appealing due to the intellectual incentive that it offered.
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
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
them as unattractive and menacing and everything about this scene is threatening and ugly and makes the audience feel uncomfortable impact. in the audience of the. The music is like funeral music, loud and sad. The... ... middle of paper ... ...bloodshed and murder that follow.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
It portrays an emotion that the intended audience should know well, a deep sadness, due to the fact that sexual assault is a traumatic experience that can take a severe emotional toll on victims. Moreover, the shadow that hides the young woman’s face gives her a sense of shame, which is another emotion that many sexual assault victims likely deal with. This is one of the reasons why sexual assault victims should seek help. By reaching out to a professional, they can get rid of the highly detrimental emotions that they have been dealing with in silence. Overall, the image makes a clear pathological appeal due to the fact that it is clear the young woman is unhappy, which shows that the topic is emotional to some and should be thoughtfully considered, and also gives the intended audience a feeling they can relate to. Thus, the image is effective for the intended audience because it is realistic and relatable, leaving the audience with a sense that they are not alone in their struggle and that the emotions they have are a natural response to being sexually
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Lars von Trier is undoubtedly a polarizing filmmaker. His repertoire invokes a range of emotions from earnest avoidance to curious infatuation. He’s been pointed out as a purveyor of misogyny as he famously and deliberately places many of his females in rather unkind situations to say the least (i.e. the brain-searing climax in Antichrist). And his penchant to depict the uncomfortable and sometimes unfathomable has been interpreted as obscene and sensationalist for its own sake. And yet his work continues to prevail, standing on its own, whole and unapologetic.
“There is no formula for success. You cannot play safe by mixing two parts of sex, two parts of violence, a few tears and two dozen laughs. Even when a film is finished and acclaimed by the critics it is impossible to predict its success at the box office.”
“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.
Movies take us inside the skin of people quite different from ourselves and to places different from our routine surroundings. As humans, we always seek enlargement of our being and wanted to be more than ourselves. Each one of us, by nature, sees the world with a perspective and selectivity different from others. But, we want to see the world through other’s eyes; imagine with other’s imaginations; feel with other’s hearts, at a same time as with our own. Movies offer us a window onto the wider world, broadening our perspective and opening our eyes to new wonders.