The emotional response of the audience to Joel, thus, converges with Alex Neill’s theory on the empathetic response to the film fiction, which he describes in his essay “Empathy and (Film) Fiction”. As we discover fresh feelings with the main character of Eternal Sunshine, we mainly empathize with a particular character or a plot point, enlar... ... middle of paper ... ...es in misunderstanding the mix of the motions the movie evokes in them, or mainly focus on broad aspects of the story without analyzing its notion. Despite there are some concepts in Neill’s theory that still leave the room for improvement, it can be stated that his lens achieved the level of being valuable in understanding the inner approaches of different films. Apparently, both Alex Neill and Michel Gondry construct their projects leaving the room for the audience to use their imagination and improve their emotional education. Works cited: Neill, Alex.
This melancholy story shows the audience a typical couple in love, which experiences a tragic crisis in their relations. Typical, depressed and boring “loser”, Joel Barish (Jim Carrey), appears on the break-up with substandard, overemotional and intrusive woman, Clementine Kruczynski (Kate Winslet). She accesses some specific services of little company, which can erase any person or event from the memory, and vanishes all the memories abo... ... middle of paper ... ... achieved the level of being valuable in understanding the inner approaches of different films. Apparently, both Alex Neill and Michel Gondry construct their projects in the way they can be analyzed together, though leaving the room for the audience to use their imagination and improve their emotional education. Works Cited Neill, Alex.
They are the reasons we act, maintain, and reflect on certain things. Objects and memories share a relationship that cause our actions. Without objects we wouldn’t have memories. We embed memories into objects and we recall them when we open the objects. Russon is thus asserting that in order for us to have and recall memories we need objects.
And with the loss of a large and comprehensive language such as Nadsat, goes part of Burgess’ voice. However, Kubrick does an excellent job of retaining the novel’s spirit and structure, even while offering his own interpretation. He takes advantage of the visual and auditory possibilities that the film medium presents to fill in the gap created by the removal of Nadsat, resulting in an accessible and satisfying movie. In both forms, A Clockwork Orange draws its audience into sympathizing with Alex and ultimately enjoying themselves as they "rape and rip by proxy" (Burgess ix). Works Cited 1.
Such blithe feelings are natural and expected in a mus... ... middle of paper ... ...ting produces a mood of fear, suspense, and results in a true cinematic climax. As a time in history full of persecution and oppression, the setting of The Sound of Music has themes of liberation, freedom, and nonconformism embedded in its core. The film successfully brings these thought provoking themes to light through its visual design, which carefully connects them to the audience using juxtapositions of character placement and shot composition, costuming, and lighting arrangement. Due to its visual design, the film effortlessly grabs and maintains the attention of its viewers throughout its extended duration. Clearly, the film’s precise use of visual design supports the story, its themes, and its timeless connection to the audience.
It was o... ... middle of paper ... ... an audience and those luck enough to work with him, is hidden in the complexities of his work. Although he has touched some of the established genres of film, his style is all his own. His movies continually arouse critical analysis and raise questions about the state of humankind. Stanley Kubrick’s gifts to society will be remembered as frighteningly truthful and creative. Works Cited: Ciment, Michel.
For proof of Cocteau’s intention in creating this meaning, his previous film with actor Jean Marais serves as the best example. Beauty and the Beast (1946) begins with a note to the viewer to remain focused on the “Once Upon a Time” mentality while watching the movie. This preface is another example of the intentional shift of focus away from the awareness of representation and towards a passive viewing experience. Later in the film, a mirror speaks to the protagonist: “I am your mirror, Belle.
But the majority of the movie was shot in a way as to lead us to believe that it is Hugo Cabret’s story. Unfortunately it is not. He is merely a medium Scorsese uses to divert one to the history of cinema and make one admire their dream like quality. Here, he resorts to the aid of technology, and the result is quite stunning, one has to admit. The drawings which become animated when the cabinet falls from Isabella’s hand, letting the papers fly, and the dream within a dream sequence, are all effective in capturing the dream like quality of films that fans of Melies admire.
The notion that analysis kills the joy of watching a good movie is unfounded; such analysis enhances the viewer’s overall experience by providing criteria with which to judge the quality of the film. All of these aforementioned ideas have been analyzed in detail, with the conclusion that film and childhood have a complex and natural relationship, which must be analyzed to truly be appreciated. Works Cited Cornet, Roth. "Steven Spielberg Envisioned ‘Harry Potter’ As An Animated Franchise." Screen Rant n.d., n. pag.
As well, with Ghibli is more focus on the realism that gives a brief moment to chance to escape in your mind with the stress and the trouble within the story. As same with Disney it takes a great wonder to believe and to hope. Instead, Miyazki always gives a good feeling in his work. In fact, Disney had failed to do in 2001 when a Hayao Miyazak film called “Spirted Away” with a modern society. Generally, these films have a strong brief moment that catches your mind to use your imagination and create your