Things like this can make seemingly harmless thriller movie like “Tesis” into a serious statement about how sick and twisted our society. These symbols and objects do not just have to represent a certain meaning they can also represent emotions that the director wants the audience to feel. Techniques involving colors and object placement can make people uneasy, excited or any other emotion that the director wants in order to make the film a better experience for the viewer. Directors often take advantage of this and make it very abundant in their work. I’m going to be analyzing these techniques in the films; “El laberinto de fauno,” “Tesis” and “Te doy mis ojos.” Alejandro Amenabar used a lot of these symbols and objects to represent hidden meanings throughout his thriller piece about snuff films.
As time goes on, history has a way of getting distorted from its most truthful form. Time causes people to drift away from accuracy and become more interested in what they want to remember. Hollywood has a reputation of creating films that cater more to the average viewer, rather than the history buff. Inglorious Basterds, by Quentin Taratino, take very liberal liberty with a history story, and creates a story that will sell to the crowd. This may seem dubious, but it is often not such a bad thing.
It is the ability of the audience to identify with the central characters of a film that keeps them watching. The use of the imagination or a simple wish to be exposed to other possibilities are the fundamental reasons for entertainment. The criticisms being aroused by those who are opposed to the way in which crime is occasional depicted, believe that real life and the stories told by films are becoming increasingly similar. The criticism can be justified in some respects but by justifying these criticisms there is an implied ignorance for the individual intelligence of the general population . Bibliography David Bordwell, Kristin Thomson, Film Art an introduction: McGraw- -Hill,Inc.
Both Alfred Hitchcock’s Rear Window and Mark Pellington’s Arlington Road share classic Hitchcockian elements but also contrast in major stylistic elements as well. Mark Pellington’s Arlington Road can be compared to Alfred Hitchcock’s Rear Window, when analyzed through thematic and stylistic ideas. A classic Hitchcock film demonstrates a blurred line of good and evil. This means that characters are not entirely evil or entirely good. That concept is used to induce more fear into the audience through a more realistic plot.
I believe the answer is far more complicated than a sheer yes or not. The deliver of the Whitechapel in 1880s and the illustration of the everyday lives of its resident were very accurate. On the other hand, the plot of the movie had deviated theatrically from the historical fact. But the combination of historical facts and fiction, gives us the movie " From Hell". And we shall ask why the movie is filled with make-up stories?
Hollywood favors drama and conflict, so when an historical story lacks one of these elements, it is often simply added for the sake of appeal. This practice falls under great scrutiny by those with a serious interest in the events that these movies portray. Because the better part of American viewers expect and demand stories told with the Hollywood spin, those films that attempt to stick doggedly to the facts generally do poorly in the box-office.  Many historical films, however, have found success while staying true to the facts. These films oftentimes come from producers, directors, and actors with a genuine concern for the events they deal with.
These misrepresentations – stereotypes - reiterate harmful constructions of normalcy and compulsory able-bodiedness that are constantly perpetrated through society. When one looks critically at the way bodies and characters are represented in film, it is interesting to see how that there is disingenuous intention at play. Cinematic pieces that write disabled characters in the story line often do so under the guise of narrative prosthesis. The disability is often constructed in binary to a hegemonic idea of normalcy exactly in order to give it power. Movies also rely on psychoanalytical concepts of
Can we see the world around us, how it works, and its problems, represented in a film? The answer is a controversial yes. It is arguable that film is one of the most versatile forms of art, when it comes to depicting reality. Kendall Walton says, “When we look at a movie screen, we see objects, people, and places in or through that screen. Weaker versions appeal to something other than physical reality, either by discussing a truth beyond mere appearance or by endorsing psychological realism, a view according to which films are realistic insofar as they engage our ordinary perceptual processed” (Walton, 251).
The Speckled Band by Sir Arthur Conan Doyle was entertaining as a written story, but it was even more enjoyable as a film because the movie played out scenes that were only described by dialogue in the book, flushed out the murder plot in a clearer manner, and created more realistic and dynamic characters. Turning older literature into movies that available to the general public prevents them from falling by the way side as many story from the past have a tendency to
The director merges his own ideas with traditional conventions to great effect in the film, but it does not work well with the Hollywood aspects of the film. Horror genre conventions are evident in both films and the way they are directed has given me obvious indications on the effect the horror conventions can have on a film when used well, and the adverse effect when not used well. Both Japanese and American society are evident in these films, and the style of the films are similar to the nationality of the two directors. Horror conventions are used in both films, but the way they are used are quite different, and these contrasting styles are key in how effective the two films are to their audience.