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Analysis of o brother where art thou
Analysis of o brother where art thou
Analysis of o brother where art thou
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O Brother, Where Art Thou Throughout the history of film, the cinematography of films has been used to illustrate various things. In the film “O Brother, Where Art Thou” one scene exemplifies two types of cinematography marvelously. The purpose of the film is to tell a story about three men trying to achieve their fortune. Throughout the film, they face many challenges and must overcome many obstacles. The film is a telling of the reactions of the characters and how they handle all those obstacles, which is why the Klu Klux Klan scene, near the end of the film, is a good representation of what those men had to overcome. The scene starts out with the men on a form of hill looking down on a lynching. Then they see their friend, Tommy, about …show more content…
During the scene, there is a shot where a huge cross that has been lit on fire by the KKK members is the main focus and the members are in the background performing their ritual. This is done to symbolize that the KKK members are doing something wrong in the name of goodness, which ties into what George Clooney did to his two partners. He lied and told them he had a buried treasure somewhere and if they helped him escape he would share it with them. The truth is that there was no money and he needed to escape to get to his family to stop his wife from getting married again. This compares to what the KKK members tried to do to Tommy in that they believed their purpose was more important than hurting someone. Even though Clooney was not killing or physically hurting anyone, he hurt his partners a tacked on years of their jail sentence by convincing them to escape. Nonetheless, he did something wrong to achieve something he believed was more important. In conclusion, the film “O Brother, Where Art Thou” is a prime example of the use of cinematography. The fact that the director can tie a whole film’s meaning and patterns into one scene is phenomenal. The use of framing and depth of field in the KKK scene embody the theme of the film, “O Brother, Where Art
Director Thomas Carter, incorporates an extensive range of film techniques into his film, that all influence the emotional, racial and
In cinema, lighting, blocking and panning drastically influence what an audience will notice and take away from a scene. Orson Welles’s 1941 Citizen Kane has numerous examples of effectively using these aspects within mise-en-scène, cinematography and editing to portray the importance of specific events and items in the film. The scene where Kane writes and then publishes his “Declaration of Principles” (37:42-39:42) in the New York Daily Inquirer after buying them focuses on important elements of the film, aiding the audience by combining lighting, blocking and panning to define significant roles and objects that further the movie as a whole.
This essay explores the ideas of power that cultivates from the Latina women within Litchfield Penitentiary from the Netflix Original Series, Orange is the New Black. The Latina community maintains certain ideologies of how to act, look, and speak; creating a struggle with some Latinas who take pride in their nationality, whether it be Dominican or Puerto Rican, there are ones who assimilate to the hegemony, and ones who stand somewhere in between. These women perform a sense of an expected tough attitude that comes with the pride of their ethnic background, or the pride some characters possess with rejection toward their typical community notions. It is the question of whether an individual is Latina enough in the eyes of their community and
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
The classic tale of The Odyssey by Homer has been replicated for centuries. In fact, one of Hollywood's best adaptation is the comedy “O Brother, Where Art Thou?” by the Cohen brothers. The Cohen brothers cleverly reconstructed The Odyssey with a 20th century twist. The film and the literary works provided a parallel journey of the main characters determination to return home. When analyzing the stories themes it had compelling correlations, which focused on perseverance and personal growth. O Brother, Where Art Thou explored new ways to experience The Odyssey's epic adventure through the eyes of cinematography.
The film O Brother, Where Art Thou? is a reinterpretation of the epic poem The Odyssey. The Coen brothers, writers and directors of the film, did not over analyze their representation. “It just sort of occurred to us after we’d gotten into it somewhat that it was a story about someone going home, and sort of episodic in nature, and it kind of evolved into that,” says Joel Coen in Blood Siblings, “It’s very loosely and very sort of unseriously based on The Odyssey” (Woods 32). O Brother, Where Art Thou? contains ideas from The Odyssey for the sake of modernization and entertainment of an audience that comprehends the allusions to the epic. The Coen brothers utilize elements of Homer’s The Odyssey to improve and to give direction to O Brother, Where Art Thou?, a reinterpretation which was made simply to show that an epic-adventure such as The Odyssey could be modernized to apply to modern times.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
Homer’s Odyssey is the iconic story of a man’s episodic journey home. The film, O Brother Where Art Thou, is a justifiable homage to the Odyssey because of the many parallels between some of the major characters depicted in the movie and the epic poem. The movie is set in the 1930s in the state of Mississippi, changing the characters in social demeanor, but retaining their motivation and major plot points.
The three themes of “O Brother, Where art Thou?” and “The Adventure of Ulysses” Are pride, journey, and judgment. I think that these three themes are the most important to the two stories because they really describe the lesson and the moral of the story. In the two stories, Ulysses, and Everett (the main characters) show big strives and lessons that we might not see today but that can be very important to our thoughts and decisions that we make in the future.
... Film Art: An Introduction. 5th ed. of the book. New York: McGraw-Hill Companies, 1997.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
a retelling of The Odyssey, they included details that gave the movie its own American twist. One of these details would be the KKK’s involvement in Everett and his men’s quest to return to home. The KKK is a well-known part of American history due to their origin right after the freeing of the slaves after the American Civil War. They have gone down in history because of their violent crimes against African Americans and those who stood up for their rights. Because Everett saved Tommy from the KKK, it represents Odysseus’ journey to the underworld, but it being the KKK means it becomes inherently American.
In this essay I will be analysing the use of cinematography in two films, using Peeping Tom (1960) directed by Michael Powell and Psycho (1960) directed by Alfred Hitchcock. The reason why I choose these two films is because although they are from the same genre, and from the same period, the methods both films use are similar and at the same time completely different.
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on
“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.