Oldboy is a neo-noir following traditional film noir tropes. Starting with the protagonist Oh Dae-Su, he is imprisoned for 15 years, and all he wanted is a truth, a reason for his imprisonment. Even the villain of the film, Lee Woo-Jin says to him that revenge is good for his health. Without the truth, life is just a bigger prison for Oh Dae-Su. Oh Dae-Su is morally grey in character. He is broken, flawed, tormented individual. Like many of the film noir protagonists, they are weak and broken, like Walter from Double Indemnity, or Philip Marlowe. Dae-Su does not afraid to hurt, even torcher people if necessary. He does not care other people’s life, like the guy try to jump off the building. He refuses to listen to the story of that guy that leads to his suicide. It is not so hard to understand, given he suffers 15 years in a tiny hotel room. The only people he shows protection or care is Mi-do, which also results in tragic ending. Mi-do could be argued as a femme fatale of the movie. She is the reason lead to …show more content…
The lighting is aiming towards daily, natural feeling, and surprisingly a lot of the scenes are taking in daytime, which is unlike the traditional noir. The use of sounds, sometimes you cannot hear the dialogue between the characters as they are covered by the sounds of daily objects, till a point that is frustrating and annoying. The theme that The Long Goodbye is trying to explore is the idea of chaotic society, the betrayal and lost in hope. When Marlowe finally shoots his friend Terry, the violent scene contrast with daily scenes about Marlowe, like in the beginning, he tries to feed his cat. The lighting of this movie, serves like a contrast, the mundane life of Philip Marlowe brings the character closer to the audiences, and how desperate when he finds out Terry, his friend actually betrays
We have much to learn from Mike Davis, CITY OF QUARTZ (Vintage, 1992) who discusses the paradoxical effects that the representations of Los Angeles in hardboiled novels and their translation into film noir cinema had on the image and myth of that city.
“If you've ever had that feeling of loneliness, of being an outsider, it never quite leaves you. You can be happy or successful or whatever, but that thing still stays within you.” Tim Burton.
Film genre is a distinctive collection of comparisons in the narrative aspects from which the films are produced. Genre denotes the characterization of narrative films, through the stories the literature tells and the way it presents these stories (Barsam and Monahan, 2013.) Film genres are often described by a set of conventions of storytelling such as themes, conflicts, situations, setting, character types, story formula, presentation, visual style, and even movie stars associated with particular genres (Barsam and Monahan, 2013). These conventions are not always enforced as filmmakers incorporate only some of these elements within any particular film. A few commonly recognized film genres include the Western, musical, horror, science fiction, and etc. A genre-bender film steps outside some of the defining features of its genre in terms of its conventions but is easily identified when it has been blended with another genre. The gangster film genre concentrates on stories whose principal struggle is between criminals and the society they live in. This genre typically emphasizes a cautionary tale that is demonstrated by the main character who commits crimes (Barsam and Monahan, 2013.) Also, this genre is often blended with film noir, a distinct genre made discernible by its mood of pessimism, and fatalism. The film, Bonnie and Clyde directed by Arthur Penn in 1967, is an example of a genre-bending gangster film due to its distinct genre conventions of story formula, setting, and character types that step outside of the typical gangster film genre conventions.
The book mainly revolved around one main person Tinh Ngo, a member of the gang. Through out the book Tinh or Timmy as he was called, ran the entire gambit of emotions from total loyally to being flipped and being the key witness in the federal case against the main players in the gang. The gang committed every kind of crime from petty robberies to murder. Tinh started his career as a criminal by robbing a message parlor in Chinatown that was in rival gang territory this robbery was a simple one that went off without a hitch, it gave him a false sense of ease in committing robberies. Over the months Tinhs involvement in crimes escalated until he was arrested, for the first time, and he spent some time in prison.
There is no doubt that Louis Malle while making the movie Lacombe Lucien wanted the eyewitness to feel uncomfortable when watching it. In the film we have to judge for ourselves but at the same time try to understand what leads people to do things that they choose to do. Louis Malle attempted to tell a 'real' story of 'real' people, rather than the good vs evil caricature. Possibly Malle wanted us to feel discomfort while watching the movie so that we identify with the individuals more and in some way, very minor, experience the feelings they experienced which due to the times they lived were very complex and uneasy. He wanted to manipulate the medium of film in order to make the audience reconsider their preconceptions and because the film acts upon the conscious mind far more than any other form of art he managed to achieve his goal effectively. In the movie there are many scenes in which the audience can feel uncomfortable. Whilst it begins we see Lucien cleaning the floors in a hospital. As he walks towards the window, he sees a singing bird. Making sure that nobody is looking he takes out his slingshot and shoots the bird dead. When we see a close up shot of his face, Lucien seems rather proud of himself. << We don’t know whether to laugh at boy’s mischief or to be horrified by a cold blooded killing. >> Despite the fact that the bird is dead, Django Reinhardt’s joyful music is starting to play in the background. This is one of the first times when the audience gets a feeling of discomfort as we wonder why this music was chosen for the particular scene. At the same time we are aware it definitely was not a coincidence. Despite Lucien’s previous reaction, few scenes later he is shown as moved by stroking a dead horse whic...
shows herself to be in both the movie and story is one filled with pride and vanity. All
Lighting is the perfect way to deliver the mood, which I want to present during the play. The lighting will be dimmed throughout most parts of the play. Most of the lighting will be produced with candles due to the setting and the lack of technology. Also most of the scenes happened at night so we have to create a night time setting with the absence of light. The lighting will be able to add onto the dull and depressing feeling Cyrano feels when he has to live everyday watching Roxane and Christian in love. The increase of brightness will not only correspond with the time of day in the play, but it will also correspond with Cyrano’s increasing hope that he will finally take the opportunity to tell Roxane how he feels about her. I was thinking about incorporating spotlights during the monologues of some of the characters to intensify the attention of the audience on them. Cyrano’s dialogues are so powerful. His words are beautiful and angelic. I was thinking about to only having the spotlight on only Cyano whenever he is on stage, but then I realized that it will distract and interrupt the dialogue between other people on stage so I decided to only have the spotlight on Cyrano during his serious, more crucial scenes instead of the entire
Marla is the only woman in the movie and she is used to show that the idea of women fighting is a ridicule where as the idea of men fighting is celebrated.
... whole for having a strong independent female character, instead of the having the female be dependent on a male character that seem to be the norm in most movies.
1959 was an exciting year in the history of filmmaking. An extraordinary conjunction of talent throughout the globe existed. In France, Truffaut, Godard, Chabrol, Rohmer, Rivette, and Resnais all directed their first films, thus establishing the French New Wave. In Italy, Fellini created the elegant La Dolce Vita, and Antonioni gave us L’avventura. Most importantly, though, in America, famed British director Alfred Hitchcock gave us the classic thriller North by Northwest, the father of the modern action film.
The lighting in this movie is very effective. It helps to establish the characters very well. The audience is helping in distinguishing the bad and the good characters through the lighting. The movie overall is very stylized. There are some other strange lighting patterns brought out by Hype Williams, but by far the most effective lighting patterns are ones that help to characterize the main players in the film.
Films that are classified as being in the film noir genre all share some basic characteristics. There is generally a voice-over throughout the film in order to guide the audience's perceptions. These movies also involve a crime and a detective who is trying to figure out the truth in the situation. This detective usually encounters a femme fatale who seduces him. However, the most distinctive feature of the film noir genre is the abundance of darkness.
On the surface, The Big Lebowski might look like a simple stoner comedy, but with closer inspection the film possess sharp undertones of film noir. The Coen Brothers were inspired by film noir when making their movie, The Big Lebowski. Their main inspiration came from Raymond Chandler’s, The Big Sleep, with mix-match patches of other classic film noirs. The Big Lebowski is a playful, modernized, and loose form of noir film. With that said, The Big Lebowski, is a tribute to the themes of classic film noirs.
An American drama film directed and produced by Clint Eastwood which has gained recognition worldwide particularly because of Clintwood’s appealing directing style. It was recognized by the American Drama Institute as one of the “Ten Best Films of 2008”(Gran Torino, 2013) and debutedthe writer, Nick Schenk. Clint Eastwood demonstrates, through Mr. Walt, that if your past negatively affects your life and the way you see things, then its best to let go of it and start a new beginning. An intense film told with great humor, Gran Torino is a cinematic masterpiece. This film succeeds in its development in portraying the negative aspects involving multicultural communications and the bond formed by people from two extremely different generations.
The release of Gordon Hollingshead and Alan Crosland’s The Jazz Singer in 1927 marked the new age of synchronised sound in cinema. The feature film was a huge success at the box office and it ushered in the era David Bordwell describes as ‘Classical Hollywood Cinema’; Bordwell and two other film theorists (Janet Staiger and Kristin Thompson) conducted a formalist analysis of 100 randomly selected Hollywood films from the years 1917 to 1960 in order to fully define this movement. Their results yielded that most Hollywood made films during that era were centred on, or followed, specific blueprints that formed the finished product. Through this analysis of Hollywood films the theorists were able to establish stylised conventions and modes of production under which a classic Hollywood film was fashioned (Foster, 2008), the film Lord of the Rings: The Fellowship of the Ring (2001) directed by Peter Jackson will be used as a case study to demonstrate these specific conventions.