In both, the feelings of dread and fear are experienced simultaneously. The goal for these films is to scare and thrill the audience. Horror can thrill and Thrillers can horrify. Another similarity is the dramatic context. Characters are confronted by some conflict and usually flee from the turbulent situation.
Through this attempt Tyler ultimately becomes Jack’s nemesis trope. Fincher uses noir thematic devices to maintain a psychotic theme within the film and also to express t... ... middle of paper ... ... time line of events. Which also goes hand in hand with Jacks insomnia, which shatters the barriers between reality versus fantasy, and memory versus dream for the spectator. Lastly the vast and bizarre camera angles from which the film was shot in help maintain the uncertain feeling for the spectator. David Fincher’s 1999 noir film Fight Club combines both thematic and stylistic devices to maintain a psychotic uncertainty for both the protagonists and the spectator.
Cawelti describes the myth within the gangster film as "affirm[ing] the limits of individual aggression and violence ... show[ing] how violence evokes its own inevitable doom" (Cawelti 516). In Pulp Fiction and Bonnie and Clyde, the directors subvert the "traditional elements" and the "traditional mythical world ..." (Cawelti 505) is confounded. Thus begin the generic transformations. The directors thoroughly undermine the traditional myths and effectively replace them with myths of their own construction. The complexities of structure, character and theme within Pulp Fiction exceed the conventional boundaries of the gangster genre and the myths commonly associated with gangster films become inadequate.
Pulp: “A soft, moist, shapeless mass of matter” or “A magazine or book containing lurid subject matter and being characteristically printed on rough ...paper.” In the beginning frame of the film Pulp Fiction, director Quentin Tarentino provides the audience with these two definitions of the word pulp. This alone, ladies and gentlemen of the International Film Festival provides us with the fundamental principle Tarentino has produced to help audiences appreciate and understand a cultural perspective different from our own. The film itself can be a little difficult to comprehend when first viewed as there are multiple storylines running simultaneously throughout the fill; with complete disagreed for a chronological order. The story runs along three divided stories in which are broken up into seven segments about firstly; two hit men and a mysterious briefcase, secondly; a boxer named Butch and his golden watch and finally two armed maniacs, respectably called “Pumpkin” and “Honeybun” whom decide to rob a diner. This apparent division however seems to find a unified conclusion with no apparent moral message.
Robberies, murder, revenge… some of the most renowned films are centred on some of the vilest human acts. Our instinctive nature to crave unpredictability is often satisfied through crime films whether it is through fear, thrill, perplexity, mystification, disgust, horror, amazement, shock, or even offence. So what is it exactly that constitutes the quintessential crime film? People find themselves being transfixed by this popular medium, forming an addiction to the unfolding and prodigious plots, sharp protagonists and often the less anticipated outcome. As a crime film fanatic myself I can assure you that these elements are crucial in intensifying the overall impact it has on you as a viewer.
Shock is a feeling of fascination and excitement mixed with anxiety, tension, suspense and surprise developed from an unpredictable, mysterious, and engaging source of entertainment (Merriam-Webster). Shock can occur whenever there is a perceived suspended drama, with tension, suspense or surprise being the primary emotions felt by the audience as part of the situation (Dirks). However, the term is most often used in regards to an audience’s perception in dramatic works such as film. One often experiences a sense of shock in film due to the filmmaker’s ability to manipulate technical elements such as sound and camera angles in order to elicit feelings of suspense and tension from the audience. More specifically, the definition of suspense suggests that this shocked emotion arises when someone is aware of his or her lack of knowledge about the development of a meaningful event; thus, suspense is a combination of anticipation and uncertainty dealing with the ambiguity of future events (Merriam-Webster).
Writer-director John Herzfeld is furious at the "if it bleeds, it leads" nature of our TV news culture, at the intertwined lusts for fame and gore that rule a society where publicity is more important than reality, everyone plays the victim, and everything is for sale. Though its anger is a force to be reckoned with, "15 Minutes" finds some space to be funny, albeit in a bleak way, and even provides unexpected moments of romance. Herzfeld, whose debut film was the equally impudent if less impressive "2 Days in the Valley," has utilized an appropriately off-center sensibility for his story, taking the strands of crime melodrama and twisting them to fit his particular purposes. A key factor in keeping "15 Minutes" involving is its look. Working with inventive French cinematographer Jean Yves Escoffier ("Les Amants du Pont-Neuf," "The Cradle Will Rock," "Nurse Betty") and editor Steven Cohen, Herzfeld is determined to keep things kinetic and visually interesting.
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.
What is strange about these intermingled narratives is the order in which they are told. I hope to articulate how the fracturing of this story aided in the overall effectiveness of Pulp Fiction. During the prologue we are introduced to Bunny and Pumpkin who bracket the film and provide us with an influential thrust toward the theme, as well as to what proceeds. As Pumpkin’s ironic discourse unfolds we find he wants to leave behind robbing liquor stores because it’s too much of a risk, yet he’s too smart and together to need a day job. So he banters on about the easiness of armed robbery aimed at soft targets.
The Departed The Departed is a film built on the concept of gritty realism, which is used to create Scorsese’s glamorized view of organized crime. It is modern due to the ambiguous nature of its corrupt and often stereotypical characters. Scorsese weaves in popularized ethnic stereotypes throughout the plot, as he does in many of his other films. In fact, several parallels are visible between The Departed and Scorsese’s other films, including the cast. The screenplay by William Monahan is well adapted, and full of complex characters that make the film multidimensional.