With the imagery put into motion we can try and pick apart how certain people might view the play being portrayed and choose what best suits our expectation of this tragedy. Other things that only film has been able to present to us is the various camera angles, a setting that isn’t restricted to a stage and an audience that can be reached anywhere in the world. Also who is casted and how they will be dressed is crucial to the success of the movie although sometimes overlooked during the production process. Some movies represent these elements of mise-en-scene in an excellent matter such as the Kenneth Branagh version of Hamlet, while others would seem to disappoint my expectations for a great re-visualization of our suicidal hero like Micheal Almereyda’s Hamlet staring Ethan Hawke. Admirably though every Hamlet film to date has its own unique style, something that will please all audiences, with its unique pros and cons.
Comparison of Ethan Hawke and Kenneth Branagh's Versions of Hamlet Modern day directors use a variety of methods to hold ones interest. Ethan Hawke and Kenneth Branagh’s created versions of Hamlet that shared some similarities, but ultimately had many differences in respects to an audience’s appeal. An appealing movie is one that has an alluring ambiance and an intellectual stimulus. With these two movie versions, a setting and a mood forced an audience to acquire specific emotions, but Ethan Hawke’s version generated emotions more strongly and effectively. Also, these movies had extremely different uses of music and visuals, but both movie versions incorporated them well for the ambiance it tried to obtain.
No It’s More Than That: Analyzing the p¬¬revalence and significance of objects and symbol in films such as “El laberinto de fauno,” “Tesis” and “Te doy mis ojos” By Mac Beckwith Objects and symbols can be a lot more than what they appear in films. The actual definition of a symbol is a physical representation that stands in for another object or idea. They can hold hidden meaning that the director is trying to show without using words and obvious actions. The subtly of the objects and symbols can vary from film to film, showing viewers what the director’s real message was when he created his piece. Things like this can make seemingly harmless thriller movie like “Tesis” into a serious statement about how sick and twisted our society.
The Origin of the Meaning in a Film It is my opinion that a director makes meaning in a film, although the audience will apply their own reading of it. Film has its own "language" and there are a wide range of techniques a director can use to enable the audience to understand his meaning. The director uses mise-en-scène to contribute hugely to how meaning is made in a film - a large part of how the story is told comes from visual content. The elements covered by mise-en-scène are setting, props, costume, performance, lighting and colour. However, the director can be limited by genre conventions established over time, i.e.
Conversely, the B-52 sequences, often accompanied by various versions of “When Johnny Comes Marching Home,” employ different editing patterns than the rest of the film. These edits reinforce the film’s theme of inevitability. Through editing, the B-52 sequences display a strong cinematic rhythm. The shots are generally shorter than the other sections of the film, and they significantly contribute to the film’s shorter average-shot-length, despite Kubrick’s deliberate use of long takes (Falset... ... middle of paper ... ...ng shots, all three experimented with elements of characterization. Kubrick used both subjective and objective points of view quite deliberately in his films.
The focus of some directors is to catch the viewers’ attention so that people will actually go see the film. They are often forced to sacrifice real events and add a twist to it so that it becomes more entertaining to watch. In the movies; Flags of our Fathers, The Great Raid, The Thin Red Line, and Pearl Harbor directors did whatever they could to depict events accurately. Major events are described as they really happened, but there is always something added that did not exactly occur from what the textbook tel...
Much of this writing was concerned with “constants of style and world view across the works of the directors concerned” but lacked “the systematic, polemic thrust of auteurism proper” (Hill and Gibson, 312). ... ... middle of paper ... ...sh Film Institute. Hollows, J, et al [eds]. (2000), The Film Studies Reader, London: Arnold Ltd Hollows, J and Jancovich, M [eds]. (1995), Approaches to popular film, Manchester: Manchester University Press.
At the time, it was all the public wanted to see. People were astonished at the way these films were put together, the narration, the editing, the shots, and everything in between. No more were the films in similar arrangement and structure. The ‘New Hollywood era’ took the classic Hollywood period and turned it around so that rules were broken and people left stunned. In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
Flashbacks had been used in earlier films, but Orson Welles used this technique most effectively in his film Citizen Kane. Because of this he also changed the way story could be told. It changed the tradition way of telling a story from beginning, middle, and end. Now films can be told from any starting point and moving freely throughout the story. This new way of storytelling has been used in many films because it changed the old way of telling story it made it more exciting and curious to wonder what something you saw in a future flash back could mean it just gave the story more mystery.