Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Old horror movies analysis
A horror movie essay
Horror movie film analysis english essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Old horror movies analysis
Horror is one of the major genres for silent movie produced under Hollywood studio system during 1920s. American filmmakers had gone on exploring the classical Hollywood style, linking technique to clear storytelling because many foreign audiences had been cut off from the Hollywood product during the war (Thompson 58). The Phantom of the Opera (Julian, 1925) exemplifies the classical Hollywood style and represents the class differences characterized by a beautiful woman and an ugly “phantom” in the movie. In this paper, I will particularly analyze one of the famous scenes from the phantom of The Phantom of the Opera (Julian, 1925) – the “unmasking” scene. During the mid-1910s, filmmakers experimented with effects lighting, that is, selective …show more content…
The ugly “phantom”, who always hides behind the stage of the opera theater, represents the minority people in the society. For those people who experience the social rejection because of their differences, they would seek the way to be as “normal” as possible. The mask in this movie is the social-functioned camouflage for “phantom” to fit in the society and most importantly, to deceive his lover. His romantic relationship with a beautiful young singer, who represents the higher social class people, is not accepted by the social norm. The conflict arises sharply in the “unmasking scene”. Even though both of them are spiritually connected by their voices, when she finds out the truth of him, she suddenly pushes him away. The subtitles of “If you love me, as you say, let me go, I promise to be your slave forever” indicates that their relationship would be always subjected to the class difference in the society. Because of the belief that “A human and a demon will never be together”, the “phantom” scarifies himself and never deserve happiness. The tragedy ending in this movie criticizes the social inequality during 1920s when the minority groups of people are hiding in the “dark side” of the society. The majority, on the other hand, enjoys the privileges and never concerns about other people’s suffering. The Phantom of the Opera (Julian, 1925) tends to educate the audiences to consider this issue instead of simply scaring them. Unlike most of the Hollywood movies have conflicts with the desires of other characters, creating a struggle that is resolved only at the end—which is typically a happy one (Thompson 59), the “phantom” was killed by the majority in the end– which is different from the typical happy ending. The ending of The Phantom of the Opera (Julian, 1925) is more memorable to
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
script, the viewer needs another way to interpret the film. The 1922 silent film Nosferatu
Suspense is a 1913 film that portrays the story of a tramp intruding into a family’s home, where a mother takes care of her child while her husband is away. The plot is a common one that had been used previous times before the film’s release, such as in The Lonely Villa (1909). However, through taking advantage of the single frame shot, the filmmakers were able to create a masterful aesthetic of two separate stories that turn a basic plot into a complex story. The film created an inventive way of illustrating stories within cinema by allowing the audience the chance to consume more narrative in less time within just one take.
Hayao Miyazaki’s Spirited Away is considered to be one of the best animated films of all time. Released in 2001, the film has since then received numerous awards, critical acclaim and even became the most successful film in Japanese history. With its magical animation and storytelling, it manages to perfectly balance fantasy and humanity, leaving a mark on the viewer’s soul.
This is about what happened in The Opera House in Paris. The Opera House, which was begun to build in 1861 and finished 1875 year for seven million francs, had 17 floors, ten of them were above ground and seven of them were under ground. That mysterious event happened in 1880 year.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
The three stories, “The Cask of Amontillado,” The Phantom of the Opera, and “Murderous Envy,” contain two tremendously different devices, tone and mood, which require a different analysis, however both significantly influence a story’s main idea.
Within today's society appearance is a vital component in one's judgement of character. Behavior and presentation can have a long term effect on how those view you. When viewed by others in a negative way it can cause one to feel lonely and unwanted. This can result in a negative view of others, which can cause one to act out in a yearning for attention and care. Frankenstein by Mary Shelley perfectly displays this. In a story about a professor creating life from death, Frankenstein follows the story of how Victor Frankenstein’s creation becomes a monster. This is also an issue in the Broadway show and feature film, The Phantom of the Opera. The film, directed by Joel Schumacher, follows the vocalist Christine Daae
Writing plays is usually associated with feelings and beliefs. In this case, Calderon de La Barca wanted to advocate some themes in his play, The Phantom Lady, while his central thesis was most probably that of courtesy. The play conveys the message of courtesy very clearly, first, with the fact that Don Manuel accepted to defend an unknown woman, from Don Luis, the brother of this “unknown” women who the audience knows as Angela. Also, the theme of courtesy is clearly portrayed when Don Luis spares Don Manuel, and also when the former allows Don Luis to go and look for a new sword, after disarming hi...
The Phantom was used in the play "The Phantom of the Opera" as a confidant
In the hundred or so years of cinema, there have been many significant figures behind the camera of the films audiences have enjoyed, though there has been a select few that are considered “auteurs.” One of the most famous of auteurs in film history is the great Alfred Hitchcock, who is most identified with the use of suspense in his films, while also being notorious for the themes of voyeurism, the banality of evil, and obsession. In both the films we watched in class, Psycho and Rear Window, these three themes were somehow a part of the deeper meaning Hitchcock wanted to convey to the audience.
Gunning begins this article by referring to the “myth” of frightened audience screaming in horror at the image of a train approaching the screen, a film by the Lumiere Brothers titled Arrival of a Train. He proceeds to claim that these so called myths were about the audiences screaming due to being frightened by an image of an oncoming train, and that some audience members ran out of the cinema in terror. He begins to disprove this claim by providing context of the newer technology in cinema and the time era they were produced. As argued by Gunning, the audiences of the cinema were made up of audiences far more sophisticated than many modern film theorists would like to admit. Gunning points out that audiences were not only used to the illusionism of the cinema, but were indeed avid to actually consume it in that fashion. Far from being frightened enough to actually flee from the approaching cinematic train, the
During the early 20th Century, around the 1920’s, Germany were no doubtedly a country in turmoil and embarrassment, struggling to cope with the aftermath of the first world war. Because this was happening, and with German’s feeling the shame and guilt, wanted a change to how things worked in Germany. The historical context that relates to Germany and when German cinema started, had an impact on the film style that films were made in. The culture of Germany grew though in the 1920’s, and cinemas were seen as a place to escape to and help restore the German’s national pride after the war. There are two films that will be in discussion throughout this essay, one is ‘The Cabinet of Dr. Caligari’ (Wiene, 1920) and the other is ‘Nosferatu’ (Murnau, 1922) both being made and directed within the times of many historical events happening within Germany.
William Shakespeare's, Twelfth Night has many themes, but appearance vs. reality is the theme that illustrates a different picture from two perspectives, there are many characters behind their masks and disguises. Some are hiding love behind these disguises and some are trying to show their love through a different disguise. They both still being servants are using disguise differently. Malvolio, servant of Olivia, falls in love with the trap (the letter) thinking his lady likes him, and to show his love he uses a different appearance to express it. Viola, servant of Orsino, falls in love with him, but secretly, not wanting to express her love for him, because of her disguise as her barrier for that case. Viola/Ceasario is wearing a disguise and secretly loves Orsino. Malvolio, on the other hand, is also a servant but still changes his appearance to express love for the great lady Olivia. This essay will prove that disguises and appearances are symbolic of the characters named Viola and Malvolio and are differently used for both.
The Phantom of the Opera centers on the Paris Opera House which has over time become the Phantom’s domain. Upon the news that the opera house has been bought and is under new ownership, the Phantom demands that the new owners honor the “agreement” he has established with the previous owners and that the fifth opera box is kept empty for his use and that his salary of 20,000 francs per month is honored. The Phantom also demands that Christine, whom he has secretly been giving singing lessons to, replace Carlotta Giudicelli, the opera company’s prima donna. He also warns that if his demands are not met, that the opera house and the opera company will need to pay the consequences. Though the origins of the Phantom are unknown to the general population of the opera house, Madame Giry knows more about the Phantom than she lets on. It is later discovered that Madame Giry helped the Phantom escape a life of abuse from a freak show and that she hid him at the opera house where she was studying ballet. It was during Christine’s and the Phantom’s singing lessons that he began to fall in love with her and came to be obsessed and protective of her. The return of Christine’s first love, Raoul, threatens to tear Christine an...