The film industry has many artists which contribute different skills and talents to making a film. Although the success of a film is due largely to the insight and take of the director on a film (Goodykoontz & Jacobs, 2011), the help from all involved is important in making a coherent and successful film. As with most stories they all start from writing (Goodykoontz & Jacobs, 2011) , it is the director’s job to put on film what the in visionary (screen writer) has on paper and make it work for the audience in telling a story. Through the use of artists such as the director, the production designer and art directors as well as many others; a film can fill an audience with an escape from reality. Permitting for a short time in a person’s hectic life to let you find a whole new world of relaxation and excitement through movies. The movie Fast and the Furious was a hit at the box office for 2011 and grossed over $200 million (Gray 2011). The year 2011 was what the film industry calls a down year for film, therefore movie sequels in this case did not make a huge impact for that reason (Gray 2011). Never the less the movies were a huge success with the movie goers. Director of this film Justin Lin has directed each of the movies Fast and Furious sagas. The exciting element of this director is his extraordinary way of always adding different tones and style to each picture. In all the Fast Five movies the main focus was about going fast and cars. Fast cars are not largely focused on in the Fast Five movie; however director Lin has added a new objective for all the main characters, to complete the heist and “to stay alive”. As the director, Lin is responsible for making sure that all elements of the movie come together as they should... ... middle of paper ... ... The scene has been set in Rio which takes the audience to a place many have never visited as well as getting the adrenaline flowing with all the music and action. This action pack movie is a hit. Works Cited Brandon Gray (2011) Box Office Mojo, Sequel Scoreboard “Fast Five” Leads 2011 Sequel Race So Far, Retrieved 12/16/11 From: http://boxofficemojo.com/news/?id=3186 Goodykoontz, B. & Jacobs, C.P. (2011). Film: From Watching to Seeing. (Ashford Univ. Ed.) San Diego, CA. Bridgepoint Education, Inc. retrieved 12/16/11 from: https://content.ashford.edu/books/AUENG225.11.2/sections/ch07 Media Match (2011) TV and Film Job Descriptions that Media Match Offers, Retrieved 12/17/11 From: http://www.media-match.com/usa/jobtypes/job-descriptions.php Production Notes (2011) Fast Five, Retrieved 12/17/11 from: http://www.cinemareview.com/production.asp?prodid=6399
Petrie, Dennis and Boggs, Joseph. The Art of Watching Films. New York: McGraw Hill, 2012.
The Viewers who go to see a Bond film expect smart new action not just
Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...
It is a common mis-conception that films are merely entertainment, and serve no other purpose than to provide for the viewer a two-hour escape from reality. This is a serious under-estimation of the power, purpose, and potential of film, because film, upon reflection, revea...
Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003.
To be honest, there is literally nothing original or new about anything that plays out during these 118 minutes, but Ryan Reynolds and Samuel L. Jackson cruise right on through this thing playing snarky, quick-witted prima donna; the likes of which we have seen from them countless times before. The veteran actors are clearing having a ball, and its largely their chemistry and banter with one another which turns a rudimentary, paint-by-numbers movie something entertaining and watchable.
This information was presented in form of a movie in a campaign dabbed “Make a Movie, Make a Difference”. This information was enlightening as high school students engaged in movie production to addre...
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
The director Antoine Fuqua vision for this film was to bring that intense love-hate relationship onto the big screen and showcase it for the world to see. To ensure a convincing film setting, Fuqua shot on location in some of the most hardcore neighborhoods in Los Angeles. Fuqua also wanted to show the daily struggles of officers tasked to work in the rougher neighborhoods of cities and how easy it can be to get caught up in a street life filled with killers and drug dealers. Overall the film displayed the city of Los Angeles in a different perspective. One which m...
A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the central character more time on screen, the film helps the audience to not only understand the character’s motivation but also empathize with his/her emotional state. Additionally, some antagonistic force creates conflict with the main character, preventing immediate success(). Finally, after confronting the antagonist, the main character achieves his or her goal along with growing emotionally(). This proven structure creates a linear and relatively easily followed series of events encompassing the leading character and a goal.
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
Art has been always seen as a form to express self emotions and ideas; an artist creates an idea and shapes it by culturally known objects and forms to send encrypted message. Through the times both, ideas and materials used, separates art in to different periods and movements. In late 40’s and late 50’s two art and culture movements emerged, one from another. The first one, Lettrism, was under the aspiration to rewrite all human knowledge. From it another movement, Situationism, appeared. It was an anti-art movement which sought for Cultural Revolution. Both of these movements belong to wide and difficulty defined movement of experiment, a movement whose field is endless. Many different people create experimental films because of the variety of reasons. Some wishes to express their viewpoints which are unconventional. But most of them have an enthusiasm for medium itself. They yearn to explore what prospects the medium has and wishes to open new opportunities to create and to explore, as well as to educate. Experimental filmmaker, differently from mainstream filmmakers, wishes to step out from the orthodox notions. The overall appreciation is not the aim that the experimental filmmakers would seek for. Experimenters usually work on the film alone or with a small group, without the big budget. They intend to challenge the traditional ideas. And with intention to do so Lettrism tries to narrow the distance between the poetry and people’s lives, while Situationism tries to transform world into one that would exist in constant state of newness. Both of these avant-garde movements root from similar sources and have similar foundations. Nonetheless, they have different intentions for the art and culture world and these movements...
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
The auteur theory is an idea or principle, which states that the film is a reflection of a director’s creative personal vision, as if to say the he or she is the primary author (which in French, means “auteur”). This theory first came to be in 1954, by a French film director named Francois Truffaut. The auteur theory’s birth was through the French New Wave, which was a group of new French filmmakers during the 1950’s and 1960’s. In the beginning, the theory received positive and negative responses. And to this day, it will create a heated debate. Many have questioned the theory, because there are usually multiple people involved in the development of a film. Ultimately, a film will have a writer, alongside the director, which makes it difficult to put all of the weight on the director, alone. At the same time, there are directors that exist, which can bypass all of the levels in producing a film and still add their staple to it. Regardless of the storyline, there is something distinct within their production that will stand out and be recognizable. With that being said, it is understandable how the auteur theory could exist. When it is all said and done, the end result is the director’s style of filming. And the more passion that a director pours into a film, the more they develop a voice. This is why I chose to display how the auteur theory truly is possible and the director that I chose for my thesis is Spike Lee.