Abstract
This paper provides an analysis of how Alfred Hitchcock uses lighting, composition and camerawork to translate literature into cinematic images and symbols in the gothic film "Rebecca". A focus is on these elements in Rebecca's west-wing bedroom and her beach cottage.

From the Paper
"In Alfred Hitchcock's gothic film "Rebecca", the director uses camera work, lighting and composition as a means of contrasting the spaces of Rebecca's west-wing bedroom in Manderley and her beach cottage retreat. For instance, Rebecca's west-wing bedroom is immaculate, kept by Mrs Danvers, her housekeeper, as a near shrine to her former employer. However, when the new Mrs De Winter stumbles upon the beach cottage, it is in a state of disrepair and a vagrant has taken to squatting there..."

Tags:Maxim, closeups, panning, theme, character, symbolism

Abstract
This paper provides an analysis of four films directed by Alfred Hitchcock: "The Lady Vanishes", "Foreign Correspondent", "Notorious", and "North by Northwest". The analyses focus on a number of elements in the films, including the "MacGuffin," the uses of humor, camerawork and montage, relationship to social and historical events during the era in which they were produced, the man/woman-in-the-middle theme and others.

From the Paper
"In Alfred Hitchcock's "The Lady Vanishes", Hitchcock provides a film that revolves around the activities of spies and foreign agents in a film where nothing is as it first appears. The "MacGuffin" used by Hitchcock in this film revolves around music, a folk tune that conceals the secret clause of a peace treaty between two countries. The MacGuffin plays an important role in this film, because it represents peace and harmony in contrast to the violence and disharmony of espionage..."

Tags:spies, espionage, intelligence agencies, WWII, Nazis, nuclear weapons, national monuments, Britain, London, Hitchcock

Abstract
This paper contends that Spanish filmmaker, Pedro Almodovar often presents his themes in a satiric and comic framework emphasizing certain melodramatic and exaggerated elements. The paper discusses his film "Talk to Her" and claims that it is not as darkly comedic or as exaggerated as some of his films. The paper examines how he uses the various elements of film to heighten the odd nature of his characters and to illuminate their inner states on the basis of external action, sets and camerawork. The paper explains that a primary mental state for these characters is that of audience, for life to a great degree is a spectator sport at which they are better as observers than participants.

From the Paper
"The film maintains a certain theatricality throughout, beginning with the opening shot, which is revealed as a curtain is drawn back as if for a stage play. Indeed, the first thing seen in the film is a stage play, a very odd interaction at which the main character is seated in the audience. The film ends in the theater once more, and the sense of life as a theater piece infuses the film. Two men are watching the performance, Marco and Benigno. They do not know each other, but they will become friends later and will be important to each other, serving as complements to one another."

Tags:marco, benigno, audience

Abstract
This paper describes the plot, the camerawork, the cinematography and the performances in "The Mummy", a movie about the discovery by British archaeologists of the mummy Imhotep. The paper explains why the movie is, on the whole, a great visual experience for anyone who wants to see and learn how a director managed to successfully work with limited technology.

From the Paper
""The Mummy" (1932) marked the directorial debut of Karl Freund who was a well-known cinematographer of the silent era. He had worked on some prominent German movies including such classics as "The Last Laugh" (1924), "Metropolis" (1927), and "Variety" (1925). In the US, he worked as cinematographer for movies that include "Camille" (1936), "Murders in the Rue Morgue" (1932), and Tod Browning's "Dracula" (1931). "The Mummy" was his most successful film as a director though he later went on to direct seven other films in the United States."

Tags:boris, karloff, expedition, resurrected, accidentally, incantation, dead, ardath, bey

Abstract
This paper explains that the conservative classical ensemble music in the film "Ben-Hur" emphasizes the emotion in the film and highlights the scale and grandiosity of both the motion picture and the Biblical story. The author points out that the movie's camerawork shows the big-budget epic tradition of pioneering new camera technology as an important facet of this movie, in this film, a process known as "MGM Camera 65", a 70mm anamorphic print at an aspect ratio of 2.76:1, considered to be one of the widest prints ever made, having a width of almost three times its height. The paper relates the skill of director Wyler to balance the many different elements of the film--the themes of religiosity, the historical accuracy right and the dramatic tension of the plot--without being over-analyzed or pompous.



Table of Contents
Music
Cinematography
Camera Work/Editing
Actors
Directors
Script

From the Paper
"The advanced nature of the cinematography of Ben-Hur is another aspect of the film that shows it to be a big-budget epic film, but unlike some of the other mentioned areas of moviemaking that have changed more over time and become less strictly representative of convention since the fifties, advanced and expensive cinematography is still an area of moviemaking that is closely associated with the big-budget epic film, even in movies that are not necessarily straight action pictures. The cinematography in "Ben-Hur" is no exception to this general rule, as many other areas of movie making represented by this film are also stridently conventional. Bigger, better, and faster seems to be the
rule of thumb for this sort of film when approached from the area of cinematography, whatever the time-period. Although the cinematographers of Ben-Hur did not have the advanced effects available today through CGI and computer aided design, this in a way
makes their efforts even more impressive when seen through the perspective of hindsight."

Tags:biblical, classical, director, actors, width

Abstract
The use of color in French New Wave cinema by three founding directors of the movement is the focus of this paper. The directors and films analyzed are: Agnes Varda's 'Cleo from 5 to 7' (1961) and 'Happiness' (1965); Jean-Luc Godard's Crazy Pete' (1965) and 'Two or Three Things I Know about Her'; and, Francois Truffaut's 'Stolen Kisses' (1968) and 'The Bride Wore Black' (1968). The paper also considers other innovations in this genre of film.

From the Paper
"The use of color or mixing color and black-and-white in the films of French New Wave cinema represented one of many innovations of directors responsible for this genre of films. Agnes Varda, Jean-Luc Godard and Francois Truffaut all made films mixing black-and-white and color black-and-white films and color films. The films of these French New Wave directors that mix black-and-white and color and are in full color will be the subject of this research. The use of color was employed for a..."

Tags:psyche, introspection, Paris, consumerism, culture, advertising, romantic cynicism, camerawork, theme, dream, marriage, love, infidelity, prostitution, crime, Truffaut, Godard, Varda

Abstract
The paper attempts to answer the question of why this film is so popular when compared with other French classics. The writer posits that although the film does not have a distinct storyline, the film perfectly captures the mood of the 1960s. The paper gives examples from the film of techniques used by Goddard to inspire viewers and other artists alike.

From the Paper
"But Goddard didn't achieve this goal through the storyline alone but also made use of distinctive camerawork. He is known for introducing a totally different set of camera techniques including jump cut, lifted filming, out-door shooting and quick-cuts. Filmmakers have repeatedly copied jump-cut technique since A bout de souffl?'s phenomenal success. One website explain what jump cut really is: ?A jump cut occurs when two shots are mismatched in space or time. The transition between the two shots thus feels abrupt or awkward. shows the continuity of action by showing its start in one shot and its follow-through in the next shot. For example, Shot 1 A woman walks down a sidewalk toward a car. Shot 2 She stands next to the car and opens the door. The cut interrupts the flow between her walking down the street and her opening the door. In the first shot she appears in one place in the frame, and in the second frame she appears in another. We must pause a moment to figure out what happened between shots 1 and 2.""

Tags:character, expression, camerawork, direction, film

Abstract
The topics addressed include narrative style in "Citizen Kane", the fragmentation motif in "Citizen Kane", the advantages and disadvantages of the Hollywood studio system, and the interplay of myth and fact in western films.

From the Paper
"Orson Welles uses many innovative cinema techniques in "Citizen Kane" that are distinct from classical Hollywood cinema. These promote a more seamless or invisible method of storytelling. These include his use of a subjective camera and deep-focus and depth-of-field and focus varying between foreground and background. Welles also excels in this film in the use of unconventional lighting, inventively using shadows to achieve achiaroscuro effect borrowed from German Expressionism and a forerunner of film noir lighting. Other techniques include low-angled shots and other elaborate movements of..."

Tags:movies, film, cinema, camerawork, symbolism, stars, directors