Abstract This paper discusses the role of cinematography in 1930s Hollywood cinema. It looks at the functions of the cinematographer and changes in the 1930s that changed the nature of films and the film industry. The paper looks at the development of the technicolor process and technological developments such as new lenses that fostered new cinematographic techniques. The paper looks at examples of specific films and notable cinematographers.
Abstract This paper will analyze the cinematography of Wedigo Von Schultzendorff in Woody Allen's movie "Hollywood Endin"g. By showing his usage of coloring, scene shooting and location, we can understand how Schultzendorff portrays a romantic comedy under Allen's direction.
Abstract This paper examines the film, "Blue Velvet," directed by David Lynch. Specifically, it discusses mise-en-scene and cinematography in the film. It looks at how David Lynch is a master of the film noir, dark and brooding types of films that disturb, disquiet, and titillate, all at the same time, and how "Blue Velvet" is no exception. It discusses how the film is part blue porn flick, part girl-next-door love story, and part sadistic kidnapping, and how the elements all blend together to form a cohesive whole because of Lynch's masterful use of mise-en-scene staging and cinematography. "Blue Velvet," even with its happy ending, leaves the viewer wanting more, somehow and that, too, seems to be just what Lynch intended.
From the Paper "Mise-en-scene is a French term describing the "director's text" or staging of a film, and in "Blue Velvet," David Lynch's intricate and often surreal staging is an integral part of the film. He arranges space and time in the film with such dark and dreamlike qualities that the film can be nothing more than memorable and yet quite disturbing at the same time ? a true mark of Lynch's film and a tribute to his mise-en-scene. The most compelling visual motif in the film is of course the color blue. Lynch stages action around the color to keep it always in the memory of the viewers. The film opens with a sensuous scene of blue velvet fabric undulating on the screen, the theme continues from the background music to the clearly blue cigarette smoke issuing from the cigarettes of the characters, and in fact, Dorothy, the nightclub singer and sado-masochist, is known as "The Blue Lady" in her act."
Abstract This paper discusses and reviews director Guy Ritchie's 2000 film, "Snatch." The paper first discusses the plot of the film and the casting of the characters. It then looks at how the film's dialogue contributes to the satirical comedy. The skillful way that the cinematography capture the locations in a way that supports and adds to the film's satire is also examined.
Table of Contents:
Casting
Screenplay Dialogue
Cinematography
From the Paper "There are a lot of tight and difficult camera shots in the film, where the cameraman has to work fast. In other scenes, the wider and expansive pans of open scenery, like at the gypsy camp, creates the sense of place that the director is attempting to convey to the audience in order to support the satirical elements of the film. The close shots are reserved for the emphasis of innocence, in Tommy and Turkish, and the deadliness of Boris, Tony, and Brick Top. Brick Top's yellowed teeth stand out whenever the character is involved in one of his many fast paced diatribes of dialogue."
Abstract This paper examines how the breakdown of authority and religion in society has been weakening society for years. The author discusses how in films this breakdown is part of an artistic movement called modernity, and uses the films "Romeo and Juliet" and "Vivre Sa Vie" as examples of the movement.
From the Paper:
"Modernity is described as the making of the new. It was inspired with the rise of consumerism, and of middle class or bourgeois values. New forms of photography can artistically display it as cinematography in visual culture, as well as in the topics and subjects of films, plays, and television shows. There are three main aspects of modernity, breaking down of authority including religion, consumer culture and basic societal consumption, and the mixing and combining of genres."
Abstract This paper conducts a semiotic analysis of the two movies, "You've Got Mail" and "Shop Around the Corner". The author finds that the main plots movies are similar, but there are important differences wit in the cinematography, themes and characterization. The paper highlights the differences and then proves why the older version was far more appealing than the newer one.
From the Paper "You"ve Got Mail? is the remake of 1940 classic "Shop Around the Corner". While the main plot is the same there are certain semiotic differences, which should be studied closely in order to see which version is the better one. I have seen both movies and liked the original version better not only because of it being a classic but also because there are certain important features which puts the older version a lot more above the 1990s remake."
Abstract Many different elements of cinematography as used in the film "Being John Malkovich" are examined in this paper. These elements include lighting, mise-en-scene, framing and the physical appearance of the characters. The paper focuses on the character of Malkovich himself and the changes that become apparent after Craig takes over his body.
From the Paper "In the 1999 feature film Being John Malkovich by director Spike Jonze, the narrative structure is an important constituent of the story. This film raises questions about the nature of identity and explores the idea that some people are only completely free when their true self is hidden either behind a mask or beneath a costume. This main theme is conveyed through the combination of the film's mise-en-scene, cinematography, and editing. It is these three elements which work together to deliver the message of the film and form the narrative slant."
Abstract This paper looks at the various elements of the film "The Player" by Robert Altman and their thematic effects on shaping viewer response. The paper analyzes the plot, characterization, acting, camera angles, mise en scene and cinematography of the film in great depth.
From the Paper "The 1992 film The Player written by Michael Tolkin and directed by Robert Altman, satirizes the filmmaking industry of Hollywood, whilst criticizing the industries corruption. The film constantly alludes to earlier Hollywood films and comments on the practices of Hollywood film studios. The film utilizes the scope of film medium to simultaneously create meaning and entertain the viewer."
Abstract This paper relates that Steven Spielberg's ?Schindler's List was made superbly, using techniques that enhanced the impact of a powerful storyline. The author points out that the cinematography, the unique camera work, sharp angles, and black-and-white filming contributed to the success of this brilliant film. This paper explains that John Singleton's "Rosewood", another movie that captures the horrors of racial violence, is not as superbly made as Spielberg's film; nonetheless, it does full justice to the issue of violence, especially lynching.
From the Paper "Based on true events that took place in 1920s, the movie was hailed for its realistic depiction of violence; but it failed to win accolades at the box office because of its not so powerful cinematography and less than unique film techniques. Unlike "Schindler's List" where everything contributed to make the movie successful, the same things did not serve the right purpose in "Rosewood". Singleton's camera work effectively captured fear and terror of racial violence, but it did nothing to accentuate the impact of important scenes. Unique camera work and exceptional editing skills were required to add excitement to an otherwise clich?d issue. However, neither Singleton's direction nor Gregory Piorer's script could lift the film to the status of "Schindler's List". In the opening scenes, for example, the contrasts between white and black towns are almost too obvious and are given elementary treatment."
Abstract This paper discusses various American films and the American cinema in general, highlighting the features of two films, ? The Killing? and "Touch of Evil". It looks at how the two films belong to the 1940s and 1950s, an era in which American cinematography was beginning to gain a new momentum and was thus highlighting a new beginning in cinemas and films. It shows how both films are American classics and highlight the problems of society and the corruption found during those days.
From the Paper ""The Killing" depicts a society, which is greedy for money and will do anything and everything in their power to get hold of easy money by wrong means, even if it calls for the shedding of innocent blood. The movie has symbolized the various aspects of the society while showing the greed for money exists in every class of the society from the rich to the poor. "The Killing" is not exactly a murder plot, but instead is the "kill for money", it has also narrated the horse racing culture, which was found during the 40s and 50s; and how ordinary people bet large amounts of money during these races. These people can go to extreme measures for attaining the money they wish to win."
Abstract This paper explains that "The 13th Warrior" rates as an example of effective, if not perfect, filmmaking, which carries a less than subtle message about society's need to subjugate and dominate the primitive nature of man. The author points out that the movie's main storyline, which is tightly plotted, concise, largely self-evident, and linear, serves to show clearly the struggle between the civilized Vikings and the less advanced Wendol. The paper relates that the cinematography of Peter Menzies, Jr., one of the best features of the movie itself, acts as a lavish backdrop to the struggle between the civilized and the primitive.
From the Paper "This subtext of the fight of the civilized against the barbaric is set against the atmospheric, moody tone of the film. The Viking's foes are the disturbingly creepy Wendol, a creature that is half-man and half bear. We are introduced to the Wendol as "mist-monsters" and flesh eaters who appear only in the mist and carry off soldiers. Battle scenes occur in the dark and mist, and blood is spilt copiously and with great graphic detail, creating a deeply disturbing atmosphere of terror and evil that permeates the movie. A great deal of the film is shot in almost darkness, and the battle scenes are carried out in an atmosphere evocative of a suspenseful horror movie. Overall, the effect is spooky and engaging, and illustrates the fight of civilization (seen in the light) against the unknown horrors of barbarism and the primitive (seen in the brutal violence of the mist and darkness)."
This paper discusses director Danny Boyle's 2003 movie, ?28 Days Later?, an insightful reflection of societal fears of bioterrorism, terrorism, and catastrophic warfare.
Abstract This paper explains that, through his effective use of story structure, characterization, cinematography, and theme, Boyle creates the fictional post-apocalyptic world of ?28 Days Later?, which is characterized by brutality brought on by man's unthinking arrogance, playing out some of society's worst fears about warfare and terrorism. The author points out that the fear of "playing God" and the repercussions, which appear in the film, have been seen in literature and movies that trace back to Mary Shelly's "Frankenstein" and to similar movies, such as ?12 Monkeys?. The paper relates that the juxtaposition of the post-apocalyptic emptiness of London, with many viewer's recollections or projections of the familiarly busy bustle of London streets, provides one of the most shocking visual reminders of the impact of terrorism and catastrophic warfare.
From the Paper "In recent years, the world has been rocked by the growth of fears over a diverse set of growing threats to global political and economic stability and world health. The tragedy of September 11th brought the world into a new era of fear over terrorist acts. Since then, public uneasiness has only been heightened by the train bombings in Madrid, the Bali bombings, and continued governmental appeals for constant vigilance against terrorism. The fear of bioterrorism has also grown in recent years, with the release of sarin nerve gas on a Tokyo subway, and the presence of anthrax in the US mail. Adding to this climate of fear was President Bush's assertion that Iraq possessed of weapons of mass destruction (including biological weapons), an assertion that provided a justification for the Bush administration's entry into Iraq. Today, societal fears of catastrophic warfare that took root during the Cold War era continue to escalate, as tensions in the Middle East deepen."
Tags: plot, cinematography, characters, documentary, video
Abstract This paper examines how the cinematography, lighting, and editing highlight the general themes of loneliness, humanity, etc., in the movie, "Magnolia," and how the all come together in the end to show the reality of the world and what it takes to shake people out of their mundane routines.
From the Paper "Magnolia, directed by Paul Thomas Anderson, is a weaving of stories each reflecting a common theme throughout American life. It helps to show that anyone's best-laid plans can be utterly disrupted at any moment by things we could never have imagined. Some of the themes include dieing fathers, child abuse, and the loss of one's childhood. Earl Partridge is a man on his deathbed searching for his son he abandoned so very long ago, and his nurse, Phil, locates his son, Frank T.J. Makey. Frank is the creator of "Seduce and Destroy", which is a guide for men on how to get any woman they want. The other dieing father, Jimmy Gator, a Game show host, has just learned that he is dieing of cancer, and has to face the fact that he has cheated on his wife, and abused his daughter, Claudia Gator. Claudia is getting involved with a police officer, Jim Kurring, who is divorced and she is having trouble with committing to him. Stanley Spector, who is one of the kids on Jimmy Gator's Game show, has to deal with his over bearing father, and Donnie Smith is a middle aged, former quiz kids, who has to deal with his loss of fame. The excerpt of the film that I am analyzing is at a point when all these people are confronting their problems towards the very end of the film. It takes an act of God, frogs falling from the sky, to make them realize what they really need to do or not do."
Tags: anderson, cinematography, editing, film, lighting, movie
Abstract This paper explains that Peter Adair's documentary film "The Holy Ghost People" is about people in a Pentecostal church in West Virginia who claim to receive the Holy Ghost as a source of power and happiness, and, when possessed by the Holy Ghost, their bodies jerk and they speak in unintelligible languages. The author points out that the main message, which Adair's cinematography is trying to convey, is that people can express their emotions without using words. The paper relates that the most telling shot in the entire documentary is the last one in which the camera focuses on the bloody cloth, which the man is using to wipe his hand thus showing the real danger, but the man, who was bitten by a poisonous snake, stays calm.
From the Paper "One interesting aspect, for me, was that I couldn't understand some of what people either said or sang, partly because of their accents, partly because of the muffled sound quality. However, this added to the feeling of intrigue and made me focus more on the tone of the songs and voices and rely more on body language and other visual stimuli. The few shots of the area in West Virginia this documentary was shot in tells a lot about who these people are. It is barren, poor, and run down. These people are disenfranchised and suffering under poverty. Even the trees cannot bear leaves, life is so cold. This is the reality of the snake handling people."
