Luhrmann’s Romeo and Juliet Film Critique Based on Shakespeare’s play Romeo and Juliet‚ Baz Luhrmann put a special modern twist that jazzed it up. Instead of going at the normal approach‚ he puts the setting in Verona Beach with guns‚ cars‚ and new technology. He targets the younger audience in hope of getting another generation to like it‚ instead of just older people who like classics. If you are not aware of the story of “Romeo and Juliet” it’s about two star-crossed lovers who fall in love
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represents the negativity that is associated with African-Americans and it was as if Oscar realised this which is why he spends the dog’s last moments holding him because he can emphasise and almost relate to him. There is a lot of times throughout the film that show a
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Compare and contrast to films from the same genre. Revolutionary Road [Drama] American Beauty [Drama] American Beauty is a superb‚ beautiful piece of work by first time director Sam Mendes; easily a very accomplished film. This story centers around a man named Lester Burnham (Kevin Spacey) a man who has lost passion in his life. His wife Caroline (Annette Bening) is a workaholic real estate agent. Both are frustrated with their marriage which is basically just for show. Sexually frustrated Lest
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When conducting an interview for the American Film Institute‚ actor Jeff Bridges‚ discussing 1941’s Citizen Kane‚ said its director was "twenty-five years old‚ and he didn’t know what he couldn’t do...and Greg Toland gave him all the confidence in the world (2011‚ 0:28 sec.). Bridges was of course talking about the late‚ great Orson Welles. But who was Greg Toland? Well known in Hollywood at the time‚ Toland was a longtime cinematographer who had not only won an Academy Award for 1939’s Wuthering
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“Mabuse’s claim to be a state within a state not only expresses his megalomania but acknowledges the fragmentation of power‚ especially the control of force and violence in Germany after the Great War.” (p. 138) Drawing specific examples from the film(s)‚ demonstrate how Lang’s Mabuse illustrates the chaos of the Weimar era. How does the struggle between Mabuse and Von Wenk articulate the larger struggle within Germany? Throughout the hardship that Germany faced during the Weimar Era‚ their power
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The Propriety and Amalgamation of an Effective Crime Film Crime is a genre that often times follows an often times intelligent‚ malicious criminal. Sometimes it follows the criminal chronologically and sometimes is follows the criminal through their victims. But simply following this generic guideline does not define a crime movie‚ there are defining factors that make a crime movie. In order for a crime movie to be effective it must have a criminal with a motive. A criminal and his motive are
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Reflection on The Shoelace Film - Anna Stewart 1. What is framing‚ composition and the rule of thirds and why should I apply this knowledge to my own film making? Choose one film still of your choice to show your understanding of these film concepts. The Rule of thirds is where the focuses of the scene are lined with the guide lines and their intersection points. The use of the rule of thirds draws the viewers eyes to see all parts of the composition. When it comes to film composition refers to
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Many Australian films explore the concept of ‘overcoming adversity’‚ common to films from many countries but they explore it in a manner unique to Australia and embrace the ‘Aussie Battler’ or ‘Aussie Hero’ icon. The films Gallipoli (Directed by Peter Weir - 1981) and Ned Kelly (Directed by Gregor Jordan - 2003) are two good examples of this. Both films show evidence of characters overcoming adversities throughout their stories. The following will analyse each film and explore the concept by looking
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Other than that the changes made in the movie were not that significant from the novel; the cinematography‚ the actors‚ and
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mental models are well developed and reasonably supported by evidence)‚ the film achieves a high degree of “reality...” (Branigan‚ 2013) People watch; it’s what they do naturally and they enjoy doing it‚ and according to theorists Linda Williams and Laura Mulvey‚ it is that visual appetite and the pleasure found in its fulfilment that leads to a natural viewer engagement with the camera‚ and its ability to observe‚ in film. This viewer engagement and its companion
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