The Adventures of Robin Hood (1939)‚ or musicals like Meet Me in St. Louis (1944)” (203). However‚ despite this new technology‚ a film did not have to use color in order to be considered of quality. Orson Welles’ 1941 Citizen Kane‚ for instance‚ was shot in black and white‚ despite the advent of color film in the previous decade. While it is possible this decision was made for budgetary reasons‚ the use of black and white dramatically accentuated the shadowy‚ mysterious tone of the film. In this case
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humiliation‚ and there is the idea that she too was once herself‚ bright-eyed and an idealist. There is also the unlikely hero portrayed in the “Junior Senator” whom everyone in the Senate has jeers at when he stands his ground and there are distance shots of him as he slowly fades in health and stamina as he tries to filibuster the Senate by talking non-stop until the Senators relinquish their efforts to build the damn or time to consider the bill
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FILM LANGUAGE FILM LANGUAGE A Semiotics of the Cinema Christian Metz Translated by Michael Taylor The University of Chicago Press Published by arrangement with Oxford University Press‚ Inc. The University of Chicago Press‚ Chicago 60637 © 1974 by Oxford University Press‚ Inc. All rights reserved. English translation. Originally published 1974 Note on Translation © 1991 by the University of Chicago University of Chicago Press edition 1991 Printed in the United States of America 09 08 07 6
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until we see that they’re the two carbons of the arc lamp; after this‚ a portion of the leader flashes by. Then follows a suite of rapid images‚ some barely identifiable: a long shot chase from a slapstick silent film‚ an erect penis; a close up of a nail being hammered into the palm of a hand; a close up shot from the rear of a stage of a heavily made-up actress declaiming to the footlights and darkness beyond‚ we see this image soon again and know that it’s Elizabeth playing her last
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Columbine is a documentary style film which uses a standard medium shot throughout the entirety of the film. Medium shots are used in documentaries to give the viewer a sense of realism. These shots are used to imply that the film is discussing a serious subject and the information being given by the interviewee is serious and factual as opposed to other shots which may make the viewer believe that camera has been set up and shot over a number of takes. Other than front on‚ there are no special camera
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perfect film to express how Hitchcock’s overall experimentation came into full swing. He planned every part of the production on paper‚ in pre-production‚ from the shots to the props and furniture. The Lodger‚ was filmed using techniques not seen in Britain at the time. Hitchcock set up hanging rigs from the roofs of his sets to get intricate shots from staircases and overhead views. He utilized Close Ups to spike tension within a scene and used overlays in editing to show things impossible to view with
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presented various of themes but one theme that clearly stood out was fast food being a threat to the public health through obesity and addiction. The theme was supported by the use of different conventions such as professional/ talking head interview‚ montage and jiggly camera. It is showed to us that these junk we eat from McDonald’s in particularly or any other fast food is a threat to our health‚ resulting in different kinds of diseases‚ mental disorder and may also result to death. This is clearly
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authentic. Scorsese’s film captures many fantastic cinematic elements that creates an enriching story from a character’s point of view to using film editing techniques such as high angle shots‚ low angle shots and long tracking shots that craft memorable scenes. The film follows Hill’s journey through a montage that entails the rise and fall of his life from an up and coming mob associate to being a FBI informant and a convicted felon. Martin Scorsese uses specific
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When does a hero become a villain? What defines a character as a hero or a villain? A cape and tights? An evil plot? This is not necessarily the case in what contributes to this distinction between the two. In both “Metropolis” and “Citizen Kane”‚ a narrative of heroism and villainy is presented and developed. These films address these topics of heroism and villainy‚ are defined by the people who experience the hero or villain. In some aspects‚ it is clear who is the hero in the story and who is
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Genre Film Knight 3 May 1995 Taxi Driver as Radicalized Film Noir In his film Taxi Driver‚ Martin Scorcese presents a world where characters are subsumed in the urban landscape‚ vertical planes obscure the horizon‚ and hazy lights reflect off streets perpet ually slick with rain. Scorcese combines realistic settings with expressionist cinematography to construct a stylized vision of meaninglessness‚ in which a psychopathic protagonist moves from street to street without direction‚ f
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