Alfred Hitchcock’s Psycho‚ since it’s release dating back to 1960‚ has been parodied- by shows like The Simpsons or Scream Queens- and have inspired spinoffs- Bates Motel- and remakes including Psycho (1998)‚ Director Gus Van Sant’s attempt at remaking the iconic film with a major studio backing. The director Van Sant said at the time of release that he tried to recreate the film through a shot-by-shot remake and give people the chance to see Psycho but in full colour. As far as I can see‚ Van Sant
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The Growth of the Live Music Scene The unrecorded music scene has gone from quality to quality as of late. The impact of declining recorded music deals has driven record names and groups to visit widely to supplement their salary. Numerous craftsmen sign 360 manages marks meaning the name can likewise benefit from visiting pay. People in general it appears is glad to spend their cash on going to shows regardless of the possibility that they are not set up to narrows to but rather the recorded
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audiences’ perception of a character within moments of the character’s introduction? Alfred Hitchcock made it seem almost easy in the movie‚ Psycho. The sinister nature of Norman Bates was revealed and enhanced through the use of symbolism to set the mood‚ foreshadowing in regards to Norman’s mindset and lighting to establish Norman’s darker aspects. In scenes where Norman Bates was present‚ symbolism was an important aspect used to establish the eerie mood that he set. From the beginning‚ Norman
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Mike Shot Sharks And Saved Them “We provoke a shark every time we enter the water where sharks happen to be‚ for we forget: The ocean is not our territory - it’s theirs.” - Peter Benchley (Author‚ best known for his novel ’Jaws’) It is interesting that Benchley should say that because it is perhaps “Jaws” (1975)‚ more than any other work of art‚ that is responsible for the unreasonable and unjustified fear that humans have of sharks. The premise of his story though is based upon a true incident
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RAISE THE RED LANTERN SCENE ANALYSIS Raise the Red Lantern directed by Zhang Yi Mou is a movie that is set in 1920’s china. It tells the tragic story of 19 year old University student Songlian who becomes the fourth mistress in the wealthy Chen family after her father’s death. The opening scene shows the process from Songlian’s marriage discussion with her mother to the moment she steps into the life of being the puppet of the Chen household. In the opening scene we are introduced to the protagonist;
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is not being controlled by his culture anymore‚ so he wants to reconcile with his son‚ so he drives to Los Angeles‚ after mourning the death of Che’s bully. The act is mourning the death of someone else’s son with coming out of a liquor store. The scene is the violence in the Mission district. The agent is a more vulnerable Che. The agency is the death of the bully‚ so it allows him to view his actions towards his son Jes. The purpose of Che mourning is a metaphor for the loss of his son that he disowned
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SETTING Description: The chase scene is set in a tunnel and on the streets of Gotham City. There is a lot of buildings and structures surrounding the action telling us that the action is important only here. COSTUMING Description: Purple and green suit- royalty and jealous. This means that the Joker is powerful but also jealous of Batman. He also wears a suit- suggesting he is a powerful person but because of the colour‚ doesn’t play by the rules of society. "You either die a hero‚ or you
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Introduction: In American Psycho and The Outsider‚ to experience the Absurd is to experience Otherness‚ and within both film and novel it is absurdity and the Absurd which drives Mersault and Bateman towards their respective social alienations. However‚ despite the inextricable link between the Absurd and Otherness within the texts‚ the means by which the Absurd interacts with each text‚ and‚ in turn results in alienation is unique. Within Camus’s novel‚ the world itself is portrayed as being oppressive
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using select subject-camera distances that seem to make her appear powerful and in control. The medium shots of Professor Rath and the full shots of Lola Lola during the first “falling in love again” performance are used to compare the emotional male character to the empowered female character‚ and therefore illustrate the evolving sexual identity of women. The scene begins with a full shot of Lola Lola performing in front of a large audience. Her posture and attire are fully captured by the camera
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number of prison camps until the end of the war. The scene analysed is set in Naoetsu‚ Prisoner of War camp in northern Japan where Zamperini was tortured and forced into labour until the end of the war in 1945. The scene uses micro features to represent Zamperini as a very strong individual who refuses to give up and finds ways to triumph even when faced with extreme adversity. The two micro features I have chosen to analyse are mise-en-scene and cinematography because I believe that they create
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