cinematographer –Jeff Cronenweth‚ Film editor James Haygood‚ Production Design-Alex McDowell‚ Art Direction- Chris Gorak and Costume Design by Michael Kaplan. The Set director by Jay Hart‚ all of these people where responsible in making this successful movie. He or she is responsible for the images that the camera sees‚ and by extension the images that the audience will see in the finished film‚ this is the main job of the cinematographer. (4.2 What is a Cinematographer‚ 2011‚. Film: From Watching to Seeing)
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offices‚ in cars and buses‚ and on airplanes. We carry films with us in our laptops and iPods. We press the button‚ and our machines conjure up movies for our pleasure. For about 100 years‚ people have been trying to understand why this medium has so captivated us. Films communicate information and ideas‚ and they show us places and ways of life we might not otherwise know. Important as these benefits are‚ though‚ something more is at stake. Films offer us ways of seeing and feel- ing that we find deeply
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been made are about war and not even single one movie about against the war or from different perspectives. I wondered if the people in Hollywood did not all get together in a room and decide that they willing to do just this kind of film and not other kind of film. Leon Trotsky once used an expression to describe events that are not accidents‚ and not planned consciously‚ but are something in between; and he called this “natural selection of accidents‚” in which‚ if there is a certain structure
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Film Noir‚ meaning “black film’ in French‚ was the trending style and genre in American culture between the 1940s and the 1950s. It is a combination of European cynicism and the American landscape. Film Noir has its origins from German Expressionism and French Poetic Realism. Nino Frank‚ who was a French film critic‚ was the first to introduce this black and white genre to Hollywood in 1946. Many of the directors who introduced Film Noir where refugees from Nazi‚ Germany. From that moment in time
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How does Clint Eastwood‚ director of the film‚ Invictus‚ use the South African rugby team (the Springboks) as a vehicle to bring a troubled nation together? Clint Eastwood shows the change in the nation of South Africa in Invictus‚ using the Springboks as a vehicle. He starts the film with large amounts of separation‚ followed by the steady change in the middle of the movie‚ and finishing with the nation combined. In the beginning of the film‚ Clint Eastwood shows how separated black and white
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French Film Noir: Touchez pas au Grisbi and Ascenseur pour l’échafaud Azaria Wassyihun Film Noir is often regarded as a uniquely American phenomenon. The particular context these films were produced in‚ marked by the post-war period‚ infused these films with a unique style Hollywood had never encountered before. America might have been the adequate setting for this unique phenomenon to occur‚ but film noir would not be the same without it’s international aspects. Famous Austrian born directors
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There were many changes in marketing and distribution of films from end of the silent period to the modern digital period. There was a studio system that existed at the end of the silent period and collapsed in 1949 with a court ruling. During this same time a sales era of marketing existed. After the Second World War the sales era was replaced with a new way of thinking and sales and marketing were not synonymous anymore. Marketing after World War II meant finding out what consumers’ needs and wants
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Exploitation films have been produced since the beginning of film‚ but once the Production Code was no longer in effect‚ more these films could be produced and at a faster rate. One genre of exploitation cinema is the drug crime film. Starting as early as the 1930s‚ filmmakers made movies about the dangers of doing drugs. These films were often cheaply made and aimed at a small audience (Clark 4). They were theatrically simple‚ with an uncomplicated narrative: “these are films whose entire function
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Invictus and The Alchemist Response The poem Invictus written by William Ernest Henley is a poem written about courage in the face of death and holding on to ones own dignity despite the indignities life places before us. In the first stanza the poem’s speaker prays in the dark to "whatever gods may be" a prayer of thanks for his "unconquerable soul." Several things are apparent from the outset: First‚ the speaker is in some sort of metaphorical darkness‚ perhaps the darkness of
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events‚ but he kept this clip very similar to the plot of the rest of the movie. Another aspect that is interesting in this segment was when Miss Trunchbull threw the little girl. This scene was taken in one shot‚ which means that the single length of film was continuously by one camera. Mise-en-scene was definitely a factor in this one scene from like the costume used and the staging of the fence with the garden of flowers. The uses of these techniques give the viewers different feelings based on these
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