Part of Napoleon Dynamite's character is defined through mise-en-scene. His costuming throughout the movie is very indicative of whom he is; he is almost always seen wearing out of date clothing, usually from the 80s. He wears very drab colors, except for when his shirt sports a vivid design. His mismatched, corny, and awkward clothing are synonymous with his personality. On the other end of the spectrum, he wears a gauche-colored yet slick-looking suit to the dance. This is fitting due to the fact that he thinks he is suave for having a hot date, yet he is still "gauche" according to his date and the rest of the school.…
Common themes and motifs of animalistic behavior, dolls and commodification, and childlike behavior is futher explained through the mise en scene and relates back to the entire film giving it a deeper meaning……………
Luhrmann has created different impressions of the families by distinguishing their reactions in situations. This image is a sinister portrayal of evil and sin. Luhrmann uses a close up shot on the Capulets to suggest the seriousness and control that the Capulets obtain. Fast framing has been deliberately used to express the Montagues panic and unawareness of how to respond. The fear of the Montagues is also portrayed by the way their voices become high and comic. Their whimpering indicates the Montagues fear of the Capulets.…
witness it through the fence just like in les mistons when the kids are watching behind the fence. The circus is the perfect setting and it culturally connects to Rome open city and the children are just like the heroes in the other film. A piece of architure this perfectly connects to the setting to the Rossellini film by the obscurity and violence of the Nazi regime. We all remember that thanks to Bazan was from 56-58 Roberto, he is the assistant director. In the very same scene and sequence a memorable moment happens in Les Mistons, The first boy shot, miraculously comes back to life in a slow motion reverse shot. This is an unmistakable tribute to one of Truffaut’s early heroes Jean Locteu at the end of Beauty and the Beast in 1946. The…
[Some parts of the movie are choreographed (e.g. Rosie and her friends sitting down in the cinema) to add dramatic aspects-movement]…
Throughout the film, moments of heartbreak are interlaced with quaint solitude and at times, comical encounters. Two of which in particular appear jarring and disrupts the lethargic pace of the the film. They are, perhaps, Truffaut’s way of mirroring life’s mundane rhythms. When Antoine skipped school with his friend, he enters a revolving wheel at an amusement park. The speed of the wheel’s circulative motion accelerates the pace of the film and the viewer’s sense of time. It is a subtle defiance against the literal and figurative gravity of life at school and home — a fleeting, weightless joy, only to return to normalcy when the ride ends. The juxtaposition of motion and stillness points to the contradictory paradoxical nature of one’s experiences, such that one finds a peculiar middle ground: melancholic joy, elated sadness. After Antoine accidentally sets fire to a curtain by lighting a candle for the great Balzac — an idolatry sans substance — the scene is followed by an almost meta-cinematic interlude where the Doinels head to the cinema and, for a stolen moment, are happy. The happiness is tangible but nevertheless…
The shots, musical selections, and even the color palate of the film were all meant to be extreme and to shake the audience's senses. For example in the instances this film was at it's most visceral, Ducournau held that shot just long enough for us to truly process what Justine had done to that boy's lip. The cheesy harpsichord music and pulse-pounding score created the right mood for this picture. She even made sure that the colors of the raw chicken, rabbit kidney, and the human blood was bright, bold, and even slightly alluring. Her use of handheld shots enhanced the visual imagery and of course, made the rest of the audience that much more…
“One thing we can be sure of is that conflict is unavoidable. Conflicts are happening all around the world, as they always have, and at many different levels” (Martin and Nakayama, 2011, pg. 224). Conflicts are not only seclusive to differing cultures, but can often occur within similar cultures as well. For this week’s writing assigment we were asked to watch the film Gran Torino, starring Clint Eastwood, and reflect on the conflicts and popular cultures within the story line.…
The classical visual style of mise-en-scene such as the setting and the clothes are use to conceal the artificial and make the audiences more easy to understand the story (4). For example, in the film, the setting is used to show the living environment of Harold and the audience assume that he is wealthy. The costume plays important roles in the film because it shows Harold transformation of personality over time. At first, he appears on screen…
Luhrmann, through the use of textual, audio and visual film techniques, has effectively depicted Satine’s role as head courtesan of the Moulin Rouge and her duty to uphold Zidler’s interests. We are firstly introduced into Satine’s world in the ‘Diamond Dogs’ scene, where Bourgeoisie gentlemen are seen to be carousing with the dancers and courtesans of the infamous Moulin Rouge. The scene sets a mis-en-scene with the polyglot of diverse and somewhat grotesque looking performers, combined with seductive costumes and vibrant colors which effectively create a fantasy world for the upper class men. Luhrmann’s use of close-ups of the dancers naked limbs, combined with the Bourgeoise men singing “Here we are now, entertain us. We feel stupid and contagious” meritoriously illustrates the exploitative nature of Harold Zidler and his performers to have successfully gotten the “upper class gentlemen” to sing these words that lower their reputation as the elite. The repetitious shots of Christian’s face showing shock also reflects the breathtaking nature of the salubrious Moulin Rouge.…
The film does contain a very stereotypical, familiar, and accurate representation of a mid 18th-century French village by showing the village women at home doing chores and the men working. The costumes and makeup helped support the setting and time period that the film was placed in by having the characters wear appropriate clothing such as dresses, poet shirts, and tricorns. The only two unique characters in the film were Beauty, an educated bookworm, and the Beast, a rich prince. Finally, there was one exaggerated character which was Gaston, a rich, overly strong and materialistic man in the village who wanted Belle to love him.…
Who ever thought a detention can bring so many experiences? During the Breakfast club, Andrew Clarke and Bryan Johnson have shown characteristics that are very similar to me. While John Bender has shown characteristics and personalities that are complete opposite to my personality. I relate to Andrew Clarke’s characteristics because he is an athlete, respectful to others and gets easily angered in which is what I am since I am also an athlete, respectful to others and get angry easily. I also relate to Bryan Johnson characteristics because he is smart, obedient, and he is a peacekeeper to others and I am also smart in school, I am obedient and a peacekeeper to others. Finally, John Bender is a know it all, has no motivation and a loud mouth and I have motivation for my work and I am not a loud mouth.…
“Complainte De La Butte”, the pop genre song composed by Jean Renoir and Georges Van Parys during the 1950’s contributes to the meaning of the overall film and the scene it is incorporated with. The lyrics within the song foreshadows future events as well as suggesting the plot. The tune initiates a melancholic, yet exciting atmosphere of the setting.The song begins with “En haut de la rue St-Vincent” translated to “at the top of St. Vincent Street”, referring to a street in Montmartre, the city in which the Moulin Rouge is built. The slow and steady rhythm of the piano emphasizes the song’s dismality, the overall melody suggests the misery within the Moulin Rouge, hence foreshadowing the tragic event that would occur within the place. “Les…
Mise-en-scene. French for “to put in a scene” – this is the composition of elements that make up…
· The costumes were really costume; just people in street clothes. They really didn’t help with identity, or didn’t give a distinction to the characters on stage.…