a lot of insights about what the actors could do. He was able to challenge the actors to act and express themselves which the situation asks of them. It’s just that he became a little careless on some parts which made the actors look clumsy. Cinematography In the movie, it was able to show the things that really needed to be shown like the expression of the actors, details in the movie and many more. The only thing that needed more work was about the lighting during the night. I could barely see
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In the 2008 short film “Sommersonntag” directors Fred Breinersdofer and Siegfried portray the fictional narrative of Bruno Hansen (Axel Prahl) and the accidental death of his deaf son Micha (Janos Giuranna), at an elevator bridge in Hamburg, where the main character Bruno Hansen works as a bridge operator. The film portrays the son's death and the ultimate choice the father has to make between saving the lives of train passengers approaching the bridge and that of his own son, as he is playing
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INSTITUT SINARAN DIPLOMA IN COMMERCE MRL 233 – Business Communication English Assignment 2 – Meeting Minutes Student Name : Chin Yee Shing Student ID : 13DM245 Lecturer’s Name : Ms Deborah Leduning Due Date 29 September 2014 GGWP FILMSMINUTES OF THE 5TH MEETING OF THE BOARD OF GGWP FILMSDATE : 09 September 2014DAY : TuesdayTIME : 1pmVENUE : Conference RoomPresent: 1. Ms Aurora Lee (Chief Executive Officer-Chairperson) 2. Ms Tahnee Matshushita (Chief Operating Officer)
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Reflection Paper: Film “Heneral Luna” #KM2015 The film, “Heneral Luna”, 2015 is a Filipino historical biopic film about General Antonio Luna. It is indeed one of the most beautiful movies I’ve ever seen. The cinematography, cast, writing is really wonderful and realistic, although the language used is not what I expected because it looks too modern. The film shows the point of view of Gen. Antonio Luna in the system of the Philippines in the American invasion period. Furthermore, the movie carries
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exemplify the social commentary of such films. The protagonists of both films completely redefine the white, heterosexual male super-body version of masculinity that was popular in the 1980s. By examining the narratives, the characterization, and the cinematography of each critical dystopia, one can see a clear cultural shift in the definitions of masculinity and a growing critique of contemporary masculinity within these films of the early 1990s. Following the Vietnam War, the nation experienced a period
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alternative filmsMainstream films can best be defined as commercial films that are made by major entertainment studios or companies that are owned by international media conglomerates. Because of better financing, these films can afford more expensive actors, wide releases, and are sold at popular retail stores. This has become known as the studio system. Films made by major studios or companies that are not owned by a media conglomerate but are distributed by a company owned by a media conglomerate
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Ayn Rand “I guard my treasures: my thought, my will, my freedom. And the greatest of these is freedom.” (Rand. 58). Ayn Rand treasured her personal beliefs, which were reflected through her writing. Rand lived in two distinct countries: Russia and the United States, during her lifetime. Ayn also lived during a time where many major global events occurred. A very unique and interesting childhood and adult life, subjective beliefs and philosophies, and major events occurring in the world around her
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127 Hours by Danny Boyle, is a moving and truly inspirational movie based on the true events that happened to Aron Ralston on the date of April the 25th 2003. The film takes place in the Utah Desert where Aron Ralston (James Franco) an expert canyoner, descends down BlueJohn Canyon when a dislodged boulder falls on his right arm, trapping his fore-arm between the wall of the canyon and the 800lb boulder. Carrying only a small backpack containing a blunt knife from his cheap multitool kit, 2 burritos
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In Mary Devereaux’s essay “Beauty and Evil,” she discusses how the film Triumph of the Will raises the question, how do we examine certain films as an important artistic/aesthetic achievement when they advocate morally ‘wrong’ ideologies? Devereaux writes about three possible methods in which we can evaluate this film and/or its aesthetic qualities. They are, 1.) Formalism, 2.) Sophisticated formalism, and 3.) Nonformalism. She finds claims that the first two are weak but argues in favor of nonformalism
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become the foundation to creating a new form of sensually stimulating storytelling. We expect different structures to watching a music video than to a movie trailer, in terms of its length, emphasis on elements to a video such as music, voice or cinematography, clarity of the narrative. Language of film has established itself as a distinct territory from simply recording of reality - this can be learned from how 3D visualisation in film has not yet added newly ground-breaking structures to
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