Anthony Luchs Professor Ryan Pierson ENGFLM0200 12/3/13 Blade Runner: Proves Neo-Noir is Not a Genre Comparable films fall into the same genre if they include comparable traits. The qualities of the film have to be recognizable, distinct, clustered and transferable. A genre is when the films that are a part of it have these sortable qualities. When films have similar recognizable qualities it means that they have identifiably parallel traits with other films of the same genre. If a film has
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Mean Movie By Elton James Y. Gagni A typical movie about girls getting eaten by their own insecurities; that is what Mean Girls is all about. One minute you’re best friends and the next thing you know, you’re worst enemies. Released on the 4th of May year 2004 and adapted from the book written by Rosalind Wiseman, Director Mark Waters gives us a movie that shows how a home-schooled girl becomes a plastic in the most twisted way. The story, plot and dialogues were pretty easy to understand
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emotional effects of a totalitarian government, while Gilliam focuses his critique on the mindless consumerist society it produces. There are also various cinematic references that can be seen in Brazil. Besides the Casablanca quote, a lot of the cinematography reminded me of Stanley Kubrick’s movies, and the setting is reminiscent of Ridley Scott’s Blade Runner. Brazil combines an interesting mix of film noir, science fiction, and fantasy to create a unique setting, which adds greatly to the message
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For most readers, the name of Edgar Allan Poe has become a byword for horror and fear. Moreover, the images and motifs created by the novelist had an immense influence on the following generations and works of other authors, so that they even became immersed into the popular culture. Poe’s memorable images and quotes became an integral part of the world’s cultural heritage, giving inspiration to the horror movie script writers and novelists. As a result, many fans of the horror genre don’t even rate
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Hepburn Hotaru no haka Directed by Isao Takahata Produced by Toru Hara Written by Isao Takahata Based on Grave of the Fireflies by Akiyuki Nosaka Starring Tsutomu Tatsumi Ayano Shiraishi Yoshiko Shinohara Akemi Yamaguchi Music by Michio Mamiya Cinematography Nobuo Koyama Edited by Takeshi Seyama Production company Studio Ghibli Distributed by Toho Release dates 17 April 1988 Running time 89 minutes Country Japan Language Japanese REVIEW The movie told about world war II. During world war II, Japan
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From John Singleton’s Boyz in the Hood to Spike Lee’s Do the Right Thing, black film and the emergence of a subsequent hip-hop visual markers have posited African-American kaleidoscopes of a view into aspects of the so-called ‘black experience’ in social terms. Music and song scores in film today – across the board – are replete with hip-hop representations. Munby maintains that the “low-budget” characteristics of Rudy Ray Moore’s effort to appeal to black audiences in the pre-1980s, given his “irreverent
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In 1946 French film critics analysed the films produced in the United States during the war, and drew attention to a new mood of cynicism and dark pessimism that has penetrated into the American cinema. As Paul Schrader noted: ‘french cinephiles soon realized that it was only the beginning: with the first post-war years lighting in Hollywood films was getting darker, characters – more vicious, intonation - more hopeless, and the plots were getting increasingly fatalistic overtones’ (1972: 53). Never
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someone, and then all of a sudden, the movie wanted me to feel sorry for him. You go from laughs to feeling sad many time during this film. It definitely makes you go on a roller coaster ride of emotions that doesn’t seem to fit quite well. The cinematography in Big Daddy was great. In Sonny’s apartment there are high ceilings. The director purposely chose that home with towering ceilings so he could get different shots of the scenes. You notice the camera coming down on many shots inside of Sonny’s
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group of the opposite sex. The director of the film is keen to show a very strong message, which is apparent though out the film. We are alone in this long journey to adulthood. He expresses this in a variety of ways. One method is cinematography. He frequently uses perspective and panoramic shots, which charts their long, eventful but beautiful journey to the back Harlow Road. The incoming train is another way Reiner shows the boys fear of adulthood. The train is a large, opposing
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feel of an Errol Flynn epic and the obvious sets play into the artificial nature of the theme park. Once the chase elements of the third act kick in, the action moves out of the sets and into the Mojave Desert. The shift in tone and the expansive cinematography strip the film of its artificiality and express the real danger Benjamin now finds himself
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