How to Write a Summary of an Article? The Final Cut, The following essay will be a close analysis of an extract from the film Blade Runner, which was directed by Ridley Scott. For this view Trauffaut and company substituted a notion of personal cinema — a cinema in which the director, not the screenwriter, could be seen as the controlling force behind the film.
Mechanically created, cinema defies mechanism: If Marker has now been welcomed into that canon and — thanks to the far greater availability of his work — into the mainstream of primarily DVD-educated cinephilia, it is rarely acknowledged how much of that work cheerfully undercuts many of the long-held assumptions and pieties upon which it is built.
An appealingly simple formulation, the term has proved both taxonomically useful and remarkably elastic, allowing one to define a field of previously unassimilable objects while ranging far and wide throughout film history to claim other previously identified objects for this invented tradition.
In the scope of its application and its association more with an amorphous sensibility as opposed to Film sense shot essay rules, the essay film bears similarities to the most famous of all fabricated genres: The essay film, however, has proved even more peripatetic: And while noir, despite its occasional shadings over into semi-documentary during the s, remains bound to fictional narratives, the essay film moves blithely between the realms of fiction and non-fiction, complicating the terms of both.
The montage tradition If the mystical strain described above represents the Dionysian side of pure cinema, Soviet montage was its Apollonian opposite: No less than the mystics, however, the montagists were after essences.
EisensteinDziga Vertov and Pudovkinalong with their transnational associates and acolytes, sought to crystallise abstract concepts in the direct and purposeful juxtaposition of forceful, hard-edged images — the general made powerfully, viscerally immediate in the particular.
The relentlessly unidirectional focus of classical Soviet montage puts it methodologically and temperamentally at odds with the ruminative, digressive and playful qualities we associate with the essay film.
Against the seamless, immersive illusionism of commercial cinema, montage was a key for decrypting those social forces, both overt and hidden, that govern human society. And as such it was method rather than material that was the pathway to truth.
Fidelity to the authentic — whether the accurate representation of historical events or the documentary flavouring of Eisensteinian typage — was important only insomuch as it provided the filmmaker with another tool to reach a considerably higher plane of reality.
In doing so they powerfully expressed the dialectic between control and chaos that would come to be not only one of the chief motors of the essay film but the crux of modernity itself.
At the dawn of the cinematic century, the American writer Henry Adams saw in the dynamo both the expression of human mastery over nature and a conduit to mysterious, elemental powers beyond our comprehension.
Boyhood is a American independent coming-of-age drama film written and directed by Richard Linklater, and starring Patricia Arquette, Ellar Coltrane, Lorelei Linklater, and Ethan feelthefish.com from to , Boyhood depicts the childhood and adolescence of Mason Evans Jr. (Coltrane) from ages six to eighteen as he grows up in Texas with divorced parents (Arquette and Hawke). Apocalypse Now () is producer/director Francis Ford Coppola's visually beautiful, ground-breaking masterpiece with surrealistic and symbolic sequences detailing the confusion, violence, fear, and nightmarish madness of the Vietnam War. Coppola had already become a noted producer/director. The Sixth Sense Essay Sample. The film The Sixth Sense, directed by M. Night Shyamalan was released August 6 th, The director of photography is Tak Fujimoto, and the .
So, too, the modernist ambition expressed in literature, painting, architecture and cinema to capture a subject from all angles — to exhaust its wealth of surfaces, meanings, implications, resonances — collides with awe or fear before a plenitude that can never be encompassed.
The nimble movements and multi-angled perspectives of the essay film are founded on this negotiation between active choice and passive possession; on the recognition that even the keenest insight pales in the face of an ultimate unknowability. The other key inheritance the essay film received from the classical montage tradition, perhaps inevitably, was a progressive spirit, however variously defined.
Progressive vs radical The Grierson ian documentary movement in Britain neutered the political and aesthetic radicalism of its more dynamic model in favour of paternalistic progressivism founded on conformity, class complacency and snobbery towards its own medium.
But if it offered a far paler antecedent to the essay film than the Soviet montage tradition, it nevertheless represents an important stage in the evolution of the essay-film form, for reasons not unrelated to some of those rather staid qualities. The Soviet montagists had created a vision of modernity racing into the future at pace with the social and spiritual liberation of its proletarian pilot-passenger, an aggressively public ideology of group solidarity.
The Grierson school, by contrast, offered a domesticated image of an efficient, rational and productive modern industrial society based on interconnected but separate public and private spheres, as per the ideological values of middle-class liberal individualism.
Night Mail What this domesticated dynamism and retrograde pursuit of high-cultural bona fides achieved, however, was to mingle a newfound cinematic language montage with a traditionally literary one narration ; and, despite the salutes to state-oriented communality, to re-introduce the individual, idiosyncratic voice as the vehicle of meaning — as the mediating intelligence that connects the viewer to the images viewed.
It is, of course, with the seminal post-war collaborations between Marker and Alain Resnais that the essay film proper emerges. This also marks the point where the revolutionary line of the Soviets and the soft, statist liberalism of the British documentarians give way to a more free-floating but staunchly oppositional leftism, one derived as much from a spirit of humanistic inquiry as from ideological affiliation.
Originally conceived as commissions by various French government or government-affiliated bodies, the Resnais-Marker films famously ran into trouble from French censors: Les statues meurent aussi for its condemnation of French colonialism, Night and Fog for its shots of Vichy policemen guarding deportation camps; the former film would have its second half lopped off before being cleared for screening, the latter its offending shots removed.
Night and Fog Appropriately, it is at this moment that the emphasis of the essay film begins to shift away from tactile presence — the whirl of the city, the rhythm of the rain, the workings of industry — to felt absence. The montagists had marvelled at the workings of human creations which raced ahead irrespective of human efforts; here, the systems created by humanity to master the world write, in their very functioning, an epitaph for those things extinguished in the act of mastering them.
To overstate the case, loss is the primary motor of the modern essay film: The image and sound captured at the time of filming offer one facet of reality; it is only with this lateral move outside that reality that the future reality it conceals can speak.
What will distinguish the essay film, as Bazin noted, is not only its ability to make the image but also its ability to interrogate it, to dispel the illusion of its sovereignty and see it as part of a matrix of meaning that extends beyond the screen.
No less than were the montagists, the film-essayists seek the motive forces of modern society not by crystallising eternal verities in powerful images but by investigating that ever-shifting, kaleidoscopic relationship between our regime of images and the realities it both reveals and occludes.
Occasionally the filmmakers remind us of the sea, the birds, the wind in the trees but mostly they contrast people: As often, women bear the brunt of any critique of bourgeois consumption: The message is clear, even if it has not been heeded by history.
The subjectivity and speculative approach maintained throughout are more akin to the essay tradition than traditional propaganda in their rejection of mere glib conveyance of information or thunderous hectoring.
Instead Jennings invites us quietly to observe the nuances of everyday life as Britain enters the final chapter of the war. Against the momentous political backdrop, otherwise routine, everyday activities are ascribed new profundity as the Welsh miner Geronwy, Alan the farmer, Bill the railway engineer and Peter the convalescent fighter pilot go about their daily business.
He worked across film, painting, photography, theatrical design, journalism and poetry; in Diary his protean spirit finds expression in a manner that transgresses the conventional parameters of wartime propaganda, stretching into film poem, philosophical reflection, social document, surrealistic ethnographic observation and impressionistic symphony.
Managing to keep to the right side of sentimentality, it still makes for potent viewing.Many of these film parties were held over in Queens, at the house of a high school classmate who would later become their best-known “movie star”: Donna Kerness.
Remove the high-modernist sense of mission and we can see this same dynamic as animating the essay film – recall that last, parenthetical term in Gorin’s formulation of the essay film, “multiply[ing] the entries and the exits into the material it has elected (or by which it has been elected)”.
To understand Lupino’s work as both actress and director, one must consider the events that shaped her life. Stanley Lupino, Ida’s father, was a star of the British “West End” theatre and often wrote the plays he appeared in. Ida Lupino’s second cousin was the famed Lupino Lane, a music.
NEW YORK (AP) — An upcoming film series at Lincoln Center asks a provocative question: Is there such a thing as a "female gaze" in movies? The perspective by which women are often seen, sexualized and objectified by men — consciously or not — in Hollywood films is known as the "male gaze," a term Laura Mulvey coined in a famous essay.
Film criticism matters! Shout it from the rooftops. That said, there seems to be a common misconception about what film criticism even is.
An informative new film criticism video essay attempts to. Hi David, great and generous analysis of film set dynamics here. I have read through this a few times, and the part where you describe giving Winona a look she likely hadn’t experienced “this side of dinner theater” gets me every time.