Hannah Kerr Green Cultural Studies March 17‚ 2014 “Grizzly ghost: Herzog‚ Bazin and the cinematic animal” By Seung-Hoon Jeong and Dudley Andrew Overall‚ Hoon and Dudley’s article “Grizzly ghost: Herzog‚ Bazin and the cinematic animal” is valuable and interesting. It is written for an audience who has seen The Grizzly Man and is very familiar with its content because there are not many explicit references to specific moments in the film. I appreciate that Hoon and Dudley introduced the text with
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back at Michel Poiccard (Jean-Paul Belmondo) and Patricia Franchini (Jean Seberg) with curiosity in their faces‚ some even stare directly at the camera‚ or some cut in front of the camera. All these things blur the border between the reality and the diegesis‚ making the latter imperfect. So‚ the film not only shows real city countenance of contemporary Paris—streets crowded with busy people and roads occupied with an endless cycle of cars‚ but also remind the audience that they are watching a film‚ a
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Narrative Structure The simple folksy dialogue between the two younger siblings hazel and George is very effective in downplaying their intelligence. With lines such as “that was doozy” or when George explains the sound he heard by saying “ sounded like somebody hitting a milk bottle with a ball peen hammer” George being so above average in intelligence has a mental handicap radio in his ear that beeps every 20 seconds in order to prevent him from taking unfair advantage of his thoughts. These
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September 12‚ 2014 Lecture 4 Cutting to continuity or continuity editing invisible editing or classical editing Established narrative film as the dominant cinematic mode (not very often do documentaries etc. get shown in main stream cinemas) Diegesis the world created by a fictional text Textual elements can be diegetic (have a source within the context of the film) or non diegetic Edwin S. Porter 1870-1941 A cameraman for the Edison company‚ then became a director Thinking more cinematically
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hij Teacher Resource Bank GCE Communication and Culture Other Guidance: • A2 Key Terms Copyright © 2009 AQA and its licensors. All rights reserved. The Assessment and Qualifications Alliance (AQA) is a company limited by guarantee registered in England and Wales (company number 3644723) and a registered charity (registered charity number 1073334). Registered address: AQA‚ Devas Street‚ Manchester M15 6EX. Dr Michael Cresswell‚ Director General. Teacher Resource Bank / GCE Communication
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FILM LANGUAGE FILM LANGUAGE A Semiotics of the Cinema Christian Metz Translated by Michael Taylor The University of Chicago Press Published by arrangement with Oxford University Press‚ Inc. The University of Chicago Press‚ Chicago 60637 © 1974 by Oxford University Press‚ Inc. All rights reserved. English translation. Originally published 1974 Note on Translation © 1991 by the University of Chicago University of Chicago Press edition 1991 Printed in the United States of America 09 08 07 6
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Media archaeology involves the deconstruction of the medium‚ enabling audiences to take a step back and reconsider the technicality‚ methods and pure tangibility of the medium that is used. This essay deals with the work of William Greaves‚ one of the pioneers of African-american documentary filmmaking. The moving image has long been considered to be “a series of visual shocks” impressed upon the spectator.1 This essay will identify the reasons behind these “visual shocks” and the ways in
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Moulin Rouge(2001) is an Oscar winning master piece from director Baz Luhrmann. It followed the success and recognition of Romeo + Juliet (1996) and Strictly Ballroom (1992). All three films were recognized for Luhrmann’s characteristic style. His films feature stylistic choices such as blue and red lighting‚ the use of rapid cuts and vibrant‚ period accurate costume. To analyze Luhrmann’s use of the four elements of the stylistic system‚ I will consider two specific scenes from the film‚ namely
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1) Childhood revolves around renewed inquiry into heartbreak‚ mourning‚ violence and failure. Along the way in our lives‚ these discoveries get shattered. The first instance‚ when that happens‚ is the moment in which we transcend from the realm of childhood into adolescence. The phase where we question what to do with these broken pieces. 2) Slowly we piece the jigsaw together. Whilst building this world from the broken pieces‚ through experience and observation we build our own world. These worlds
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University of Glasgow Department of Film and Television Studies Beyond “Brutality”: Understanding the Italian Filone’s Violent Excesses by Robert J. Edmonstone Matriculation #: 9703623 Supervisors: Dr. Ian Garwood / Dr. Karen Boyle 2 Contents Abstract Acknowledgements Introduction 1. Introducing the Filone: Industry‚ Cycles and Censorship 2. Investigating Violence and Spectacle in the Filone 3. Theorising Excess and Violence in the Filone 4. Narrative versus Excess in the Filone
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