Film critique essay example

Hou Hsiao-hsien: A new video lecture! It also puts film film critique essay example in the context of changes across history. In London around 1900, two magicians are locked in desperate competition, each searching for ever more baffling illusions.

As they deceive each other and their audiences, the film about them tries to deceive us as well. The film tries to be as tantalizing as a magic trick, but one that can eventually be explained. Jonathan Nolan must both reveal and conceal information. The film must present us just enough of the story to keep us engaged, while holding back the answers to the puzzles—and sometimes, like a magician, distracting us from what is really going on. Like Léger, he worked in the visual and plastic arts and was noted for his assemblage pieces—collages built up of miscellaneous found objects. Conner took a comparable approach to filmmaking. He typically used footage from old newsreels, Hollywood movies, soft-core pornography, and the like.

By working in the found-footage genre, Conner juxtaposed two shots from widely different sources. When we see the two shots together, we strive to find some connection between them. From a series of juxtapositions, our activity can create an overall emotion or concept. It doesn’t involve a narrative but instead, like Ballet mécanique, develops according to principles of abstract form. A cut leads not to animated footage but to a shaky, fuzzy shot through a train window, with someone’s face and eyeglasses partially visible at the side in the extreme foreground. In the distance, what might be rice paddies slide by.

This shot and most of the rest of the film are accompanied by the clacking, rhythmic sound of a train. More black leader creates a transition to a very different image. Against a white background, two flat shapes, like keystones with rounded corners, alternate frame by frame, one red, the other green. The effect is a rapid flicker as the two colored shapes drift about the frame in a seemingly random pattern.

Another stretch of black introduces a brief, fuzzy shot of a man in a dark suit running across the shot in a strange corridor. The story takes place in France in 1943. Jost is put into his cell. Throughout the film, sound has many important functions. Wiseman received permission to film at Philadelphia’s Northeast High School, and he acted as sound recordist while his cameraman shot footage in the hallways, classrooms, cafeteria, and auditorium of the institution.

The film that resulted uses no voice-over narration and almost no nondiegetic music. Wiseman uses none of the facing-the-reporter interviews that television news coverage employs. Yet if we analyze the film’s form and style, we find that it still aims to achieve particular effects on the spectator, and it still suggests a specific range of meaning. This effect results from the film’s concentration on the creation of a tight narrative unity, with all of its elements serving that goal.

It’s a typical approach that one person or a couple function as the protagonists of a film. Yet many Hollywood films use multiple protagonists. In many classical films, groups of characters interact to create causes and motivations. Their actions, added together, steadily push the action forward. New Jersey housewife Roberta and the wild, streetwise Susan, initially seem to have little connection to each other. The early portion of the plot alternates sequences involving the two women, but, although Roberta reads about Susan in the personals column and becomes fascinated with her, they do not interact directly. Yet the two women’s lives gradually begin to intertwine, until they finally meet at the end.

The form of the film depends on devices of parallelism that point up how the women are actually somewhat alike. Many films pose few difficulties for viewers who like their movies straightforward and easy to digest. But not all films are so clear in their form and style. When analyzing such films, we should restrain ourselves from trying to answer all of the film’s questions and to create neatly satisfying endings. Denmark, offers a good test case. 1961, many critics offered widely varying interpretations of it.

When faced with most films, these critics would have been looking for implicit meanings behind the plot. These proved difficult to agree on. Did the couple really meet last year? If not, what really happened? Is the film a character’s dream or hallucination?