How are the micro elements of editing, cinematography and mise-en-scene used to create a sense of tension, integration and spectacle for the audience during the Danny Boy sequence of Millers Crossing (The Coen Brothers, 1990)?

How are the micro elements of editing, cinematography and mise-en-scene used to create a sense of tension, integration and spectacle for the audience during the "Danny Boy" sequence of Millers Crossing (The Coen Brothers, 1990)? In this sequence, mobsters have broken into Leo's house (played by Albert Finney) with the intention of killing him due to a feud between rival gangs. The gangsters gradually approach Leo's room, leading to a violent showdown between the protagonist Leo and the gangster antagonists. Tension is built throughout the earlier parts of the sequence by making it unclear whether Leo will realise the danger he is facing, with a sense of excitement later created due to the bloody confrontation. Editing, cinematography and mise-en-scene contribute to making this a suspenseful, thrilling and sophisticated sequence. The sequence begins with a match cut, dissolving from a shot of the curtains in Tom's apartment (played by Gabriel Byrne) to the curtains in Leo's house indicating the passage of time and with it spatial ellipsis. Moreover, what is visible from the windows of each characters residence creates a juxtaposition between the two, with the view from Leo's house being of a pleasant suburban area, suggesting he is more privileged than Tom, who has a simple brick wall for a view. Once in Leo's home the mise-en-scene of the fluttering curtains, coupled with

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  • Level: AS and A Level
  • Subject: Media Studies
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How does Crime Scene Investigation : Las Vegas, give the audience watching it pleasures?

How does Crime Scene Investigation : Las Vegas, give the audience watching it pleasures? CSI although partly being classed under the genre of police drama cannot be truly classified as this, because although it is revolved around the police world, It does not follow the tradition of a police series. A normal police series would follow you average police man/force. CSI follows the almost "behind the scenes" processes of the police. The audience watching CSI therefore feel as if they are looking into the inner workings of the police force, and therefore get to feel a pleasure from this. CSI i would consider more as a hybrid between police series and detective series, it has the police and justice elements of a police series, but the crime solving and general mystery of the detective series. Visceral pleasures are the primary pleasures in CSI, a visceral pleasure is one which the audience gets from the revenge that they crave from a evil act or something that is unjust. CSI, uses this pleasure to a tee, the audience witness crime and usually do not know who the killer is, so they feel as if the killer should be caught and so get a pleasure from watching them being caught and for "justice to be served". The institution in this case is CBS, Bruckheimer studios and Alliance Atlantis. Jerry Bruckheimer, has always been interested in producing crime based dramas, but his first one

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  • Level: AS and A Level
  • Subject: Media Studies
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Three or four beheadings into Sleepy Hollow, a harum-scarum take on Washington Irving's venerable tale of love, greed and mysticism in the Hudson Valley, one gets the feeling that perhaps director Tim Burton is working in the wrong film

In this issue Sleepy Hollow Three or four beheadings into Sleepy Hollow, a harum-scarum take on Washington Irving's venerable tale of love, greed and mysticism in the Hudson Valley, one gets the feeling that perhaps director Tim Burton is working in the wrong film. Piffle to the dozen or so decapitations he eventually oversees here. A movie about the French Revolution would have afforded him the opportunity to behead almost a whole social class. Well, maybe next time. Meanwhile, Burton makes do. What the filmmaker gives up in quantity, he makes up for in devotion to detail. Each artistically rendered lopping-off is more gruesome and terrifying than the last. In every instance, the rolling heads screech to an in your face, center-screen stare; the victim's obscene look of horror confirming the obvious. Think about it, though: Is perfection in this surgical speciality a worthy pursuit for a director of Mr. Burton's calibre? And more importantly, is the end product worthy of our movie-going time. The short answer to both questions is an unmitigated no. But the pity is, just like Terry Malloy in On The Waterfront, Sleepy Hollow "coulda been sumpin." It "coulda been a contenduh." Arrogantly dismissing everything but the bare bone basics of the original tale, this rewrite by Andrew Kevin Walker makes the fatal mistake of confusing modernisation for interpretation. Pandering

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  • Level: AS and A Level
  • Subject: Media Studies
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Types of Reality TV

Types of reality TV There are a number of sub-categories of reality television: Documentary-style In many reality television shows, the viewer and the camera are passive observers following people going about their daily personal and professional activities; this style of filming is often referred to as "fly on the wall" or cinéma vérité. MTV's Laguna Beach: The Real Orange County may be the epitome of this style of show, with unscripted situations, real-life locations, and no tasks given to the cast (at least, no known ones). Often "plots" are constructed via editing or planned situations, with the results resembling soap operas - hence the term, docusoap. Within documentary-style reality television are several subcategories or variants: Special living environment Some documentary-style programs place cast members, who in most cases previously did not know each other, in artificial living environments; The Real World is the originator of this style. In almost every other such show, cast members are given a specific challenge or obstacle to overcome. Road Rules, which started in 1995 as a spinoff of The Real World, started this pattern: the cast travelled across the country guided by clues and performing tasks. Many other shows in this category involve historical re-enactment, with cast members forced to live and work as people of a specific time and place would have;

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  • Level: AS and A Level
  • Subject: Media Studies
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"From Hell" The True Story Behind The Movie

Chu Ju Lin Eng 205 26/OCT/2004 Research Paper #2 "From Hell" The True Story Behind The Movie " From Hell" is anther movie based on the case of Jack The Ripper, by the New 20th Century Fox Production. The Ripper haunted Whitechapel, a district of East London, during the late 1880s. He was said to be the first documented and investigated serial killer at the time. One thing we should ask ourselves when we are watching this two hour masterpiece: was the movie historically accurate? I believe the answer is far more complicated than a sheer yes or not. The deliver of the Whitechapel in 1880s and the illustration of the everyday lives of its resident were very accurate. On the other hand, the plot of the movie had deviated theatrically from the historical fact. But the combination of historical facts and fiction, gives us the movie " From Hell". And we shall ask why the movie is filled with make-up stories? These inaccuracies in the film would mislead those who have no previous knowledge of the ripper case false. The portrayal of the Whitechapel district was very realistic: A. Murders were common in Whitechapel in the 19th century. Pubs and prostitutes were side by side with shops. The poverty and despair can be easily noticed in the film. Most streets in Whitechapel were narrow. People often lived in cellar rooms with little light and ventilation. The area was filled with

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  • Level: AS and A Level
  • Subject: Media Studies
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.In 1895, the first moving picture, "The Departure of the Workers of the Lumire Factory", showed just that - employees leaving their place of employment. It was hardly a riveting subject one would have thought.

The staggering cost of making a blockbuster movie makes one wonder how it all began. When did the studios decide to venture so much money on just one movie, and how do they know that we, the paying public, will want to watch it? Audiences have become much more discerning than they were in those heady days, just over one hundred years ago, when the first paying audience watched their first film.In 1895, the first moving picture, "The Departure of the Workers of the Lumire Factory", showed just that - employees leaving their place of employment. It was hardly a riveting subject one would have thought. However, the very first cinema audience viewed it with amazement. They were used to seeing magic lantern shows, but this showed real moving subjects. The cost to the early filmmakers, the Lumire brothers, was minimal, only the price of the film.Although they were not the first to project a moving image, the Lumire brothers invented the first portable motion-picture camera, film processing unit and projector all in one machine. They called it the Cinematographe and it made motion pictures very popular. Another of their early movies, "The arrival of a Train at the Station", showed the train coming in diagonally across the screen. When it was shown, there was panic. The audience found it so realistic that they thought the train was going to crash into them. The Lumire brothers also

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  • Level: AS and A Level
  • Subject: Media Studies
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Michael Moores purpose in Sicko is to inform his audience about the downfalls of the hidden truth behind Health Care in America and how many American lives are lost due the lack of access to health care insurance

Maham Ahmed 4/4/2010 Period 6 AJ Special Assignment-Sicko . Documentary chosen: Sicko by Michael Moore 2. Filmmaker's purpose: Michael Moore's purpose in Sicko is to inform his audience about the downfalls of the hidden truth behind Health Care in America and how many American lives are lost due the lack of access to health care insurance which results in no treatment for their illness. 3. Filmmaker's bias: Michael Moore only uses negative health care stories of Americans and does not even show one case study where American health care was beneficial to any American; he only visits houses where the residents had terrible experiences with American health care. In addition when Moore visits other countries he notes only their benevolence towards supporting each other and focuses on only the good stories, while not even looking at one story where one had a negative experience from the health care of their country. Moore should have shown both the good and bad sides, to make his point more clear and obvious, this way his supports would not seem as biased. 4. Support/Strategies filmmaker uses to substantiate the purpose: Moore found various statistics and interviews with different individuals about their experience with health care. He uses interviews with individuals with real life experiences with American health care to make his point

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  • Level: AS and A Level
  • Subject: Media Studies
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Chocolat analysis.

Chocolat analysis In the movie "Chocolat" we first encounter Vianne with her daughter Anouk as they brave the harsh wind and settle into the new village. She is bound by the ways of her mother cheetah: "She was one of the wanderers ... she moved with the north wind ... from place to place dispensing natural remedies ... never settling down." We hear how Vianne and Anouk have travelled from city to city also bound by the same north wind. The wind itself carries a musical overtone of strong wind instruments and the light playing of the piano, which is played whenever the wind is present. This delicate playing is used to call Vianne into moving on. This condition is apparent as the film maker focuses on the positioning of the urn next to Vianne`s bed as if it was a constant reminder of her inherited ways. Soon after the north wind called Vianne we see her talking, as she is packing her suitcase, to the urn as if her mother was still alive: "Of course ... of course ... whatever you like mamma." To reinstate this unspoken bond the same piano and wind instrument sounds are played in the background of the dim lighted room. It is only after Anouk`s and Vianne`s struggle on top of the stairs when we see the ashes fall and the bond broken. We view the urn tumble in slow motion, in quiet fear if the moment. This scene is valuable because it allows Vianne to re-evaluate her own

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  • Level: AS and A Level
  • Subject: Media Studies
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Psycho first hit our screens in 1960 directed by Alfred Hitchcock. It faced major controversy, as it was different. Horror films before this were more unrealistic and gruesome. Psycho was a groundbreaking film of the horror genre

Psycho Psycho first hit our screens in 1960 directed by Alfred Hitchcock. It faced major controversy, as it was different. Horror films before this were more unrealistic and gruesome. Psycho was a groundbreaking film of the horror genre. It was more realistic the events could happen in reality. Censorship was very strict at this time. Film standards agencies censored films showing sex before marriage, nakedness, violence and gore. Fortunately, Hitchcock overcame these restrictions in many ways. He used a series of shots to film the shower scene instead of continuous shot. He used chocolate sauce for blood and he had a knife stabbing a melon to imitate the sound of the butcher knife stabbing Marion. Alfred Hitchcock's psycho presents its audience with a running theme that consists of the opposition that exist between good and evil and addresses the notion of punishment. Hitchcock openly encourages his audience to become, in a sense, the protagonist within the films plot. The spectators in this case will combine within themselves all the other characters. Visual emphasis of the films theme helps to provide a clear insight into what Hitchcock attempted as a director. One of the biggest problems that Hitchcock faced was that of censors. They (film standards agencies) wanted him to take out some of the swearing, revealing poses and the sick relationship Bates had with his

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  • Level: AS and A Level
  • Subject: Media Studies
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Gone With The Wind

Gone With The Wind 939, Directed by Victor Fleming On December 15, 1939 a movie was released in Atlanta, GA that would forever change how people saw the "Old South". This movie quickly became a smash hit and went on to become the #1 movie of all time and still holds the title.The movie was "Gone With The Wind". Directed by Victor Fleming, this movie is the beloved epic of the South. The movie's main character is Scarlett O'Hara. Opposite her is the dashing and debonaire Rhett Butler. The movie is basically the love story of Scarlett and Rhett with the South as the backdrop. Just as the South comes in contact with turbulence, so do Scarlett and Rhett. Scarlett is the product of a wealthy Southern family.Her only weakness is that she does not care what people think of her. She wears whatever she pleases, says what she pleases, and does what she pleases. This is the reason she is so attractive to men. Rhett is similar on the upside. He could care less as to what people think of him..."Frankly my dear, I don't give a damn". Scarlet is convinced that she isin love with Ashley Wilkes, a lifelong friend of the family. The problem Scarlet encounters here is that Ashley is engaged to his cousin, Melanie Hamilton. Scarlet gets the idea in her head that if she tells Ashley that she loves him, he won't marry Melanie. So, she does. Ashley does not feel that feeling is mutual. As luck

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  • Subject: Media Studies
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