La Haine: SCENE 1: - lower : seen as low in the social heirachy - surrounded by bars : viewed as criminal, trapped - only filmed when they become aggressive -There is a high angle and low angle shot (180 degree) suggesting this is a broken frame. It suggests how the boys are looked down upon by the news crew and due to the position of the rail showing the binary between them. Furthermore, it conveys how the main characters are caged in and due to their violent and defensive attitude it makes them appear to be wild animals and need to be locked in a cage. (Suggesting that people from different backgrounds belong in poverty compared to the rest of the French - linking in with context) -The close up of the needle on the floor by Hubert's feet is an iconography associated with crime. -There is irony employed "We're the Future" - inside the estate there is no future. Mise en scene Hospital setting Filled with photographers standing opposite the thr...
Film Studies Research Project 'Baz Luhrmann frequently uses the narrative theme of 'Doomed Romance' in his films, to what extent can this define him as an auteur?' Annotated Catalogue Films: Item 1: Moulin Rouge (2001) Moulin Rouge is a classic story of forbidden love in which an English writer falls in love with the star of the Moulin Rouge but she has been planned for betrothal with the Duke. At the last moment of the film when the writer and the star finally openly express their love, the star dies from the Tuberculosis she has been suffering from. I chose Moulin Rouge as my focus film as I felt it was the choice that would best represent Luhrmann's signature theme of 'doomed romance'. It is the film's entire plot focus, Luhrmann commonly shows this theme within the narrative through the use of extravagant colours and theatrical elements presenting a lack of verisimilitude. Item 2: The Great Gatsby (2013) The Great Gatsby is another cl...
La Jetée (1962) IMBd - 8.3/10 stars Director - Chris Marker Stars - Etienne Becker, Jean Negroni, Helene Chatelain Production Company - Argos Films “This is the story of a man marked by an image from his childhood.” That’s the narrated opening of Chris Marker’s film. The hero will travel in time toward that childhood image, the destruction of cities and the devastation of the earth’s surface have threatened the very reality of the present and have thus let loose temporal virtualities normally locked up or held captive in the past (the past consisting only of a series of images that have become autonomous, tied to the living only by some affect or trauma).
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