Analysis Of The Imposter

Deception comes in all sorts of shapes and forms. From flat out lies to subtle bluffs, the act of lying has a profound impact on not only its victims, but its perpetrators as well. In the case of Billy Wilder’s Hollywood classic Sunset Boulevard, nearly all plot points are driven by some type of deceit. Max’s lies drive Norma’s attempts to revamp her career, while Joe’s own fibbing eventually leads to his death. Even Cecil DeMille, Norma’s old director, tricks Norma into believing she is still a desirable presence in Hollywood. Yet, despite the numerous occasions of the film’s characters deceiving each other, the most notable form of deception in the work is that which the film as a whole employs on the audience. During Sunset Boulevard,

This essay is based on films of the same story, told in different ways, with emphasis, themes, meaning and interpretation shaped or shaded by the situation of the storyteller; the cinematic mise-en-scene. Based on the same story, the films reveal and reflect the film-maker’s social norms and views, emerging from their different national contexts. While exploring the two films, this essay will examine elements of film language or semiotics: color saturation (or black and white), sound, setting, type of camera angles used; repetition of visual motifs (Metz, 1985). The two films explored were made in the 1960s. Neither film is American, yet both reveal influences and reflections on American cinema and American power; the Western film, adherence or detracting from Hollywood Classical cinema tropes, i.e. close-ups, shot-reverse-shot, POV, depth of field (Bazin, 1985: 128-9). The two films are Kurasawa’s Yojimbo (1961) and Leone’s Fistful of Dollars (1964), from Japan and Italy, respectively. How are they different; how similar? Why do they use the same plot,

The Thomas Crown Affair is a film depicting a very rich man, named Thomas Crown, who struggles with creating meaningful relationships but yet is widely known, and finds entertainment through stealing famous paintings from a museum. Throughout the film the audience creates a relationship with the character, Thomas Crown, and his likeable, playful attitude that soon enough has the viewer siding with him, the criminal, instead of the police enforcement trying to catch him. By closely looking at a scene between Thomas Crown and Detective Catherine Banning, it is possible to analyze both the dialogue and cinematography used for the viewer to understand Crown’s viewpoint, as well as where Banning’s attitude may play in later. By understanding the attitude’s of both Crown and Banning in the film, I believe it can

Reflexive documentaries do not aim to hide their objectivity and instead encourage viewers to embrace “documentary for what it is: a construct or representation” (Resha 2). Morris’s highly constructed shots and reenactments do not try to give the viewer a false reality but instead are used to progress the narrative. The reenactment sequence is the most groundbreaking characteristic of the film. The stylized shots of a milkshake flying through the air, the officer falling to the ground, and the car speeding away bring drama and excitement to the film in a way a simple retelling never could. The reenactments replay multiple times, highlighting the atypical path along which Morris is retelling the murder’s narrative.

The thriller film ‘Witness’, directed by Peter Weir in 1985, tells about cultural conflicts between the Amish of Western Pennsylvania and Modern American corruption and violence. Philadelphia Police officer, John Book was obligated to hide from the three brutally and corrupt police officers as they were looking for a little Amish boy, Samuel Lapp. The boy witnessed the brutal killings and identified the killer as the three police officers. The ‘Witness’ strongly displayed many images of people and incorporated several techniques and images in various scenes to portray the contrast between two different worlds.

The story of Capturing the Friedman and The Imposter are unique and interesting; however, The Imposter delivers a more meaningful message and imposes stronger emotional impacts on the audience. The movie’s title, The Imposter, does a great job to capture the audience’s impression and curiosity, for they are craving to know who is the real imposter. Opposed to Capturing the Friedman, which has no one narratives the story, The Imposter uses Frederic Bourdin as the core and lead the audience through the story. The director visualized Bourdin’s story with recreation along with actors make it feels like people are getting inside Bourdin’s head, understand his point of view, and excuse for his action. Single shot, a filming-technique that shows only one person in the frame, was used during the interview of Bourdin

Analyze elements of postmodernism and the themes of the film illustrated in these clips from CHILDREN OF MEN.

When a typical viewer watches a film they place a large amount of trust in the narrator to tell a true story. In both Meshes of an Afternoon and Memento, the narrators depict a distorted reality, going against the viewers assumptions that the narrator will be a reliable source of the truth.

Tone: What was the overall tone of the film? How would you define the attitude of the the film towards its subject and audience?

The truth can be an abstract concept and is often manipulated; for some, truth is just the opposite of pretence, however it is a much bigger idea than that. The truth is nearly always manipulated in some ways, or misrepresented to someone’s benefit. Working Dog Productions’ The Hollowmen, directed by Rob Sitch and 20th Century Fox Television’s The Simpsons, produced by Jeff Lynch, explore how the truth can be influenced and falsified, using a variety of film techniques and dialogue to demonstrate this notion.

You can tell you are watching a Wes Anderson film instantly the minute everything takes the shape of an animated painting, each shot is so meticulously designed if it were to be paused in the middle it would assume the aesthetics form of an artwork. Like an illustration every, patch of color and screen direction is chosen with the same amount of care put into the script itself. His work as a director is entirely unique, each of his films has a look and feel that is unmistakably his and can be recognized from the start. Symmetry and color are the two distinct characteristics every one associates with a Wes Anderson film. But beyond mere aesthetics in detail and what some would call an obsessive OCD, his themes deal with nostalgia and situations dealing with the troubled family dynamic. At the heart and root of it all Anderson’s personal history is perceived and ideology that is clearly influenced by his childhood. In this article, I will address how through the uniquely storybook and whimsical comedic tones of Wes Anderson films he is able to show the foils and limitations of estranged family relations and address personal subject matters like loss and acceptance.

This film is about a woman that narrates writings of a world traveler that is focusing on Japan. Chris Marker allows his brain and camera roam through the early 80’s Japan, and his imagination flow across the world. Memory, history, and emotion blend into a loving study of human existence. This film keeps coming back to me. It extremely confused me at first but something about it made me go back and watch again, and a third time for this class. It is a film that can fit into several categories. The film's form is loose and extensive and it’s almost impossible to follow it in some linear way. Instead, it washes across the surface of your conscious mind, digging deep with images we cannot forget. It is a completely unique film and is inspiring in its capability to convey the political, the philosophical, and the poetic together on screen.

➢ Read, think, and write deeply about four international films and four related novels. Keeping up with the assigned reading and completing reading assignments prior to the appropriate classes are vital components of a successful course. In additional careful consideration and thoughtful responses to the four films that you will view are essential. Please be proactive by preparing for each appropriate class at least one specific and thoughtful question or observation about the current film and at least one for the current novel. Sharing these

Within my Film Theory essay, the two theories which I will be exploring in depth is Rudolf Arnheim’s essay ‘Film as art’ and Laura Mulvey’s ‘Visual pleasure and Narrative Cinema’. These two different theories will be applied in relation to Abdellatif Kechiche’s Blue is the Warmest Colour (2013).

Complete the assignment by answering each question in paragraph form. Answers need to be complete and comprehensive, demonstrating that you paid attention to the film and thought about what was shown on the screen. You may use more than one paragraph if necessary. Be sure that the topic sentence of your first paragraph uses key words from the question. All responses should be in complete sentences using proper spelling, grammar and punctuation.