Hugo

All of these things can describe Georges Melies perfectly. But one word that fits him like a puzzle piece finding its home is “broken”. Georges Melies was a popular filmmaker around WW1. When his best friends, Isabelles’ parents, died in a fire, he was consumed with grief. He became closed off and angry at the world and in a result of this he stopped filmmaking. He completely dropped off the face of the Earth so much that almost everyone forgot about him to the point where many thought he was dead. He became severely depressed and had no self worth. This is proven when he says: “HA! How could this be mine? I am not an artist! I am nothing! I am a penniless merchant, a prisoner! a shell! a wind up toy!” He has given up on himself and he feels as though his only purpose is to be there and look after Isabelle. Hugo is a pest that will not go away, in Georges’ eyes. But when Hugo and Georges talk he comes out of his shell a little bit. He finds that somebody other than his wife or Isabelle notices him, needs him. He begins to find happiness and purpose in helping Hugo and as the story goes on Georges Melies comes out of his shell completely, announcing his return to the filmmaking world. In Georges’ case, Hugo helped him see his purpose

Along with background music, sound effects play more of a role on the way we feel than many moviegoers think, and "although the function of sound effects is primarily atmospheric, they can also be precise sources of meaning in film" (Giannetti, 225). When the

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

“The most exciting moment is the moment when I add the sound… At this moment, I tremble.” (Akira Kurosawa) Sound is arguably the most important concept in cinema studies, being there ever since the beginnings. It can radically change the way a motion picture is looked at and it can render what the director may sometimes find hard to depict using only his camera. Looking upon silent cinema one discovers an era which wasn’t at all silent, but rich in sound of different forms, from the simple narration of the images shown on screen, accompanied by a piano, to the complex score later composed specifically for that film. An example of that complex score is shown in Sunrise, a film by F.W. Murnau, which lies at the border between silent cinema and sound cinema. Considered to be one of the first films with an actual score, Sunrise is a great example of the multitude of dimensions and effects sound can have.

Over the many years of filmmaking, there is no doubt that classical Hollywood has made an interesting name for itself. The classical Hollywood style has become quite predictable in relation to film narrative because of their unique filmmaking choices using devices like continuity editing, three-point lighting, centered framing, and musical scores. When we think of a classic Hollywood film, we usually imagine a story with a happy ending. A phenomenal film that performs all these functions

The objective of the creative project is to familiarize with the aspects of mise-en-scene by means of implementing them in a practical form. The creative project two will showcase how certain degree of changes made with respect to features of mise-en-scene can bring about a differentiation in genre and scenic atmosphere without any alterations brought about in the script. Following aspects such as settings, props, décor, actors, lighting, costume, makeup, space, time, and focusing on the rules that bind these commandments together, effort will be made to bring across authenticity in describing the genres as well as in the creation of scenic atmospheres.

The audio although normally overpowered by the visual aspect played a key role in defining and empowering the movie. The music was fast and uplifting during celebration and on

Hugo, a film released in 2011, tells the story of a young boy who has had a rough life, who meets a girl that helps guide him on his journey. Directed by Martin Scorsese, Hugo is a historical film that is based on the life of Georges Melies, a French illusionist and film director who contributed heavily to the early developments of cinema. The film connects Melies life to the coming-of-age story of the main character Hugo, in a way that brings history to from textbooks and articles to a magical cinematic experience.

To critique a film, we need to cover all aspects of the production. This includes narrative, acting, cinematography, editing, and music. The film for this critique is Hugo. Before we can get into critique, let 's get a quick plot summary.

Music can be extraordinarily influential in films, as it has the ability to evoke emotion not displayed by on-screen action. Music used in films can play many roles; it can depict time and place, mood, atmosphere, character, and can be used to underscore the onscreen drama and titles. Alan Silvestri and John Williams successfully manipulate the use of music in film to establish characters (along with their personality, actions and changing emotions), as well as underscore the mood for the entirety of their given films. The contrasts of Silvestri’s “The Feather Theme” with Williams’ “Batman Theme” exemplify the power of music in film.

In this movie, different filmic techniques are used, however, in my opinion, they are not very effective and thus it fails to improve or contribute to the success of the movie, which I believe it should. The filming techniques used in

It was in a large, packed cinema that I first viewed Hugo in 2011. During this initial viewing it had not occurred to me that this film was a spectacle of the history of cinema. However, upon revisiting the film with a more developed understanding of film history, I was delighted to be able to acknowledge its nods and winks to the beginnings of cinema. Hugo, for me, represents an unorthodox marriage of the cinematic celluloid tradition and the innovation of digital technologies, that ultimately highlights the transition film has experienced.

One of the most important components in the movie is aesthetic. The reason is aesthetic that can create atmosphere and mood. Especially, one of the most famous Hong Kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements in Aesthetic such as mise en scene, sounds, editing and the cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audiences into the movie. In this essay, I will argue that the subject of heartrending but romantic narrative has been depicted through the four components which are mise en scene, cinematography, editing and sound. This will be done by analyzing every scene, followed by analyzing each element of the film aesthetic.

The importance of music in movies is highly regarded for manipulating the viewer’s emotions and helping them immerse into the story. Music is one of the prime elements in cinema. Without it a movie would feel dull and unexciting. There are three elements in a movie: one is acting, the second is picture, and the third one is music. It is a holy trinity; if incomplete, there would be a lack of sensation and excitement. Both acting and picture can stand independently from one another, but music is the one that makes the movie memorable.

A musical film is a genre of movie where songs sung by characters are added into the storyline, occasionally complemented by choreography. The musical numbers in these films do not always develop the plot and characters, but they do give the films a more exciting quality. The primary difference between musical theatre and film musicals is the use of extravagant scenery that would be extraordinarily unreasonable for a stage performance. While making movies, the individuals involved have the luxury of being able to shoot multiple takes and have the time to move backgrounds around or change their entire location. Stage performances, on the other hand, must have scenery that can be easily and efficiently moved on and offstage when it is needed. In order to be able to thoroughly comprehend this relatively recent- in the grand scheme of things- form of entertainment, one should understand the history behind these musical films, be aware of some of the “big names” that are well-known, and recognize major titles that revolutionized musical film forever (Scaruffi, P., 2005).