Alfred Adler

    Page 11 of 49 - About 482 Essays
  • Dunkirk Film Analysis

    The concept of time, and how it can be used to alter the structure and story of a film has intrigued filmmakers for years. Whereas time's rules are usually unflinching, the creation of film has allowed these rules to be bent and broken in previously unseen ways. Stories with a non-linear structure can now be told fluently and dramatically, such as Christopher Nolan's ‘Dunkirk', or instead complex story arcs can be explored, utilising time in a unique way, like in Shane Carruth's ‘Primer' in…

    Words: 2012 - Pages: 9
  • Camera Techniques In Alfred Hitchcock's Psycho

    Marion Crane is already full of trepidation of the police from her crime of stealing, but Bates is subtle, soft-spoken, normal looking, and hides his psychosis well, until it’s too late, and then he kills anyone that threatens him or his mother. Alfred Hitchcock has become famous the world over as the Master of Suspense and with the film Psycho, he has solidified that reputation, and helped changed forever how we view thrillers. Hitchcock was a true artist, an innovator among filmmakers, who…

    Words: 1074 - Pages: 5
  • Sergei Prokofief Essay

    Sergei Prokofief (1891 – 1953) An important factor in the film business, being that’s it such a complicated collaborative art form, is working with people that you’ve had good working relationships with on past projects. This is a norm in so many projects. We find directors working with the same actors, cinematographers, editors, produces, and composers, over and over again. A good example of directors and composers: Spielberg/Williams, Fellini/Rota, and Eisenstein/Prokofief. Sergei Prokofiev…

    Words: 776 - Pages: 4
  • Elements Of Mise-En-Scene In The Film To Catch A Thief

    A Suspicious Bandit and an Inquisitive Beauty Alfred Hitchcock was a brilliant director of the mid-twentieth century directing very famous films such as Psycho (1960), Rear Window (1954), and To Catch a Thief (1955). The film To Catch a Thief, starring Cary Grant and Grace Kelly, is a suspense-thriller about an ex-jewel thief accused of committing crimes parallel to his work in the past. In the film, the main characters John Robie (Cary Grant) and Frances Stevens (Grace Kelly) were…

    Words: 1309 - Pages: 6
  • Tim Burton Cinematic Style Analysis

    Tim Burton, a person who started out as a kid fascinated by other famous directors and then became one himself. What did he do to become such a famous director? He is known for his disturbing and yet child-like movies, such as Charlie and the Chocolate Factory and Edward Scissorhands. Everyone of all ages can be able to enjoy his movie. Tim Burton’s style is kid-friendly at first, but then it takes a disturbing and twisted turn. One of Burton's cinematic technique he uses is…

    Words: 754 - Pages: 4
  • Alfred Hitchcock Rear Window Analysis

    Wording, clothing, and sex were some of the most reoccurring problems the Production Code Administration had with Alfred Hitchcock’s 1954 film Rear Window. Throughout their communications, the PCA and the filmmakers discuss scenes that have subtle sexual undertones, risqué costumes, and wordings that the PCA found to be unacceptable. The correspondence between the filmmakers and the PCA begin around November 1953 and go on until around April 1954. Most of the letters are between Paramount…

    Words: 888 - Pages: 4
  • In My Father's Den Film Analysis

    Brad McGann was a very difficult and complex director to understand. His film (In my father’s Den) used unique cinematography, sounds, music and narrative structure that sparked the atmosphere through most of his movie. McGann’s style was to use complex narrative structure and convincing cinematography which would capture the emotion the actors portray into their characters. Everything he did in this movie was done to perfection. He is most noticed for using using vasts amounts of handheld…

    Words: 1098 - Pages: 5
  • Male Gaze In Alfred Hitchcock's 1958 Film Vertigo

    In the classical Hollywood area and beyond there is a clear and obvious depiction of the male gaze in film and it has become particularly synonymous with the work of Alfred Hitchcock, most notably in his 1958 film Vertigo. In many of Hitchcock’s films the male gaze is not only evident but is what contributes largely to the storyline. It is used to highlight the importance of the men and objectify woman to only be seen as an object of male desire. This is successfully done in Vertigo through…

    Words: 759 - Pages: 4
  • Year My Voice Broke: Movie Analysis

    Australia seems to be blessed for producing beautiful films about real life situations fraught with meaning and mystery. The movies “Puberty Blues” and “The Year my voice broke” are of no exception. The landscape seems so realistic on the screen, and the sense of Australia's isolation does as well. The subject matter and thematic thrust of Puberty Blues is the girls’ inceptive desperation to hook into the “in-crowd”, but with a strong feminist kick. Sixteen-year-olds, Debbie Vickers and Sue…

    Words: 1033 - Pages: 5
  • Roman Polanski's Chinatown

    “Forget it, Jake, it’s Chinatown” (Film “Chinatown”, Roman Polanski) The brilliant film “Chinatown” has longstanding entered the lists of the greatest films of the twentieth century. This statement applies, of course, to the lists compiled by the American film critics. It is considered that the film is made in the style of Noir, but, first of all, it felt not Noir but outstanding so-called Hollywood style. At least I feel the author’s handwriting Roman Polanski - Polanski, whom we know from his…

    Words: 1125 - Pages: 5
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