Alfred Adler

    Page 14 of 50 - About 500 Essays
  • Voyeurism And Criticism In Alfred Hitchcock's Rear Window

    In Alfred Hitchcock’s Rear Window (1954) is a story about a photographer on his last week of recuperation from his last assignment where he was severely injured on the race track taking a picture of the wreckage. While recuperating Jeff has come into the deplorable habit of people watching his neighbors outside his rear view window, while watching he suspects one of his neighbors to have murdered his wife. Not being able to provide an eye witness account to what he believes happened he has his…

    Words: 1315 - Pages: 5
  • The Mood For Love Analysis

    Wong Kar Wai is probably the most innovative and avant-garde director to come out of Hong Kong. As part of the second New Wave of Hong Kong cinema, Wai moved far away from the traditional, Jackie Chan and Shaw Brothers style of films, which focused on action, and explored more substantial themes, icnluding human psyche, politics and the social conditions in Hong Kong. His aesthetics are quite similar with Jean-Luc Godard and the French Wave, in general, particularly because he also took apart…

    Words: 2130 - Pages: 9
  • Cinematic Technique Analysis

    Masters of Cinematic Technique In Kubrick’s Paths of Glory and Hitchcock’s Psycho, each director successfully utilizes unique camera movements to communicate important thematic and narrative information to their audiences. In each film, the consciousness of the camera encodes not only the director’s authorial vision, but it also serves as a device for communicating power and suspense. Kubrick begins to display his impressive command of camera movement in the opening minutes of Paths of Glory. An…

    Words: 1102 - Pages: 5
  • Breathless Case Study: French New Wave

    Week 11 French New Wave Breathless 90 mins, 1960, French Directed By: Jean-Luc Godard Written By: Jean-Luc Godard Synopsis: Paying homage to the numerous crime thrillers of Hollywood’s Golden era, this film charts the relationship between Michel, a stylish but unpredictable criminal, and his estranged American girlfriend. Again, the notion of escapism through the cinema is key to this most famous of the new wave pictures. Essential Readings: Hart Cohen, Juan Francisco Salazar and Iqbal Barkat.…

    Words: 956 - Pages: 4
  • Spring, Summer, Winter And Summer Movie Analysis

    Spring, summer, fall, winter and spring is one of the representative movie of director Kim Ki Duk. I appreciate what he had done in this movie and I think the movie spring, summer, fall, winter and string is a good movie. The reason why I have that thought is because director Kim Ki Duk can produce the movie with deep insight in a short period and limited budget. Furthermore, the movie can bring out the Buddhist core value, for example, the concept of reincarnate, karma etc. In the first scene…

    Words: 873 - Pages: 4
  • Cinematic Techniques In Edward Scissorhands And Charlie And The Chocolate Factory

    Directors use many cinematic elements and techniques to give their movies a mood or feeling but director Tim Burton does this especially well in his movies Edward Scissorhands and Charlie and the Chocolate Factory. Tim Burton uses many cinematic techniques in his films but the one technique that he does extraordinary in his films are camera angles. In his films, Tim Burton effectively uses the cinematic element of camera angles to create a sense of mood and feeling based on the type of camera he…

    Words: 760 - Pages: 4
  • Big Trouble In Little China Summary

    John Carpenter’s “Big Trouble in Little China,” is a great movie. Overseen by a successful director, performed by excellent actors, containing dynamic characters, and a full story line, it was and is a well-made film that unites Chinese legends to the modern world. “Big Trouble in Little China,” is an action, adventure, comedy that was directed by John Carpenter, who also directed films such as Halloween, Christine, the Fog and several more from 1962 to 2017. From 1962 to 1969, He directed…

    Words: 1560 - Pages: 7
  • Character Analysis Of Norman Bates In Psycho

    Alfred Hitchcock 's 1960 film Psycho saw audiences introduced to a shy, isolated, but derrannged character - Norman Bates. The uncomfortable combination of both sympathy and disgust is slowly revealed through Bates ' history and the events that change him during the movie. Using sound, camera angles, and reorganisation of the generic conventions of horror films, Hitchcock constructed Bates ' character in a way that kept the audience in suspense as to whether he was truly a monster or just a…

    Words: 1084 - Pages: 4
  • Quentin Tarantino Characteristics

    Director, writer, producer, and actor Quentin Jerome Tarantino (1963 – present) is considered one of the greatest directors of his generation. His films have been seen all around the world. Quentin Jerome Tarantino (1963 – present) is credited with directing nineteen television shows, short films, and full feature films. He has also been credited with writing over twenty-five television shows, short films, and full feature films. This paper will discussed Quentin Tarantino’s (1963 – present)…

    Words: 1618 - Pages: 7
  • Insidious 3 Narrative Structure

    The film chosen is “Insidious 3”, a film that many of us have watch. Directed and written by Leigh Whannell. This film develops a linear narrative structure where the director tries to implement two completely different emotions to the viewer with Suspense. The anxiety brought on by a partial uncertainty as every typical horror creates “fear”. Also, the feeling of a young girl missing and trying to reach her mother who is dead. As the movie starts, the viewer probably already know what to…

    Words: 1415 - Pages: 6
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