The era of postmodernism breaks through, or rather wishes to destroy any mainstream elements which were used in the modern era. Where modernism looked towards progress and predictable solutions, postmodernism did just the opposite. When speaking of the term postmodernism and film, films usually leave the audience unsettled through its fragmented, ironic and disjointed narrative. Many other characteristics such as the blurring of boundaries between truth and fiction, and the manipulation of time and space are elements used in postmodern film. Postmodern film, putting the focus on the liminal space1. means that meaning is often generated through the spaces and transitions, usually passively perceived by the audience. Hyperreality, the condition …show more content…
It is also necessary to define cinematic aspects that contribute to perceptions of time and space, specifically referring to postmodern cinema. Postmodern cinema and attributes such as hyperreality, simulations, as well as ideas prior to the postmodern era of film such as mise-en- scene, are important when analyzing perception, geographical space in film, landscape, space and time. Geographical space and landscape have a tremendous effect on the storyline of the film as well the viewers perception of a what is real and what if fake, in terms of geography. 3
1 Liminal space in terms of hyperreality is a state of becoming, however, never really existing.
2 Virilio’s Vision Machine speaks of film, media and images that replace what it perceived to be real.

2. After the Dark (The Philosophers)
After the Dark is a film which is set at at a school in Jakarta. It tells a story of an international class of students on their last day of their philosophy class. Their professor, Mr. Zimit introduced to the students one last experiment
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“There is a tremendous difference between screen space and action space, as well as real time versus film time, which at times is difficult to recognize due to technological advancements available in the montage of film. The activity of filming influences the geographic space and its perception. The power of certain film industries contributes to an inequality apparent in the frequency in which certain geographic environments are presented. It is also true that more developed environments are shown than crisis zones. For that reason one could speak of a clear duality in geographic space represented in cinema. Images, even when they are real, are perceived by viewers which challenge any detailed reconstruction of scenery or geography with the help of characters movement in the film. Films, such as After the Dark contribute to the creation, or the familiarization for those people who have visited a tropical place, of scenery, through its magnified representation”(Orueta, Valdes, 2008;p.408). After
In this paper I hypothesize that A Voyage to the Moon was most innovative in cinematography and editing. Although mise en-scene was the main focus of the film, I hypothesize that mise en scene wasn’t as innovative as the other two. As mentioned earlier, mise en scene made A Voyage to the Moon easy to understand and follow along. In the first scene of the film, this power
“Only in dreams can men be truly free,” says Robin William, a famous actor. From time immemorial, human never ceased to pursue freedom, but in fact, many impossibilities exist. However, this still cannot stop their aspiration to freedom, in this case, movie come into the world, for from a very large extent, movie satisfied people’s fantasy. Especially when the technique of special effect at present age grow more and more mature these days, human can create any visual effects they want, and even in the past, when the technique has not yet matured, people use simple theatrical properties and cut the films to create special effect. Hugo, a movie that brings people back to the old days, contains a large number of elements that demonstrated people’s
Their murders need a darker lighting or else the feeling of danger would not be present in the scene. To add onto the mise-en-scene, the camera angles utilized space very well in the film, especially during the scene that took place in the woods. The camera was panned out so the audience could view the woods at its entirety and proving that the landscape is real, and now just a built set. Overall the visualization of this film helped the audience recognize the characters for who they truly were and created different feelings and moods based off of the
By the utilization of this technique, the film’s mise-en-scene brings the audience’s attention to the space as a sort of institution of relaxation, in times of
EALC 125 Midterm According to Kyung Hyun Kim, what is the role of “landscapes” in Korean films of the 1990s and 2000s? Choose one of the Korean films we’ve watched so far (Chihwaseon, Shadows in the Palace, or The Handmaiden) and discuss how the film does or does not fit the pattern described by Kim. In chapter one of Virtual Hallyu:Korean Cinema of the Global Era, Kyung Hyun Kim tackles the dynamic role of “landscapes” in Korean films, and he defines the dichotomy that exists between certain films of the time period.
“Mise-en-scene” is a French expression that was originally a theatrical term that refers to “staging” (Thompson & Bordwell 1999). When this term was transferred to film production, its practices involved the framing of the shots (Hayward 2000). According to Karam (2001), Mise-en-scene involves a choreographed set of visual elements that correspond to a set of ideas. Mise-en-scene involves the use of multiple elements that are used in a scene to create a certain mood or to influence the audience’s perception (Thompson & Bordwell 1999).
The film uses cinematic techniques to further push this implicit meaning by ways of cinematography, mise-en-scene, and editing. Cinematography:
Over the past century, film has served as a powerful means of communication to a global audience and has become a vital part of the contemporary culture in a world that is increasingly saturated by visual content. Due to the immediacy and the all-encompassing nature of film, the process of watching a film, is widely perceived to be a passive activity by the general masses. However, quoting Smith in his article about the study of film, “nothing could be further from the truth.” The study and understanding of film as an art form enhances the way we watch and appreciate films. It requires the audience's active participation and interaction with the film in order to fully comprehend the directors' intention behind every creative decision.
City of God is Brazil’s most critically praised film of recent years. Based on the book of the same name by writer Paulo Lins, which in-turn was based on a true story. This essay will focus on the cinematography and cinematic conventions of the film and how sound and music plays a big role in the opening sequence, it will also focus on visual design and lighting in the film Synopsis City of God is a violent, fast-paced movie that tells the tale of the residents of this Brazilian slum. Events are seen through the eyes of a poor black youth who is too scared to become an outlaw but too smart to get saddled with an underpaid, menial job. He grows up in an extremely violent environment and watches as many of his peers are easily sucked into a
Film takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love.
Two films, although created years apart yet have a lot in common, including their content of it’s narrative techniques. Both films, even though black and white with strokes of genius of cinema offer a vast stretch for study. I will be looking at Sir Orson Welles “Citizen Kane” (1941) and Akira Kurosawa’s “Rashomon” (1950). We see in Citizen Kane he values for the American life. The three abstract themes that constantly follow through Citizen Kane are Wealth, Power and Love.
The narration in the movie can be described as circular narrative as the ending and beginning when merged complete the timeline of the movie(1). This narrative structure is rather unconventional and reminds the audience at multiple instances that this is not real life and they are watching a movie. One of these instances include Mia (Uma Thurman) drawing a rectangle on screen while talking to Vincent (John Travolta) in car in front of Jack Rabbit Slim’s. The film includes multiple clues which link its narration style to Post Modernism. To understand this linkage, firstly Post Modernism should be described.
1. Introduction Writing about a living phenomenon is a complicated effort especially when realizing it is a dynamic, changeable and heterogeneous structure. This happens when we try to study contemporary practices today, in postmodern era, which is definitely a special expression of specific moment. If Modernism, among others, tried to enforce authority, postmodernism brought anarchy. Many things found today in postmodernism can be traced back, transformed of course, in the main modern flows; dadaism, futurism, surrealism.
Furthermore, the shot styles between the films are reflective of each other. The extreme close-ups, slow moving camera, and mis-en-scene are impactful in creating atmosphere. In the third film, the slow moving camera takes on a presence rather than a character, which embodies the omens that are essential to the films
Many of the camera angles used within the film gives us closer viewings and more emotion to the scenes, most of which manifested controlling power and views on challenges involving poverty. This relating us back to the theme “Brutality of Humanity”. With the camera angles making the poverty challenges further detailed, helps us to relate the film technique ‘camera angles’ back to “Brutality of Humanity”. The Rembrandt lighting and split lighting shows us the dramatic scenes of poverty challenges, where others help represent poverty and challenges within.