White Night Film Analysis

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White Night Film Analysis

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Perhaps these are directions you can pursue. Consider the assignment and prompt when formulating a thesis, as well as what kind of evidence you will present to support your claims. Your evidence could be dialogue, sound edits, cinematography decisions, etc. Much of how you make these decisions will depend on the type of film analysis you are conducting, an important decision covered in the next section. After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:. Also be sure to avoid confusing the terms shot, scene, and sequence. Remember, a shot ends every time the camera cuts; a scene can be composed of several related shots; and a sequence is a set of related scenes.

As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write. Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context. For instance, a writer could explore the symbolism of the flowers in Vertigo by connecting the images of them falling apart to the vulnerability of the heroine. Many films are rich with symbolism, and it can be easy to get lost in the details.

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell. For example, you could take the same object from the previous example—the flowers—which meant one thing in a semiotic analysis, and ask instead about their narrative role. The Dark Knight is about the popular superhero, originating from the year of our Lord nineteen thirty nine, Batman and his struggle to preserve the order in the city of Gotham, where he was born and raised. He is challenged by the strongest adversary he has ever met, a disturbed name that goes by the name the Joker, when he.

In "The Dark Knight" the location is set in a fictional place called Gotham City, where Batman, a superhero played by Christian Bale, acts as the main protagonist of the film and alongside him is, Lt. Both of these characters feel that they carry the responsibility of protecting Gotham from the dangers that lurk around. Throughout this film, the main objective of these protagonists is to protect their town from the main antagonist, The Joker. The Joker, who is played by Heath Ledger, is a character who loves to induce carnage and is quite literally, mentally unstable. He carries out his passion of inducing carnage by killing people using many ghoulish tactics such as setting bombs at certain locations and spreading lethal toxins into the air.

The main characters in the film all have a sense of responsibility. By being obligated to do something it shows how the theme of Justice and Judgement is being applied. The film starts off with a gang of criminals robbing a mob bank, double crossing each other for a larger cut. Eventually, the Joker would be the only survivor. Later, Gotham would be seen at night with the bat signal projected onto the clouds, reminding the criminals the presence of Batman. Meanwhile, in the parking garage, Batman intercepted a drug trade while injuring himself in the process. On the next day, Harvey Dent was announced as the new district attorney. He immediately wastes no time in bringing in the Italian well known mob boss, Sal Maroni.

Doing so, Lt. Back at Gotham, Lau give in the names of the mob involvement and Harvey link all of the mob members together. She carries the guild's costly drinking horn and, at her girdle, a dead fowl, the prominent claw of which is an emblem of the Musketeers. This bird may also be intended as a pun on the Captain's name. The man in front of the girl is wearing a helmet with an oak leaf, another traditional emblem of the Musketeers or Arquebusiers. Several figures are shown handling their weapons. One pours powder down the barrel of his musket; another, to the right and behind the Lieutenant, is attending to the priming pan; a third - the small figure in a helmet directly behind Banning Cocq - appears to be firing his musket into the air.

Some characters are represented much more distinctly than others, while the eighteen who subscribed are supplemented by almost as many subordinate figures, included by Rembrandt for pictorial effect. Adding these extra subjects also allowed him to make use of his broad repertoire of figure drawing and other studies. Local militia companies were raised during the 16th century during the Dutch war of Independence, to protect the cities from invasion by the Spanish army active in Flanders.

But by Rembrandt's time they were no longer employed in a military capacity except on the borders, and were kept in being purely for symbolic reasons. It seems that the company in Rembrandt's painting is marching out to take part in a shooting match. Various other interpretations of the picture involving illusions to past and contemporary historical events have also been put forward, but they are all now discredited. The meaning of the painting is likely to be purely that of a role portrait, the theme of which is the 'citizen in arms'. Visually, The Nightwatch tranforms the prosaic genre of militia portraiture into an action picture - a work of great movement, dazzling inventiveness and splendour or, as some 19th century critics maintained, a widely over-inflated account of a very ordinary event, or a cross between a portrait and genre painting.

It marked at once a revolution in, and the swan song of, the militia company portrait, for shortly afterwards, the demand for these portraits ceased and artists turned to the quieter and more humdrum scenes of the guild portrait and the portrait of the board of hospital governors. Compare his novel treatment of militia portraits with his treatment of 'dissection portraits' as in his famous Anatomy Lesson of Dr. Nicolaes Tulp , Mauritshuis. Moreover, Rembrandt himself was never to paint such a flamboyant or such a fully Baroque picture again. However, one thing is certain; the painting was a major success at the time, and more than justified his status as one of the best portrait artists in Europe.

The story that it was disliked by those portrayed and that it was the cause in the decline in Rembrandt's contemporary reputation which did occur to some extent in the late s and s is a romantic fiction invented in the 19th century.

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