Category: Viewer
Editing in All That Heaven Allows and How it Contributes to the Narrative
All That Heaven Allows is a 1950s melodrama that lives up to its genre but also is much more than that. There are many overly dramatized scenes and dramatized language like “I can’t bear”. Howev... Read MoreThe power of facial expressions in The Lady On Fire
Avery McAdams During the beginning of Portrait of A Lady On Fire I was discussing with my peers our predictions for the film. Interestingly, we all had the same idea that Heloise and Marianne were goi... Read MoreCinematography of Art and its Function in Portrait of a Lady On Fire
Told as a memory which explains the backstory of one of Marianne’s paintings, art serves a critical role in the narrative of the film. Cinematography is used throughout Portrait of a Lady On Fire to... Read MoreDirector’s Intentions and the Female Gaze: Portrait of a Lady on Fire
To me what really stands out about Portrait of a Lady on Fire is the director’s focus on the female gaze. There are barely any men in the entire film, and those that are, have roles like the rowboat... Read MoreUsing cinematography to accentuate relationship in Portrait of a Lady on Fire
Portrait of a Lady on Fire is a masterclass on how to film a queer romance movie. I’ve seen many other great films like it, but none with the same attention to detail and commitment to its heartbrea... Read MoreA Closer Read at the On-Screen Typography in “The Grand Budapest Hotel”
The term mise-en-scéne relates to all of the elements placed in front of a camera during a film. Wes Anderson displays mastery over all of these concepts in his film The Grand Budapest Hotel. However... Read MoreStaging and Framing in The Grand Budapest Hotel
Beyond what was contained in the narrative of Zero Moustafa, The Grand Budapest Hotel conveys subliminal motifs through deliberate patterns in staging and framing. The frequent display of the Steadica... Read More