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With this in mind, why is it that tension and conflict, both of which are painful in and of themselves, are widely regarded as two of the central tenants of an engaging story? I would suggest that watching a character learning to avoid pain is a learning experience in which the viewer, too, is able to learn how to avoid pain. Comparable in many ways to the experience of working hard for a greatly desirable objective, this in itself can be a pleasurable thing to observe; we, in such a situation, are able to cherish the end result all the more thanks to our appreciation of what went into achieving it.

Generally speaking, then, audiences watch films to have an emotionally satisfying experience.

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So how can a film be made more emotional? It is the therefore the responsibility of the filmmaker to show and tell the viewer the story in such a way as to meet, and exceed, these expectations. There are as many different models that can be used to create exciting stories as there are stories themselves, but, in the simplest possible form, a story can be described as the narration of a chain of events pertaining to a character who wants something Johnson, The aim is to organise that story into a structure that allows it to be narrated clearly and dramatically.

But what is story structure? In broader terms, structure refers to the relationship between the parts of something, or can otherwise function as the support for something. Whereas the human body relies on a skeletal structure of bones to support itself, the parts of a film story are comprised first and foremost of a series of narrative questions, along with the delays and answers to those questions. The structure is simply how the questions and answers that make up that story are presented, which shots are chosen and in what order, and it is this structuring of events that can make the difference between a simple narrative and one that is unforgettable and emotionally profound.

The relationship between form and content has been studied extensively by many film writers. In other words, the fabula comprises the cues and perceptions the viewer receives from the film, and is liable to change from viewer to viewer if the work is complex. Having studied myths, fables, and folktales from all time periods all over the globe, Campbell discovered that there was a common structure that underlined the journey each and every protagonist would take. Broadly speaking, it is precisely such moments of stasis at which the majority of film characters are introduced to the viewer.

It is because these heroes solve their inner conflicts that they can win the external conflicts, and the audience gets reborn along with the heroes.

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It does not take too much in the way of imagination to see this concept in practise, such that, if you were to watch the first few minutes of a film and then walk away from it, it should be relatively easy to give a simple account of the plot and the motivations of the characters therein.

But would you hear the background music? Would you notice the shot sizes and framing, or the cutting up of time and space? Most likely you would be too busy working out what was happening and what it meant to let your attention wander to such a structural level.

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When that happens, it bursts through the threshold of conscious attention and the audience is taken out of the story. Just as there are several problems that can arise when we speak, however, the most common types of speaking problems also have a filmic equivalent: whereas verbally, for example, we talk about one thing at a time, one of the main issues when telling a story with pictures arises from the simple truth that pictures can say too much. When we multitask, for instance, we feel like we are accomplishing a great deal of work, whereas in reality the brain is juggling attention very quickly between multiple items.

This is why drivers talking on a phone or talking to a passenger are statistically more likely to be involved in an accident, as their attention is split even though they think they are focused on driving Myers, Theories of Neuro-Linguistic Programming state that one of the functions of the brain is to act as a filter, continually deleting, generalising and distorting the information we receive about the world so as to protect us from information overload Burton and Ready: When the film is racing past at twenty-five frames per second, which part of the image will the audience be looking at?

Suppose they see the wrong part, and thus miss the thread of the storytelling entirely? In order to prevent this, a filmmaker must have the ability to control their images to ensure that they are able to communicate the desired message to their audience; this is where design, composition, perspective and lighting each come into play.

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Without these, the viewer would not be able to see exactly what was happening onscreen and would be unable to follow the story. Specifically, the brain constantly seeks to organise this data into patterns; though the most obvious patterns exist as visual designs, patterns exist everywhere: in music, in the way people speak, and even in traffic and weather. As we have already explored, narrating a story is little more than organising information into a pattern, or structure.

But how does this work on the micro level of filmmaking? How, for instance, are we able to make the protagonist stand out in the middle of a crowded scene? Grouping, by definition, applies to things that are alike in some way, which could include proximity; by this logic, we could dress the main characters differently, or have them stand some way apart from the rest of the crowd. With all other characters wearing muted colours and the hero dressed in black and white, the mind will perceive the crowd as a group and the protagonist will automatically stand out.

In this example, objects that are either similar or close together are grouped, leaving the mind to pick out individual things on which to focus while the rest fades into the background. This is why, when reading, we perceive each word, or clusters of words, as opposed to individual letters, and do not notice that the remainder of the page simply recedes from our conscious awareness.

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Far from mere abstraction, gestalt principles have been proven to work at almost every level of the viewing experience, including perception of images, understanding and comprehension of narrative, theme, and even sound. The implications of this are profound even on the most basic levels of filmmaking theory. Filmic cuts also work based entirely on the principle that, if the viewer witnesses one action and the action is seen to be continuing from a different angle, it is assuming to exist as part of the same action.

The most important realisation, however, is that closure works not just on the perceptual level, but also on the level of story. Bryan Singer also showed in his movies, his outlook of society and misfits.

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This brings up another feature a dominant director must have in order to create a great film. The director must make himself the primary author or voice of the movie. Hence, with a dominant This website uses cookies to ensure you have the best experience. Got it! Learn more. What Makes A Great Film?

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Essay words - 4 pages. Loading: Checking Spelling. Read more. Atticus Finch is an excellent role model as a father. He does a phenomenal job, not only by bringing his children well, but also the right way. In To Kill a Mockingbird, Harper Lee does wonders with Atticus's character; she gives him excellent characteristics such as intelligence, courage, and wisdom. He teaches his children Jem and Scout that you can never truly know. What Makes a Math Teacher Great words - 4 pages Thinking back to my past math teachers, I believe that it depended on the teacher whether or not I liked math that year.

There are many things that make a math teacher a good one, and I have been lucky to get great teachers the past few years. A good teacher understands that even though the students should know how to do something, they might not. Teachers often assume that their students know how to solve a certain equation for instance, but. What Makes a Great Soldier? When the idea of soldier comes to mind, qualities such as endurance, courage, or integrity are all what people imagine a good soldier to be.

Though he was declared unfit by the Navy and Army to serve in the military, he overcomes the many challenges, and struggles he faced, and rose to be the true warrior that him. He was the father of Alexander and he said this the day Alexander tamed a horse named Busephulus at just the age of It was a horse. What Makes A Hero words - 5 pages What is a hero? Is a hero someone that is the same for each person, or is it for each person different? Do all heroes need superpowers or something that puts them above the regular human? A hero is anyone who shows great bravery and is uses courage, a hero can be anybody.

What Makes a Friend? A select few of those will continue on to develop into true friendships that will stand the test of time. Do you ever wonder what makes up a true friend?

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Friends are people that you can feel free to speak about your most intimate thoughts and they will not judge you. Friends are people you can be yourself around. What characteristics comprise a good friend? In my opinion, I think trust is.

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What Makes a Superhero? One characteristic that all superheroes have is courage. Courage is a highly praised quality that many people admire. Every Superhero have something that have encourage them to do what they are now.

One great example of this is Batman. What Makes a Terrorist? The rising of terrorism due to the September 11, tragedy issued a simple key question by the people across the world of different backgrounds; what would make the people masterminding and participating in the attacks willing to perish their precious life in creating a massive destruction in a foreign land?

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