Introduction
Almost every year, there are thousands of individuals that decide write movie scripts actually hoping to get them produced and then also to make some serious cash flow. What people do not realize is that a lot of these scripts are never even looked at or even bought. The reason for Th is that movies are costly to make and basically only the best scripts are ever actually get produced. When they are made into movies it is important that a film analysis is done in order to see what was done correctly and what was not. Often, students that do have a some background in literary analysis frequently have a hard time learning how to write papers that are specific to the correction of film studies. With that said, this essay will discuss three films such as Un Chien Andalou" (An Andalusian Dog), A Country Doctor and The Exterminating Angel.
Un Chien Andalou" (An Andalusian Dog)
Un Chien Andalou is basically a sixteen minute silent surrealist short film that had been produced in France by the Spanish director named Luis Buñuel and also the artist who was called Salvador Dalí. When translated its title means "An Andalusian Dog", nonetheless it is usually released under what is considered to be its initial French title in that appears to be used in the English-speaking world. According to the research, it was Dali's first film and it actually shows when the editing, sound design and cinematography are seen. The film was initially released in 1929 to a restricted showing in Paris, nonetheless it turned out to be very popular and then later one ran for something like eight months. By many it is recognized as one of the best-known surrealist films of the avant-garde crusade during the 1920s.
According to (2009) Corrigan to be able write an intelligent, sensitive analysis of the characters and stories in the movies, a person will have to be prepared to observe them as constructed consistent with definite methods and styles that ascend from numerous different historical effects. This is what analysis of the movies is primarily supposed to be about: probing how a subject has been shaped to mean something exact by means of the power of art, commerce and technology. It is very important to be equipped to answer to the inspirations that most interest the one that is observing the movie. In analyzing Un Chien Andalou" (An Andalusian Dog) a person has to make sure that they are prepared with a questioning mind from the beginning all the way to the end of the movie.
What was noticed next was that the man seen in the next scene is the protagonist’s father. What appears to carry on after this appears to be one of the most horrifying types of images in all of cinematic history? As the protagonist’s father begins to holds the razor blade directly at the eye of the protagonist’s mother (Simonne Mareuil), he the observes the moon to see a thin cloud that appears to be slicing across its surface smoothly. Just as the viewers are seemingly freed from the ghastliness of the real occasion by this visual metaphor, the razor begins to start slicing the eye (really it is a donkey’s) in close-up, it is seen leaking its jelly-like contents all over the place. This basically symbolizes the father’s withdrawal from the mother of the certainty in regards to her and her son, which is seen as soon as the film progresses.
Another area of the film that sort of shows poor editing is the mother’s armpit, as looked at by the protagonist is considered to be a metaphor for her pubis. The editing does not really give this justice because it appears as if it was cut to earlier. In this scene, the protagonist starts developing some sort of a sexual fixation on this; the following melt to a sea urchin prefigures of the film’s ending, which actually occurs on a beach: the overruling feeling of this ending is a sad feeling of this great loss. By softening from a sexual image to one that actually starts to suggest this, the film displays the protagonist’s primary fear of sex, a subject matter that was very predominant in the life and work of both Bunue and dali.
A Country Doctor
Franz Kafka’s “A Country Doctor” can be described as something that is very mysterious. All of the scenes have cinematography that is very surreal looking. Its story that was shot in a way that would appear to be simple, but at the same time it all of the scenes were shot in way that gives off what would be considered a deep existential connotation and insinuations. However, the director manages to display the existential theme of the story by explaining it through a sequence of events that are very bizarre, where the key character is challenged with numerous challenges and hindrances. These images were shown vividly seen by scene and the editing was really good because the scenes were not clipped to earlier.
One scene shows the very first challenge which was confronted by the main character, which is called the country doctor, which is the unfortunate effort to see about an ill man during the midst of severe snowstorm. The cinematography of the storm was flawless and appeared to look as though it was a real storm even though it was not. The night before, the horse had died, therefore had much difficulty trying to discover another type horse that he could use in joining to his patient that had been miles away from where his own place was at. This issue had been determined upon the influx of a groom who presented his horses, nevertheless this merely positioned the doctor in a new challenge – the groom would start to attack the doctor’s maid, named Rosa. The attack scenes were also edited out pretty well because the scenes appeared to be shown in great detail. The doctor felt obligated to the groom, which made him unable of discontinuing the concluding. He consented to the groom’s declination to journey with him when the latter wanted to just hang out with Rosa, and afterward continued to the house of his patient.
The movie in certain scenes was able to show the doctor’s initial aim in wanting to attend to the ill patient, he reached at the latter’s house having the destiny of his unlucky maid running in his mind. The direction of each scene was able to show this so well. Each scene really depicted the emotion of each character. If that was left out, it would have been poor directing even with a silent film. He was now facing the new trial of wanting to be able to save his patient under such harsh conditions. These scenes her really show good storytelling because a lot of the emotion of the characters is really centered upon. We are able to see exactly how everyone is feeling in each scene because there is always a close up shot on what the character is feeling at the moment. If is an expression of doubt by the doctor, the camera moves in to show that emotion instead of doing things like holding back which would have done this movie no justice. At the moment, on the other hand, the patient is expecting that the doctor could save him and the emotion is caught on camera vividly.
The doctor found a way of dealing with this issue by guaranteeing the patient that his wound is not so corrupt. This was the time for him to escape and this scene really showed this powerful transition with the sudden change of emotion. This last challenge of trying to get away was obviously not the easy thing for him to and the story was told well by the cameras. The film did a good job by showing how the horses were all roaming at a pace that was slow and his journey's end was a disorder, having Rosa as the person that was the victim. Showing the emotions how he was betrayed by his patients and his community was done very well because the scenes rode the whole thing out. In other words, it is clear that the director wanted to make sure that his audience was able to capture this intense feeling.
With the challenges that the doctor were having to face – his battle with having to go to his village of his patient’, the groom’s assault that happened against Rosa, and the test of trying to save the patient – shows by the camera that he allows other to manipulate him and with scene behind scene, this was able to be shown vividly (Leiter 340). The cameras were able to capture the emotion of him allowing everyone to be influenced by the patient and the latter’s family in spite of nervousness that Rosa was in danger. The cinematography in showing the facial expression of how he had allowed himself manipulated by the groom was superb because as mentioned earlier, all of the emotion was shown perfectly. Every scene showed that a story was being told through the characters emotion and actions. Also the sound was good because the way the music was played showed that it was building up to an intense moment that was about to come on the scene any moment.
The Exterminating Angel
The Exterminating Angel is a film that knew how to show every searing political edge that always colors—but then again does not really overwhelm—even during the time of its most surrealistic images and scenes. Part of Buñuel’s body of work was done or shot in the country of Mexico, it explores things like the subject of class such as nobility and class—with the last word assumed both in its accurate, aristocratic feel and as a method of grace and morality under the most challenging of conditions. For everyone the design or plot essentials that appear related to Sartre’s Huis Clos, for Buñuel, hell is not just other individuals nonetheless, more prominently, a social arrangement that abolishes and distorts human associations. That is why it brands for an excellent companion to other films that are similar. The cinematography was superb and what made it even more interesting were the back ground shots of the scenery. The director did a good job with really bringing out the background and making it appear as if it is really right there in front of you. The acting appeared to be real and not scripted. The emotion on every scene was nose on but no to over bearing. The scenes told the story very clearly and it was not hard to follow. There, poverty scenes in the movie makes human self-respect hard to uphold and violence runs widespread—precisely the sort of behavior that provokes a scornful response from the protagonists of Exterminating Angel, who feel that dignity, is penetrated only when a jacket is detached at an official evening. What they experience, on the other hand, breaks down (for the audience to see) that self-satisfied sense of power. The film was able to capture the emotion of arrogance from those that were in power. Their facial expressions and the way they moved their bodies clearly showed that they were people of position or status. The shots of the people showed this in detail. It was very important for the angle of the cameras to capture these moments because without them, it would not have been possible for the audience to relate to it.
Under alike conditions of want, those that were considered to be rich in the film not only act any better than the poor, they act more disgracefully. Abruptly, the gratification of original requirements—water, food, medicine, beneficial environments—that they had continuously taken for granted turn out to be paramount for them, too. This emotion of depicting that was shown very well through the editing because it let the emotion flow to the end on each scene. The audience does not deserve to have its emotions of the characters robbed from them and the scenes did not do that at all. The scenes were also able to show how secrets were no longer able to remain hidden under such close quarters, either even things like an affair between two characters in the movie. All of these types of scenes clearly showed the passion. The sound was great during these scenes because it was obvious that the drama was about to pick up at the sound of the music. It is clear that the director was really good at having the sound come on cue. In the movie it shows that there’s a small stash of illegal drugs that were in the house that Nobile likes to appreciate sporadically. This was another particular intense scene that was full of drama. The lightening was a little dark in some shots but it was a black and white movie so that was to be expected. In fact the dark texture sort of went along with the plot because it had a lot to do with some characters that were sort of dark themselves.
One thing that was interesting was the scenes with Nobile. Nobile, was the host and also a man who merits his kind name, turns into being that person in what almost—nonetheless, coming from Buñuel, not all the way—becomes a Christian allegory of crucifixion. In actual fact, even the faith that some of them try to uphold is basically ripped wide open, as Buñuel discloses the inadequate of the numerous images the characters adhere to: keys from Kabbalah, plastic virgins, and Masonic symbols. The cinematography and the close up of these icons was actually shot perfectly.
In conclusion, it was apparent that these films that were made years ago still had technique that even films today do not have. Films of today have all of the technology but lack the expertise and the detail that Un Chien Andalou" (An Andalusian Dog), A Country Doctor and The Exterminating Angel appeared to show. The cinematography was different in each of the films because not of them had the same plot or theme but in the end they all shared the same skill and passion in making sure that everything was edited to the best of their knowledge.
Works Cited
A Country Doctor . Dir. Rupert Jillian. 1919.
Corrigan, Timothy. Timothy Corrigan. New York: Longman,, 2009.
Timothy Perper. "Mechademia 4." Blackboard (2008).
Un Chien Andalou. Dir. Luis Buñuel. 1929.
William O. Gardner. "The Cyber Sublime and the Virtual Mirror: Information and Media in the Works of Oshii Mamoru and Kon Satosh." Journal of Film Studies (2009): 44-70.
