All That Heaven Allows - Assignment Example

Analysis with consideration of a particular point of view is expressed through lightings of the film, sets, color and the costumes used. In the film All That Heaven Allows, the dependence is on an artificial setup that reflects false reality in terms of using the technique of colors. Colors that are used in the film hold, meanings and different moods as brought out in the film.

Q.2. Laura Mulvey’s notion of visual pleasure according to “Vertigo 1958”

Several possible pleasures are offered in films as brought out by Laura Mulvey. One pleasure brought out is scopophilia that is practiced by the audience that is watching the film and the characters in the film. According to her, the film screen that is watched by the audience acts as a mirror through which the audience can see the fictional bodies of humans reflected on the screen.  Through this, scopophilia pleasure in Cinemas comes about from using another person as an object of sexual stimulation through the view and identification (Makkai, 2013).

In the film; Vertigo, the pleasure is illustrated through the argument that the ego of the male is split in the case of Scottie who is feminized through the identification that he makes with Judy. In the film, there is no demonstration of active male spectatorship but the pictures of the male spectator and therefore it is revealed that fascination of femininity that throws masculine identity into question and also to the crisis. Scottie’s character is brought out under dim lighting and behind objects when he is spying on Madeleine showing a weak male character in the film (Makkai, 2013).

Q.3. Brecht’s theories of performance concerning “Breathless” by Jean-Luc Godard, 1960

Playwriting theory and dramatic theory

Through the theories, some approaches are given to theatre as an art and are brought out as self-conscious of its performativity. The theory also brings theatre as art being a complete turnaround from theatre that is more realistic. He called his approach epic theatre contrary to dramatic theatre that he created (Martin & Bial, 2000). In epic theatre, a narrative can turn the spectator into an observer but stimulates the capacity for action that he has and forces him to take decisions. The spectator according to the theory is made to face something. The theory is mainly based on arguments rather than suggestions.  Regarding Breathless by Jean-Luc Godard, there was bursting into the film scene without much consideration of the theories that were formulated by Brecht (Martin & Bial, 2000).  The homage that was brought in the film was that of free-form and sexy; lacking polish and surplus of attitude.

Q.4. what characterizes the Dogma rejection of illusionism concerning “The Celebration” 1998

In his condescending attitude towards aesthetic principles, there is points out the refinements of filmmaking through minimizing the distance between a film that is filmed and one that is finished. Atheneite in cinema is made in three different levels that involve implying three different meanings of realism. In cinema as a presentation, authenticity is the degree of realism that is involved (Thomson, n.d.).

The main aim of Dogma was to achieve purification that is used in filming language. This was through avoiding well-established devices as they are considered to create an undesirable filter between the prolific setting and the actual film.  According to him, technical manipulations that occur in the films disrupt the subjects filmed and make the film look like just easy entertainment. Technical manipulations are hence rejected as they are considered cosmetics that hide the actual images of a film. By rejection of illusions, Dogma draws in the idea of the truthful presentation of cinema.  In The Celebration, the philosophy worked as there were a set of rules that were followed. The set of rules that were followed limited the generation of many ideas (Thomson, n.d.). There was also restriction of shots that were made in the film.

Q.5. Auteur theory application to filmmakers concerning “The Man Without a Past” 2002

Auteur theory is a technique in filmmaking where the director of the film is viewed as the main creative force in a motion picture. With consideration to the theory on application to Kaurismäki’s the Man Without a Past, many critics were made and the officials that were chosen wished he could apply for that role. There were routine subverts of auteur status in public appearance by Kaurismaki (Olsen, 2002). In an application of the theory, Kaurismäki excellently took exclusion to his packaging as state public relations representative, breaking a mobile phone on the ground when he was in a press conference and scorning a surprised minister of culture Suvi Lindén through dancing the swing on the red-carpet prior the screening of his film. In another instance when he went to collect the Jury Prize, he acted out vocationally when he stopped going to receive the prize and learned down to the jury member to say a few words (Olsen, 2002).