Editing Techniques In The Godfather

Ron Howard’s, The Missing, is a Western about a medicine woman who works with her estranged father to save her daughter, who has been kidnapped by an Apache brujo. This father, Samuel Jones, came back home to make amends with his daughter, Magdalena, but when Lilly, Maggie’s daughter, is kidnapped, they are forced to work together to save her. The three key elements of cinematography that will be analyzed in this paper on The Missing are slow motion, canted angles, and swish pans.

In this paper I hypothesize that A Voyage to the Moon was most innovative in cinematography and editing. Although mise en-scene was the main focus of the film, I hypothesize that mise en scene wasn’t as innovative as the other two. As mentioned earlier, mise en scene made A Voyage to the Moon easy to understand and follow along. In the first scene of the film, this power

Chapter 2: Scenes from the movie The Godfather provide examples for the viewer to see the function of parallel editing. For example, one event that showed parallel editing was the christening. Where the film is intercut with other events like the series of murders. The entanglements of these events is that they are occurring almost or closely at the same time. Its not very likely for all the murders to occur at the same time of each other.

For example, the scene begins with Macbeth transitioning from a dark shadow to a brighter light as he approaches the camera. Coen uses contrasting and shifting lighting throughout the scene to mirror Macbeth's vacillating mental state.

Tim Burton is a famous director who puts a lot of originality into his work. Burton uses editing techniques, music and sound, as well as shots and framing and camera movements to determine the mood of the scene. Editing is one of the techniques Burton uses to create emotion and suspense in the audience. One way Burton does this is by using fade in Big Fish, Edward crosses paths with Karl who was waiting for him on the longer road.

This essay will discuss the uses, strategies and the meanings that are generated by editing in cinema. The films that this essay will be focusing on are Psycho and Singin’ in the Rain. Both of these films are very different to each other and therefore use editing in varying ways in order to give the audience a different perception of the characters as well as the setting that these characters are involved in. Psycho focuses on building suspense for the audience throughout the film using editing, camera work and sound. This essay will be primarily focusing on editing with the discussion of camerawork where relevant.

The film “Raging Bull” made in 1980 by Martin Scorsese was based on a self destructive, highly emotional boxer named Jake La Motta as he battles through life. As his fierce attitude and violent temper takes him to the top of ring it ruins his family and life outside of boxing. Throughout the film we discussed the importance of the cinematography through out the film and why it played such an important role in developing “Raging bull”. Also the theme of anger and violence is displayed throughout the film. Jake never changes, from start to finish he is an emotional wreck, isolated and quick tempered.

What Can “Forrest Gump” (1994) Teach Us About Scriptwriting? Forrest Gump (1994), an American comedy-drama film based on the novel by Winston Groom, with the screenplay adapted by Eric Roth, tells the story of a mentally disabled and very kind-hearted child that comes to lead an extraordinary life. The movie revolves around the irony that the protagonist, Forrest Gump, even though the most simple-minded character in the film, becomes the most successful, as his talents involve him in US history's most prominent historical events between the 50's and 80's. The storyline is very character-driven and resembles a ‘vignette into one's life' as opposed to having a traditional story structure. This is seen through the feather motif and the well-known

These different lighting techniques are applied in the movie to help set the tone and mood for the film scene. The

The director used many elements of mis-en-scène to portray the story of an Italian-American crime family. The filmmaker was able to communicates his ideas through the use of cinematography, mis-en-scène, acting, narrative structure, and sound very effectively. The use of lighting was key in portraying the power that dominant crime families have, in this case the Corleone family. The director used low key lighting, and background lighting all very effectively to communicate his ideas. The dialogue in the film was excellent.

This creates a contrast with the darker and lighter parts of the scene, and creates the subject of the scene to be hidden in the shadows. This lighting technique is perfect for a gangster film such as the Godfather. Francis Ford Coppola’s has made apt use of lighting in this scene. In this scene, almost all the frames are low lit, especially the scenes where Don Corleone’s eyes are darkened.

In the movie, Edward Scissorhands, Tim burton uses low-key lighting when Peg meets Edward for the first time in a castle. Edward was sitting in a dark corner and there was just enough light to see his face but not his clothes. This shows the amount of loneliness of Edward and that he was sad and frightened but also willing to make a friend when he approaches Peg. Also, in the movie, Charlie in the

Using methods such as these as well additional tactics like a dark background and quiet music enhance the response of the viewer or audience. All of these aspects contribute to the style which is central to successful

Tim Burton 's use of this helps show the contrast of the insider and outsider world. When the viewer is watching they get a sense of suspense and start to second guess whether or not they should trust the outsider. In Edward Scissorhands Burton uses a high-key low-key light contrast when Peg is in her car and sees Edward 's house in her side mirror. When the viewers are watching they get a frightened sense and wonder whether or not Edward or whomever is in the house will

The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters