Cinematic Techniques In Dirty Dancing

For example, when the boys are young, sepia toned lighting is used. This produces a slightly hazy, vintage feel. As the boys grow older, and the memories become clearer, the lighting becomes brighter and crisper. High-key lighting and low-key lighting are also alternated depending on the mood. When out on the river, high-key lighting is used the majority of the time.

The first event I attended was the film on October 14 that was put on by the SDSU men’s basketball team, Hoop Dreams. Before the movie started we got to hear stories from two of the seniors on this year’s SDSU’s men’s basketball team. One of the things I learned while attending the event was how basketball changed the lives of those two seniors. The senior players that spoke where from Flint, MI and Chicago, IL. Both talked about how basketball changed their lives for the better.

High-key lighting demonstrates cheer and satisfaction. Then again, Burton shows evil and spooky pictures with relaxed lighting. Mr. Burton's lighting systems are totally his own. In "Edward Scissorhands"he stirs up the

Throughout the movie, the setting is littered with the contrast of light and dark colors in the backgrounds, costumes, and lighting to portray and produce certain

An example of low key lighting with fast fall off the room is lit by a blue tingey light, overshadowed by a bright white light creaking from a door, like that of the bright light in his room. As the scene continues a series of shots of him in the bed interchange between different phases of his life. Shots of Melida become more saturated and are matched on action by movement reflected in his hands as she talks to a adolescent Brian and he is transformed into a young adult. Calming waves are reflected gently on his ceiling before flashes of on stage performances and recording, easily distinguishable by a dusty filter and yellow tint. In all the images it is clear that Brian is uncomfortable, mirrored by his lost facial expressions distant look.

For example, in the song, “At The Ballet”, after the chorus, it would get quiet and the lights would focus on the characters singing, and the song would turn from a happy song to a sad song, where the characters started talking about hardships. Then, when they focused on the ballet, their happy place, the lights would turn from blue to yellow again and light up the stage again. This gave tone to the songs and made them more interesting. Also, in the song, “The Music and the Mirror”, they use lighting to show Cassie’s sadness and desire to just be a dancer. The lighting and the music help tell how characters feel throughout the

The colors and lighting are very unchanging much like the town Endora. The only exception is when there are strong emotions within the film. There is a warm glow of lighting by the sunlight or fire whenever there is a time of love, be it brotherly or in a romantic way. During the melancholy times of the story, the lighting is either dim when it relates to death, but when a character is feels lost in their emotions the director

INTRODUCTION QUOTE OR FACT. The Breakfast Club was a film produced in 1985 by John Hughes in Shermer, Illinois, that involved 5 different stereotypical teenagers in detention who were assigned an essay to tell his or her story. When the day ends, they all queried if they were all somehow the same. The experiences they had throughout the film made them question the stereotypes given to them. The purpose of The Breakfast Club is to inform teenagers and adults of the negative effects that stereotyping and parental pressure has on young adults.

Lighting is used rather traditionally for the majority of the movie and helps to distinguish the “good” from the “bad”. For instance, the original Maria is shown in soft-key, angelic lighting that casts a halo around her to emphasize her purity and beauty. The fake Maria, on the other hand, is shot in harsh lighting that creates a dark, unsettling vignette around her. This lighting style creates a contrast between protagonists and antagonists and is used frequently in Hollywood cinema.

For instance, Marylee is an eccentric character who from the beginning we can tell is wistful and vibrant. In order to portray this her clothes are bright colors, her car is red, and other objects around her are vivid colors in order to express her personality and sexuality. Through the use of shadows and different lighting effects the director is able to set the mood for each scene. When Marylee and Lucy have a conversation the room is illuminated and the lighting is put on them from all angles so that we get a clear view of their faces. Whereas when Marylee is speaking to Mitch and coming on to him the lighting is darker, setting the mood for the rejection that Mitch gives her.

A specialty dance is a routine used in musicals in which a character has to use their specific skill to over come obstacles and reach the end of their story. I would therefore argue that as a film the music and dance sequences are outstanding and memorable, however I don’t find them to be essential to the development of the narrative. Fred Astaire once quoted that ‘It is extremely important for a dance cue to flow naturally in and out of the story … Each dance ought to spring somehow out of character or situation (Macintosh, F. 2010), in the case of ‘Flash Dance’ I don’t believe that narrative flow of the plot blends the dance sequences smoothly enough for it to seem natural. I would therefore argue that in this case music does not becomes the signifier par excellence of the value of the couple and of courtship, rather that other elements such as mise-en-scene, editing, framing, script etc. are important in the building romance throughout the

Another element is the use of patterns and shapes of light in the film. During the scenes in Deckard's (Harrison Ford) apartment with him and Rachel (Sean Young) pattering of the lights and shadows are made from bright backlights shining through blinds or frames with blind patterns. This really an interesting

Lighting Gondry’s use of lighting is one of the most important filmic techniques employed to successfully construct the abstract memory scenes. As seen in figure 2, in the present time (in terms of narrative) lighting is usually natural or realistic. However, in memory shots Gondry creatively modifies this in order to distinctly differentiate the change in narrative. Darkness and low-key lighting are often used in these shots as seen in figure 3, with lights fading into black or turning off to represent Joel’s loss of these memories.

The idea behind the harsh colours is to make the viewer feel uneasy and unsettling and create the atmosphere in this

In effect, the characters become optically more realistic and natural through the single source effect of the soft light on the actors. However, the main intention behind the uses of natural light and shadows lies in the tone of Nolan’s films. The constant casting of shadows on the character’s face matches the overall