Post Film Theory

My first blog. Let me take an opportunity to thank my professor  from Kean University for letting me see a new way of looking at movies. Your teachings will stick with me as I continue to write stories. Thank you.

Now, unto freedom. The first movie that I will discuss is "Cheaper by the Dozen 2." As far as the antics of the younger kids getting themselves into trouble, the sequal doesn't top the first movie. The only explosive scene that was used for the second movie is the firecraker found in Mark Baker's bag (Forrest Landis). The movie repeats the scene of the soaked in meat when Tom Barker (Steve Martin) sits in the chair where his rival, Jimmy Murtaugh  (Eugine Levy) was suppose to sit as a adaptation from the first movie where Aston Kutcher's character is attacked by the Baker's dog (ouch! lol). 


What did make the movie memorable was the transitions of the baker kids. Lorraine Baker (Hilary Duff ( she's a prego) ) graduates from high school and wants to move to NY for the internship in Allure magazine (hate her right now jk...). The oldest child, Nora Baker (Piper Pearbo) is married and is pregnant. The one transition that is memorable is Sara Barker (Alyson Stoner) where she develops a crush on Elliot Murtaugh (Taylor Lautner (i like older women) ).  Alyson Stoner brings the audience back of a time of first loves/crushes.Charlie Baker (Tom Welling (I'll miss Smallville) ) falls for Anne Murtaugh (Jamie King) the oldest child in the Murtaugh family. The final ending shows how the Baker kids grow up, but not loose sight of what is important, family.

With that said I am famish. The food that does pops in my mind is white sausage on a hot preztel bun; carmalized with cooked onion and some mustard. Delishious. One of the tasty treats in Upper East Side in New York City. I can't cook for the like of me, but I sure love to eat like I can. =D.  Mustard is required. Tell me your favorite treats. I would love to hear, along with any of your favorite movies. Till next time.

Final Exam Essay#2

Follow shot- as the subject moves, the camera moves along with the subject.

Camera followed both Susan and Roberta when Roberta is driving to New York and Susan walkswith Jim to his van. Roberta sitting on the bench and Roberta following when she walks with Jim and when Susan is inside the vintage shop trying on shoes.

Tracking shot/travelling shot/dollying shot- Camera moves on wheels when the subject is riding on a mobile such as a car or a bus..

Roberta is driving to New York to follow Susan. After Susan leave the hotel room from Atlantic City, she rides on the bus to get back to New York. Any of the other scenes when Susan, or Roberta and Diz ride on the taxi.

Close up- the subject take up one single frame. Emphasizes to the audience how important the moment is.

The camera has a close up of Roberta and Diz spending the night after Diz bails her out of jail. Roberta’s memory comes back, she tells Diz that she is Roberta, but he doesn’t believe; shows how happy both Roberta and Diz in the moment. Susan in Roberta’s bedroom reading Roberta’s diary in torn under garments. Susan is in the public bathroom using the hand blower but she uses for to blow her hair.


Cross-cutting- two different actions are being done at the same time.

Susan gets arrested, she sees Roberta wearing her jacket and is being harassed by the guy who is black mailing her. Susan gets in the police car, Roberta’s head gets hit by a pole and get amnesia. Diz and Jim try to find Susan at the Magic Club. Susan brings Roberta’s husband and her sister-in-law in the club to find Roberta. Roberta is on stage, the stalker tries to go after Roberta, Diz and Roberta’s husband try to chase the stalker. Roberta is caught in a love triangle. Susan and Jim are in a basement having sex, the stalker takes Susan away. Susan crawls through the backstage window; where Roberta hits the stalker with a wine bottle and is knocked out cold.

Scene- A single shot that narrates the film.
Roberta’s head gets hurt by a pole. Diz tries to help her off the ground and helps her remember who she is. Diz and Roberta take off to her locker. They open the locker and find Susan’s stuff; unsure whether or not she is Susan. Diz almost leaves Roberta with her suitcase, but he feels sorry to leave her alone with a suitcase that she doesn’t even know about.

Beauty and the Beast

Nicole Gonzalez, 12/10/11, Beauty and the Beast, 1 hour and 33 minutes, 1946, Directed by Jean Cocteau

Awards :
(1946) won the PRix Louis Delluc Award Jean Cocteau Beauty and the Beast


The film theory that I would use is Auteur because Cocteau uses the film to tell the story about a young girl risking her life to save her father's for breaking into the beast's house. Audience routes for the main protagonist, Belle, because she has two harsh sisters and wishes to be far away with the one she loves. When she is forced to stay with the Beast, Belle learns to love and the Beast magically turns into a Prince, who looks like the The Usurer that ws trying to win her love.


In one review, Ebert states that the movie itself is an adaptation of the French tale and not to be meant as a children's tale (Ebert, 1). The reason Ebert puts the disclaimer is because of the black and white cinematography along with the french subtitles. Windling goes through a whole critique on all of the other versions of the story along with the critique of the film. Cocteau uses mythical art and black and white cinematography to tell the story of the classic French tale (Windling, 1).


In Cocteau's film, there are some comparisons between the Disney's adaptation of Beauty and the Beast. When Belle and the Beast walk down the stairs outside of the mansion is simular to the scene for the musical number, "Beauty and the Beast," for the Disney version. The dinner scenes of how the table and seating are arranged is also simular because both show the two characters sit across from one another and the whole elaborat decorations for the dinner arrangements.


I was trying to find the Cocteau's film out of my curiousity. From what I could gather is a ballet-like setting, but has inspired to the Disney cartoon movie I remember as a child. Jean Cocteau knows how to use the element of magic and help inspire the Walt Disney production to retell the story and to hold on to the enchantment that is Beauty and the Beast.


Work Cited

Ebert, Roger. "Beauty and the Beast ." rodgerebert.com. N.p., 27 Dec. 1999. Web. 10 Dec. 2011. 

     http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19991226/REVIEWS08/912260301/1023.

Windling, Terri. Beauty and the Beast . N.p., 2007. Web. 10 Dec. 2011. 

     <http://www.endicott-studio.com/rdrm/forbewty.html>. 

Rear Window

Nicole Gonzalez, December 10, 2011.
Rear Window: 112 minutes, 1954 Directed by Alfred Hitchcock.

Awards:
(1955)- nominated in the Oscars for Best Cinematography, Color Robert Burks, Best Director- Alfred Hitchcock, Best Sound, Recording: Loren L. Ryder (Paramount), and Best Writing, Screenplay John Michael Hayes.

(1955)- nominated for BAFTA Award for Best Film from any source.

(2001)- nominated for the DGA Award for Outstanding Directorial Achievement in Motion Pictures Alfred Hitchcock

(1955)- won the Edgar Allen Poe Award for Best Motion Picture John Michael Hayes

(1954)- won the NBR Award for Best Actress Grace Kelly.

(1997)- won the National Film Registry Award

(2005)- nominated for the Satellite Award for Outstanding Classic DVD

(1955)- nominated for WGA Award for Best Written American Drama John Michael Hayes.  


Rear Window

The flim theory that I would use for Rear Window is Voyeurism. The main character, L.B. looks at other people through his window; observing people inside their apartments going about their day. Everything changes when him, his girlfriend Lisa and his nurse Stella suspect a man killed his wife. Toward the middle and the end of the movie, Hitchcock uses another theory Genre because it has a typical private eye mystery that keeps the audience suspence when Lisa and Stella sneak inside the neighbor's home and is caught by the same man.


Roger Ebert states, "most of the great movies begin with a simple premise," (Roger, 1). E.B. is in a wheel chair, observing the people. He notices one man's wife dissappears; making the neighbor guilty for murdeuring his wife. In addition, since L.B. is in a wheelchair his imagination is build by watching through his window (PERLMUTTER, 53). Hitchcock uses thrill tactics within the narrative story (54).  


In the beginning, L.B. is known to be the voyerist neighbor because he has on a leg casset and sits on a wheelchair all day; find escapeism. The audience learns a little bit more about his girlfriend, Lisa of why they have a distant relationship and is tested when both and Stella try to catch the neighbor because of the murder of the wife. L.B. and Lisa's relationship is put to the test when they are trying to solve a murder mystery and in the end the neighbor is put under arrest.   



Alfred Hitchcock knows how to keep the audience suspense by overemphasizing the background score. As well as, using the camera to invite the viewers inside the story. Metaphorically, the camera is a window for the audience for them to be part of a thriller suspense story.


Work Cited

REAR WINDOW: A "CONSTRUCTION-STORY"

RUTH PERLMUTTER

Journal of Film and Video , Vol. 37, No. 2, SEXUAL DIFFERENCE (Spring 1985), pp. 53-65

Published by: University of Illinois Press on behalf of the University Film & Video Association

Article Stable URL: http://www.jstor.org/stable/20687662

Ebert, Roger. "Rear Window ." rogerebert.com. N.p., 7 Oct. 1983. Web. 10 Dec. 2011.

     http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19831007/REVIEWS/310070302/1023.