Realism

While many people attribute realism in film to simply a story containing events that are believable to occur in real life, Andre Bazin has a much stricter set of standards for true realism in film. As he reveals in his article, it is not enough for films to merely have realistic events and performances, the filmmaking techniques themselves must also be realistic. This means that anything that occurs in film but not in real life must be removed in order to achieve a true sense of realism. These include techniques such as editing, music and non-diegetic sound. Also, no film can intend to create emotion in a viewer.

There are several problems with Bazin's standards. First and foremost comes the fact that films this realistic aren't interesting. By taking away editing, music and all other flourishes, one takes away much of the creativity of the film. The filmmaker can only show the events that are happening, but cannot make it unique or interesting to watch. Without any of these techniques, the movie loses that which makes it a movie. Bazin's standards are created in order to make a film so realistic that it doesn't seem like a movie. This is an impossible task, though. No matter how little editing, music or fantastic elements are used, the audience will be aware that they are watching a movie. Audiences don't need or want a movie to live up to Bazin's standards of realism. Most audiences are perfectly willing to accept an entertaining film that simply doesn't stretch the realms of believability too much in the events.

psychoanalysis in Iron Man 2

Iron Man 2 represents far more in the way of psychoanalysis than the first film did. While the first film did reference the fact that Tony Stark took over the family business from his father, it did not delve deeply into how that affected the character. The second film in the series decides to explore that theme further. It portrays Tony Stark as an alcoholic party boy, and uses the lack of care he received from his father as an explanation of that. His father is portrayed as a workoholic who never had time for his family, and this deals with some freudian issues that add to the characterization of Tony Stark.

The film also contains a more noticeable use of the feminism theory. In the first film the only major female character was Tony's assistant/love interest Pepper Potts. In the new film, however, she is promoted to head of the company. This represents a higher position of power for the female role. Also, the character Black Widow is introduced. Black Widow is a secret agent and, unlike Pepper Potts, actually fights some of the villains of the movie. She has an action sequence in which she knocks several men unconscious while in a skintight leather suit. The fighting is meant to make her appear to be a stronger character, while the suit is meant to instill male interest in the character. The main protagonists are all still male, but the increased use of feminism shows an interesting growth.

While not necessarily better than the first film, looking at psychoanalytic theory shows that Iron Man 2 is more psychologically deep than the first film. This represents an interesting idea and shows that the filmmakers are adding more layers to make the story more complex.

Reel 13

Have to Get Back Down There

This short is a documentary about a recovering drug addict that is presented in a very interesting way. The story is shown through animation. Stick Figure cartoons represent the man and the people around him in his story of how he gave up drugs and how he is still working to fully get rid of them. This technique allows the story to be much more interesting than if it simply showed the man telling his story.

The film's one weakness is also a strength in some respects. The quality of the animation is very weak. The people are poorly drawn stick figures, but that is not totally bad in this case. It represents a simplicity which comes into play with telling the story. The man's story is not a complicated one, but rather a very simple one, which doesn't detract from the emotion that is felt for the man's unfortunate situation.

This short uses an interesting symbol in the form of waving pink lines in order to represent the man's drug addiction. When he leaves New York City behind, he leaves the drugs with it, but when he gets into an accident, the addiction returns along with the pink lines. This symbol would seem out of place in a live action movie, but in animation it totally works.

The movie ends by referencing the title, which shows the man's motivation to get off of drugs. He has a daughter down in Florida, and he knows he can get off of drugs because he needs to see his daughter, and that is more than enough incentive to kick the habit.

Why 3D is bad

Recently Roger Ebert wrote an article outlining the problems with 3D in film. He addresses many issues, from the fact that it causes headaches and eyestrain, to the fact that it darkens the screen, making it harder to see what is happening. While these complaints are all accurate, they aren't huge issues and will likely not prevent anyone from seeing 3D.

What will affect this, though, are his other arguments, which all basically bring up the same point: 3D is unnecessary. It doesn't add much to the experience since the human mind puts the images into three dimensions automatically. This renders 3D, no matter how well done, as unnecessary. Since the illusion of three dimensions is already present, all 3D becomes is a cheap novelty meant to make money.

That is the major issue with 3D, it only exists as a way to make more money. Because the technology to show 3D films costs more, they charge more for tickets. many movies like "Clash of the Titans," even though they aren't filmed in 3D cheaply convert to 3D in order to make more money. This causes a sup-par 3D that affects the image of the film and furthers the issues of darkness and headaches.

While 3D is a nice novelty for a few films, for most movies it really doesn't add anything. Only a few genres of film will really be improved by the technology, the rest would just seem weird.

5 films that would not benefit from 3D
The 40 Year Old Virgin
Citizen Kane
The Notebook
On the Waterfront
High Noon

Snatch

The film “Snatch” is difficult to confine into a single genre. There are so many different elements in play with the film that it follows the genres of gangster, action, and thriller all at the same time. The one genre that underlies everything, though, is comedy. Though several of the events are dark and violent, and the characters dangerous and mysterious, everything that happens in the film is played for humor. As the events of the film keep getting more and more out of hand, the film keeps getting funnier.

The film follows several different characters. Unlicensed boxing promoter Turkish is the films protagonist and narrator, but the events follow several different individuals involved in London’s seedy underbelly. While Turkish and his partner Tommy have to deal with gangster Brick Top trying to rig a boxing match, Several different parties are going after a diamond stolen by Franky Four Fingers, a thief with a gambling problem. The interactions between all of the characters are the sources of the humor, as each encounter causes things to get worse and worse for everyone involved.

The film does have many serious moments, but for the most part it keeps a light tone that allows the comedy to be shown while at the same time keeping the audience guessing about what will happen. Guy Ritchie also uses interesting techniques, including slow motion, quick editing, and humorous musical themes for several of the characters relating to their nationalities. His style makes up for any weakness or confusion in the films writing and storyline. The style and pacing of the movie keep it entertaining, even in the most unexpected moments. Even the death scenes are accompanied by a sort of perverse sense of humor. Because of this, every moment is turned into a punchline, every scene a joke. It is ironic that a gangster film, a genre that so rarely includes comedy, is the perfect example of how to make a very funny and entertaining film.

Spaghetti Westerns

Spaghetti Western was one of the most important genres to the evolution of film. Few genres have had as much influence worldwide as the spaghetti western. Though these films originated out of Europe, they affected filmmaking in America, as well as many other countries. By taking themes that were already well established, and making them new again, these European filmmakers were able to not only create great films, but also to save an entire genre.

The story of the evolution of this genre is as interesting as the actual films are. The western genre, a very american style of film, was losing popularity. American studios had stopped making the films. European filmmakers had for years wanted to make westerns, but hadn’t been able to successfully recreate the techniques of the genre. In the sixties however, they started to make westerns more frequently. Though many of these westerns didn’t achieve much success, they kept making more. Finally, with Sergio Leone’s “A Fistful of Dollars” the first truly successful European western had been created.

Leone achieved success by not copying American westerns, but instead by making the genre his own, with new techniques and styles. Many other European filmmakers followed in these techniques, which included an increased amount of violence in the films. While none of these films equaled the success of Leone’s films, except for his other films, they still became popular enough that they were able to restart and influence the american western genre. American westerns began to copy some of the traits of the spaghetti westerns, most notably with the violence included in films like “The Wild Bunch.”

While this revival didn’t last forever, it had many important effects on film. The films are still very popular, even though new ones aren’t created anymore. A revival of westerns is beginning, though. These new westerns, like the spaghetti westerns, are taking the themes of the genre and infusing them with techniques and traits that are popular today. While westerns haven’t been totally embraced yet, the moderate success of the new “3:10 to Yuma” gives hope that the western genre may have another revival.

Kung Fu Hustle and Sherlock Jr.

There are several things that he films “Sherlock Jr.” and “Kung Fu Hustle” have in common. Several of these examples are shown in Roger Ebert’s review of Kung Fu Hustle. The review brings up several of the qualities of “Kung Fu Hustle” which establish the film as both a kung fu film and a comedy. Many of the comedic qualities of the film are the same qualities that can be found in several of Buster Keaton’s films, including “Sherlock Jr.”

First and foremost, both of these are elaborate comedies built around slapstick humor. Most of the comedy from these films comes from watching the protagonists escape from seemingly impossible situations unharmed. The films are filled with unusual situations and surprises that keep the audience guessing, while at the same time laughing about the actions onscreen.

Several of the actions in these films aren’t even possible, but the filmmakers’ use of innovative technology keeps the illusion going and adds to the comedy of these films. As Ebert says in his review “The characters have overcome the laws of gravity and physics. To be able to leap into the air, spin in a circle and kick six, seven, eight, nine enemies before landing in a graceful crouch is enormously gratifying.” Despite the fact that technology is brought in, though, the effect on the audience is not lost. Ebert also brings up this idea when he says “the trickery doesn't diminish his skill, because despite all the wires and effects in the world, a martial arts actor must be a superb athlete.” Keaton used special effects often in his films too. While he did many of his own stunts, special effects had to be brought in for certain shots, such as in “Sherlock Jr.” when he walks into a film screen.

Both of the filmmakers have several traits in common, too. They both take full control over their films, as directors, producers, writers, and lead actors. They are in full control of the film and they know what their audience likes to see. This is an important quality since it establishes part of the reason why they share so much in common. Both men were fearless and willing to do whatever it took to make their audience smile.

La Ruta Natural

La Ruta Natural is a very intriguing short film. The film follows the life of one man, but instead of taking it from beginning to end, it follows his life backwards from end to beginning. The film starts showing his death, and keeps moving backwards, showing the death, life, and birth of his son, the beginning of his marriage, and the beginning of his life. The man narrates through the whole film also. He is describing his thoughts as he travels through time backwards with the film. This creates an interesting backwards dynamic. He believes that war creates things and gives life to people, as well as thinking that people are constantly giving money to each other.

The Director of this film uses a variety of techniques to get his point across. The most noticeable one is the fact that all of the film is being played backwards. This isn’t very noticeable at first, when things are moving slowly to begin with, but as new things start occurring, it becomes more obvious. This gives a strange feel, but it is surprisingly fluid. Through all of this the narrator is experiencing it as we are. He is constantly growing younger, and experiencing everything backwards.

It is difficult to determine what this film is really about. Because it is so unique and experimental, it is difficult to find the director’s intention. After thinking about it, though, it is really a film about life. By showing everything backwards, the film’s reverse psychology emphasizes how good or bad things like money and war really are. We learn that because he is experiencing life backwards, the protagonists opinions are all backwards, too. This reverse psychology mixed with the filmmaking techniques helps to show a more complete view of life than a normal film could.