My chosen scene begins at I chose to analyse this scene as it contains many interesting points of mise-en-scene, creating a scene that some may see as diverting from the stereotypical action genre, using aspects such as camera angles to create contrasting expectations.
However, when we turn away from the archetypal world of fairy tales and comic books, this distinction is no longer as clear.
When we look at real human beings we do not see heroes or villains, but rather individuals composed of varying degrees of both extremes. No hero is perfect, and no villain is completely void of components that constitute heroism. The most recent film adaptation of the DC Comic series Batman presents this truth of human nature.
|Allison Bartoszewicz||Hire Writer In scene with dinner at a restaurant, Bruce Wayne promises Harvey Dent to arrange an extraordinary banquet in his honor, to which Harvey Dent responds that banquet will be inappropriate if Harvey Dent will not be re-elected for next term. Bruce Wayne promises his patronage to Harvey Dent in the matter of re-election for next term.|
|Academy Awards® Winners and History||Batman also known as Batman:|
The Dark Knight Rises effectively communicates the blurred line that exists between heroism and villainy through the collaboration of imagery, sound, dialogue, and other film techniques, which troubles commonly held "good vs.
This idea of defying the expected separation of heroism and villainy is first introduced in the opening scene of the film, with the memorial of a fallen "hero" of Gotham, Harvey Dent. The first image the viewer is presented with is an almost indistinguishable dark substance, visibly and audibly cracking like ice under extreme pressure.
The lack of clarity as to what is being shown is unsettling, forcing the viewer to question what exactly is being cracked, or what crumbling foundation this image is representative of. It is with this frame of mind that the viewer is next presented with the words of Officer Gordon about Harvey Dent.
Paired with the previously mentioned imagery, as well as a heavy score, his descriptors such as "friend" and "inspires us" sound insincere. However, the viewer is soon introduced to the memorial's venue, which is a formal, well-attended affair clearly for the purpose of commemorating a beloved fallen hero.
It takes place during evening, and the figures are dimly lit. The lighting, sound, and opening imagery conflict with the objective premise of the scene, in that rather than evoking honor or nostalgia, they instead have a disquieting effect.
Without previous knowledge of Harvey Dent, the viewer may not be able to draw any direct conclusions about his character, but this brief clip effectively introduces the concept of questioning those who may be regarded as heroes, priming the viewer for the film's continued rhetorical development surrounding the indistinct properties of heroism and villainy in human nature.
The scene that immediately follows involves workers of a known "masked man" named Bane being transferred onto a plane run by a CIA employee, and this sequence utilizes sound to make implicit claims about heroism and villainy.
This serves as the introduction of the film's antagonist Bane, who is revealed to be one of the men brought on the aircraftbut this "masked man" is ironically not nearly as unlikeable to the viewer as the CIA worker.
The CIA officer yells each of his lines in a tone that suggests both arrogance and instability, which directly contradicts the viewer's expectations. Many viewers may associate the Central Intelligence Agency with high-moral, high-intelligence men working to ensure the country's safety, and therefore it would strike them as unusual that this character is presented in such negative light.
This presentation causes the viewer to consider flaws in structures previously believed to be practically infallible.
When Bane is revealed, his lines are delivered in a calm tone, amplified and clear despite the turbulence of the airplane. The sharp contrast between this and the tone of the CIA worker suggests that Bane is in control, but not in the way typically associated with such terrorist attacks.
The music that plays as Bane carries out his plan of "crashing this plane, with no survivors" does not instill terror, but instead makes the viewer feel as if they are almost triumphing right alongside him, bringing about the possibility that Bane's cause may not be entirely ignoble.The reviews here are for the dark Knight returns.
I will be reviewing the newest rehash of previously released material DC has graced us with. The Dark Knight is a superhero film directed, produced, and co-written by Christopher leslutinsduphoenix.coming the DC Comics character Batman, the film is the second part of Nolan's The Dark Knight Trilogy and a sequel to 's Batman Begins, starring an ensemble cast including Christian Bale, Michael Caine, Heath Ledger, Gary Oldman, .
A Short Film Analysis of The Dark Knight I have chosen to analyse The Dark Knight () directed by Christopher Nolan. My chosen scene begins at and ends at represented the continued rise of smaller studios and development companies, proven by the dominance of the Best Picture-winning independent film Slumdog leslutinsduphoenix.com low-budget film was made for only $15 million, had no American superstars, lots of foreign-language dialogue, and it struggled to find a distributor.
Jul 26, · The third film in the Batman series is a direct polemical assault on the French Revolution and its political heirs, which includes Occupy Wall Street and perhaps Barack Obama.
I would say that it. Essay about Visual Analysis on Christopher Nash´s the Dark Knight and Inception - Introduction As one of the most popular Directors in Hollywood, Christopher Nolan was known for his complex storyline and non-linear structure of the film.