Essay About Filmmakers and Production

of a sinister underworld, making it challenging to assign it to one specific category. It delves into themes of warfare and mortality in an unconventional manner not often witnessed in other cinematic works.

The text highlights several camera developments. One instance is when Kilgore discusses Napalm during the war. Initially, we see Kilgore with his officers, but the camera focuses solely on Kilgore as he talks about Napalm, ending with a medium close up of him (Kilgore Selection In Frame, One Close Up Kilgore). Another effective tracking shot occurs when Willard is in Kurtz's compound, witnessing Kurtz's isolation. So far, Willard has always been positioned on the left side of the screen relative to Kurtz (including his dossier). However, in this scene, we see Willard on the left side first and then at the center as he reflects on his actions. Finally, he appears on the right side of the frame as he decides to kill Kurtz.

This passage discusses two different films and their respective camera movements. In the first film, "Apocalypse Now," there is a powerful moment when Willard contemplates killing Kurtz with his bare hand. The camera pulls back during this scene, distancing us from Willard's emotions and allowing us to form our own perspective.

The second film mentioned is "Raising Arizona," which follows HI, played by Nicolas Cage, an ex-con who falls in love with Hellen Hunt's character, an ex-cop. Despite their infertility, they decide to kidnap a baby. This plan remains secret while their acquaintances consider how they can benefit from the baby.

Throughout the movie, changes in wall style and lighting are used to enhance the audience's understanding of the baby snatchers. Raising

Arizona is widely regarded as the film that helped establish Coen's unique cinematic identity. By watching this movie, viewers can appreciate the camera movement and humorous scripts that contribute to the portrayal of certain ideologies and dialogues. Additionally, the cartoonish and unconventional nature of the film is easily noticeable.

The introduction of Nicolas Cage in Raising Arizona portrays him with spikey and messy hair, resembling a character from a Bug's Bunny cartoon. The cinematography utilized in the film further accentuates this concept, employing a long shooting style with sped-up tracking shots. Raising Arizona has significantly contributed to the film industry's development and offers distinctive and exceptional films, along with various other services. One of the most noticeable choices that establishes the film's comic-like nature is its set design, known as mise-en-scene. The film gives off the impression that it was filmed on a theater stage. Despite its realistic appearance, it has the appearance of a theatrical production. Some of the sets in the film even appear to be carved out of earth.

The surrealistic environment inside Nathan Arizona's home and the half-fake, half-genuine appearance of the town's long street during Hi and the rider's last confrontation remind the audience that this film deals with serious issues, but should not be taken too seriously. The sets highlight the theatrical aspect of the film and contribute to the overall mood. The changing colors from black to white in the opening scene grab the audience's attention and convey a deliberate message.

Historic movies were also made in black and white, which creates a particular picture of an unrealistic place due to the absence of color. In the first scene, the black

and white colors highlight the barbaric brutality of the security as Bonnie and Clyde act as criminals. By comparing Mickey and Mallory with Clyde and Bonnie, it becomes evident that their similarities contrast each other, resulting in a depiction that is both unreal and real. Mickey's use of point of view is demonstrated at the start of the scene when he not only shoots a woman in the kitchen but also stabs her with a knife.

This shooting demonstrates the presence of wicked individuals within society. Additionally, it illustrates the inherent human responsibility for any instances of devastation and loss of life. The initial stages of the scene subtly hint at the violence that will unfold. Furthermore, a distorted perception is apparent from the beginning. The introduction of a stranger asking Mallory her name exposes abrupt editing as she responds rudely. Before the horrifying events commence, glimpses of darkness are showcased. The inclusion of sound effects, such as the bullets' sound in the kitchen, serves to elevate realism within the film.

Music heard during dinner can provide insight into the setting. The selection of music in this film suggests violence, particularly during the scene where Mickey hurls a knife at a woman in the kitchen. Overall, cinematic technique and theatrical elements are crucial factors in creating a successful movie. Movies like Apocalypse Now and Natural Born Killers have served as inspiration for other filmmakers, resulting in high-quality films being produced today.

In the opening scene, perspective is utilized as one of many true-to-life strategies. Along with generally unusual angled shots, the camera grants us an intriguing viewpoint. When Mickey shoots the woman from the kitchen, the perspective comes

directly from the weapon being fired. It follows the bullet through the air and into the victim. In a sense, it is as if we are experiencing the viewpoint of the weapon.

This is also an example of "slug time," described in Timothy Corrigan and Patricia White's The Film Experience: An Introduction as a tool used for anticipation and embellishment in slow motion. Once again, Mickey attacks, but this time with a knife. Once again, our perspective comes directly from the attacker and ends with the murder. We are responsible for the death and destruction. Both shots indicate that this kind of violent society creates monsters on both sides of the TV - from those like Charles Manson to those who sit on their couches, absorbing every image from the overwhelming nightly news, allowing the images to become distant and indifferent.