e. Streep's scenes as Julia Childs) but to also tie the rest of the film into the same perspective they were hoping to entice their viewers into adopting (i.e. The worship of Childs from afar a la Powell) accomplished exactly what was needed. The construction of the television spots used in the marketing campaign for Julie & Julia were not effective only in legitimizing the story of Julia Childs told in the film, but also helped to draw younger viewers to the film. Amy Adams is a quickly emerging yet very well-received actress, and her story in the film modernizes what would otherwise be a historical piece. Though this historicism was the main focus of the advertising campaign, the television spots also reflect and understanding that younger audiences will not necessarily be drawn to such a movie. The voice over and the scenes of Adams as Powell in a cramped, modern apartment with her scruffy-yet-handsome young husband are all meant as enticements to the younger generations of film goers, and are effective without diminishing the sense of...
The marketing campaign left little doubt that we would be seeing a phenomenal actress -- who is herself an American institution -- portraying the equally famous and far more influential larger-than-life persona of Julia Childs, while at the same time inviting romantic-minded members of the younger generations to experience a quaint and somewhat original modern love story. These marketing efforts were only enhanced by the critical response affirming the tacit and explicit claims made in the campaign, which also had the effect of increasing the legitimacy of the film's intent and execution as exemplified by Streep in her excerpted performances. All in all, the fact that this was a good film was essential to its successful marketing, which is almost always the case.
Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity
Movie Critique: The Pursuit of Happyness When it comes to film making, the subject of rags to riches tales have been one of the most common subject for many filmmakers. Most film viewers have watched a number of movies that revolve around a financially broken protagonist making it big. However, in the post Y2k era, it is a common perception among many that a movie has to be high on graphics,
Film Analysis from a Design Perspective: Reading Raging Bull Elements of Design The focus of this paper is a pivotal scene from the film Raging Bull, starring Robert DeNiro as real life middleweight boxer, Jake La Motta. Jake's emotional status is reflected in multiple aspects of the film production, such as his physique and costuming, the cinematography, the editing, and the direction. Film communicates the narrative's physical reality and psychological reality with
Com). Pricilla Dean, despite her odd and some might say crooked features and curvy figure, had an interesting though brief career offering audiences a unique and fierce performance in Outside the Law in 1920 (Stanford.edu, 2011). It's rare nowadays to have published short fiction in movie magazines. This one utilizes five stars under the headline and above the title. This article demonstrates that human beings still write simple "how-to" style articles even
The natural world allows us to show of more of our individual talents, whereas the urban landscape seems to only allow us to show what is needed of us in terms of industry. Modern Times echoes these themes and images of the early representation of the modern city. However, the film is much more comedic, but with the same message. For example, the factory scene shows the same monotony. It
Film Noir Among the various styles of producing films, it has been observed the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s were quite well-known for their feminine characters that were the protagonists, the femme fatale. This was most common with the French, later accepted in the United States. There might have
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