Scene Analysis Of Casablanca Film Studies Essay

Scene Analysis Of Casablanca Film Studies EssaySecond Essay headland Deconstruct a flick from peerless and simply(a) of the films weve moderaten this semester. Address how the theatre director use the actors, dialogue, sluttish source, television photographic camera movement, secure, editing, and production design to push their address across in the film.Casablanca was released in 1942 by the director Michael Curtiz. The film was con sidered one of the best exertion pictures ever made. The films actors, strong emotions, and loving tri tumble tot all toldy helped out in having a classical film.The last scene in Casablanca where work Blaine (Humphrey Boggraphics) and Ilsa (Ingrid Bergman) were express their closing goodbyes as an carpenters plane was in the backg traffic circle setting was one of the greatest scenes in the history of cinematic.Actors change by reversal Blaine (Humphrey Bogart) sprain Blaine was the owner of wrings Caf Amricain. He app arntly appea rs in the substantial film to be a man who is not moved by anyone. He refuses to take drinks from the customers of the caf. He in any case didnt seem to c are virtually the war and that refugees have self-possessed in Casablanca. From the drop dead of the film and twist around shows himself as a abstruse and abstruse man plainly on the other expire he is also generous, discriminating, and governmental. by and by Ilsa has arrived to Casablanca, flashbacks came across Ricks mind and reminded him of the time they spent in Paris. He appeared to be so such(prenominal) happier than he is without her. Another contrariety is also that back in Paris he was called Richard. subsequently the qualityer of the Nazis, Rick and Ilsa agreed to leave Paris together. But Ilsa stood Rick up in the train station, and this was their separation. Rick was in so much wound of what Ilsa did to him and suffered from heartbreak. After that, Ilsa showed up at the bar, Rick reacted so angrily an d refused to ar moderation her and lord Laszlo the letters they need of transit.Finally, at the rarity of the film Rick becomes the hero and he sacrifices his love to Ilsa and his disembodied spirit in Casablanca so that headmaster Laszlo deal get away with Ilsa and finish his political work.So basically in that respect were cardinal characters that Ricks appeared in the movie with. depression, In Paris he was so romantic, and then in Casablanca he was hard-hearted, and finally at the end of the film he appeared to be self sacrificing hero (Turner, Casablanca, 1999).Ilsa Lund (Ingrid Bergman)Ilsa is thoroughly patriotic to her husband, superordinate Laszlo. She believes she love Laszlo, and on the other hand she also says that she is in love with Rick, back when they were in Paris and also later on she arrived to Casablanca. She had a very good reason to tell Rick that she loves him when she was in Casablanca so that she can get the letters of transit that she post ulate. Her feelings are invariably dreamy and vague which packs it hard to run across her proper. Long time agone when Rick was in Paris, she sent him whatever letters claiming that she cant see him anymore. And that now can be a proof of her capability to pry her real feelings from those mess who loves her.From all the characters in Casablanca, Ilsa was one of the intimately community who clearly had a lot of pain from the unexpected change of wealth. First of all, her husband headmaster got arrested and reported to be dead. whence, when he came, she was orderd to endure with him through and throughout Europe with the Nazis. After that, in Casablanca she met Rick once again and fell in love with him all over, but unfortunately she was suppose to leave him once again. Ilsa didnt had an free life, and one of the greatest tragic in the whole film is her fate. Finally, at the closing scene of the film, we can feel that the chances of Ilsa living happily ever later on shutting do not exist.Victor Laszlo (Paul Henreid)One of the main characters in Casablanca is Victor Laszlo, who is the least complicated person. He is an absolute noble hero. Victor Laszlo is a handsome and convinced(p) man. His wife was Ilsa and he loves her so much to the extent that when he k innovative roughly her and Rick he pass judgment the fact and claimed he understands. He was install to give anything for Ilsa to get away safely from Casablanca. Victor likes politics. His want of tanning the Nazis is the best ambition for all the actions he ever took. He places himself as a favored to battle through it. As much as Victor Laszlo is priceless to the Allies as much as he is critical to the Nazis. master Louis Renault (Claude Rains)Louis is not a man of strong opinion, but was a friend to whoever had power. He never likes Strassers believes but he plant life with him. For a part in the film, Louis was shown as a careless and narcissistic man who cared some absolutely nothing but himself. He takes expediency of pretty women refugees and usually gets fixed winnings from the casino of Rick. He told Rick not to count on him as a friend, but he couldnt hide his feelings for his friend (Rick). Towards the goal scene of the film, the men committed to their friendship when they committed themselves to the Allied cause. Rick committed by shooting Strasser and permit Ilsa escape with Victor out of Casablanca, while Louis committed by choosing to get away from Casablanca a huge with Rick.Lighting The lighting has a great tack on the mood of the whole film. At the beginning of the movie most of the scenes and spears were brighter than when the film came towards the end where they were gloweringer. There was a scene close to the ending scene of the film in Ricks caf where Victor Laszlo was taking refuge after the meeting was attacked. The scene inside the caf was at night and it had an absolutely imprint key lighting. The shimmer of the movie was be ing built tardily through the beginning up till the end of the movie. The dimness of the film increases the drama and the worry of the cerebrateers more. The shots towards the end of the film become more extreme due to the gap among special move of the shots. This Chiaroscuro effect also helped in raising the worry due to the clear bright lights and deep dark shades. Against the light of the background, there was lord Renault, a poster boy, wearing his unfor big uniform. Those 2 were shots from the final scene when Rick holds Captain Renault as a hostage and pressure him into letting Victor Laszlo getaway. Moreover, there was a daze in this final scene in the airfield, that had a gray occupy of the scene and actors, which generate a feeling of suspicious. That resulted in making the viewers not knowing how the fight is going to be solved. Here the lighting technique was sharp and differs from the cinematography that is in all the other separate of the film.Sound The director used the sound in this scene effectively. fleck filming the movie, he discovered that the sound stage was very elflike to be suitable to an actual airplane. So he decided to adorn the actors on a soundstage at warner Bros where there was no real airplane. He also puts up half and quarter size models of Lockheed Electra 12A. The scene was looted around the machine that produces blur to cover up the artificiality of the background set. In this last scene of the movie, the actors never left the soundstage of the airplane.Also, towards the last scene of the movie, there was a shot that shows very quick two aircraft engines that has dramatic randomness from the strong piston engines driving up and the fan spinning round in a high speed. One of the shots was showing the right side of the engine of the aircraft. And the other shot shows the left side of the engine. Along with those shots, the muddiness was being spread to go with the cloudy smoggy look that covers the rest of the closing scene. The director was so talented in making a great job in sound editing so that the sound of the engines makes the film mix together well with the soundstage of the film.Camera Movements and Dialogue The ending scene of Casablanca had many camera movement techniques. After Captain Renault (Claude Rains) and Victor Laszlo depart, the camera starts to follow Rick and Ilsa, where it was neither of their view points. The camera was from the side. After that, Rick sends Ilsa to escape with Victor.After a orient away to Captain Renault, the camera builds up again to highlight the remarkable conversation the camera was also from the side. As the camera follows up again at the final minute it shifts to Rick. because the camera goes into a series of overrule tippytoe shots first from Rick to Ilsa, then to Rick again, then to Ilsa, then to Rick again, and finally back to Ilsa one more time. The camera shifted either to the event of the person who was talking or to the other pe rson. There was a dark signification in these shifts of the camera. It either representt stressing the conversation or drawing circumspection to understanding what is verbalise.Another frame got both characters (Rick and Ilsa) in, that changed into an analytical point of view shot of Ilsa. Her tears were glowing in her eyes and the feeling of the light was becoming softer at her face. At the homogeneous time, Rick was talking to her and verbalize Im not good at being noble, but it doesnt take much to see that the problems of three little people dont amount to a pitchers mound of beans in this crazy world. After that, Ilsa dropped run through(p) her chin, because she felt that she was crushed by fate. and then Ricks hands held Ilsas chin and raised it up again verbalize Now, now . And this was a close up in the camera movement.After that there was a extirpation of the point of view of Ilsa, and the hidden meaning here is so that women viewers will be able to understand he r situation. Rick said Heres looking at you kid. Then a shot of a close up happened again, where it demonstrates that Ilsa understood that Rick wants the best for her and that she accepted his decision of letting her escape with her husband. Then there was a cut back to the point of view of the guy that she really loves.After that the emotions halt for a few seconds with a degenerate cut away to study Strasser, who is the Nazi commander in charge of Casablanca, who was walk of life fasting to reach out to the airdrome. The camera then goes back to the airport, where a private conversation was held surrounded by Rick and Victor who were facing each other. Ilsa was at the background of the scene nerve-racking to wipe her tears away.Then there was a fast shot of Captain Renault from Ricks point of view. There was again pas de deux of ferment angles which were used to highlight the speakers conversation. First, from Victors point of view there was a fast cut away to Ricks poi nt of view of Ilsa. Here all three of them were in the frame together. And she backs up what Rick is saying. The shot after that returns to Rick then to Victors face who believed what Rick said and accepted his brave explanation.Then there was a three shot right after the two shots of Rick and Victor, with Ilsa on the right side wiping her tears away and she was considered in the staging position. Then a shot went back to Rick and Victor alone when Victor was saying Welcome back to the fight. This time I know our side will win.After that a shot went to the engines of the plane. Then there was a three shot of the characters looking at the plane. Then a few series of close ups follows with a great knowingness of the eyes of the actors as they act in response to the actions. First, Rick looks at the plane then at Ilsa, and Ilsa looked back at him, then both Rick and Ilsa looked at Victor, then Victor looked right into Ilsa and said atomic number 18 you ready, Ilsa?, so she turned her head for the last time and looks at Rick, then at Victor and she said Yes, Im ready. In this scene Rick is giving up on Ilsa and making her getaway with Victor, and Ilsa on the other hand is accepting Ricks decision in letting her go.Next, a cut to a wide shot of all the three actors appeared. Ilsa stepped in front and the camera movement started following in and to the left to set up some characters significant. For the first time, Ilsa stands next to Victor and Rick was alone facing them. Ilsa said Good-bye, Rick. Then there was a close up of Ilsas face that restfully softened the light at her face and completed saying graven image bless you.Next, there was a high angle shot of Rick, the theater director is trying to emphasize that we are looking for the first time down to Rick, because Ilsa was gone from his life forever, and was back with Victor. Then he said Youd come apart hurry. Youll miss that plane. We were seeing this scene from Victors point of view because now the co uple is Ilsa and Victor.After that, the camera was far away from the staging position when Ilsa and Victor were walking away towards the plane. That scene was taken again from Ricks point of view, where he was seeing both of them walking out of his life. And by that he know the generous sacrifice he has done.After that, the camera showed a reverse angle shot of Victor and Ilsa, as a couple this time, walking to the camera. Then they looked at one another and we can see that Ilsa was trying to hold herself together. And as they get closer to the camera, we see that Victor was slowly cut send off when the camera was slowly moving to the left side. The director wanted to focus the attention here on Ilsas face because she was walking away from the man she loves. After that the camera cuts into a close up to Rick alone in the frame (Turner, Casablanca, 1999).After that, the camera cut away to both Captain Renault when study Strasser just came. Major Strasser tries to make a phone call for help, when Rick asked him not to, but since he didnt respond, Rick shot him. Then the police arrived, and in few seconds Captain Renault said Round up the usual suspects. Now, Rick and Captain Renault are alone at the closing scene of the film. They watched the plane as it took off from both their point of view and then from a revered angle shot. The director tries here to make the viewers feel the loss of Rick in his eyes. After that another revered angle shot to their point of view appeared then the plane faded away within the fog (Turner, Casablanca, 1999).Finally, Rick and Captain Renault walked away together. Then the camera gets into a extend shot by rising up by looking down in a high angle shot at them as they keep walking from the staging position. Then Rick says Louis, I think this is the beginning of a beautiful friendship. Then as they continue walking the music arise (Turner, Casablanca, 1999).As for this Dialogue, the beautiful friendship that will start to begin between Rick and Captain Renault was the last closing judgment of conviction in Casablanca.Moreover, the dialogue of Casablanca was all filmed on a soundstage, but that doesnt make it any less of great dialogue.EditingThe editing of Casablanca was photogenic and high in excellence. At the closing scene of the film, the close ups of the airplane with the engines represented the scene as if it was in a real airport with a real plane, and was so hard to find out that all of that was acting in front of a fake plane. Moreover, when the shot was on the airplane taking off, it appeared that the first part of the airplane was the real one and the second part was the studio effect.All together, the story, casting, acting, dialogue, staging, music, sound, lighting, camera movement, editing, and production are so great that viewers just cared about whats happening, not about how the film was created and done.Third Essay Question whatsoever historians argue that films ring the political and social mores of rescript at the time of its creation, is this accurate contestation? Is the subject occasion of the movies weve watched driven by association or does golf club drive the entertainment industry to create films within a precise moral, social, or political context? Discuss.More frequently, American movies hypothesizeed the absolute regularise of the society. The industry is willing to sell more products. That case was mainly right when it came to studio era.J. Dudley Andrew, who is a movie scholar, saw and noticed that in The Major Film Theories A natural rapport grew up between the open which went to the movies weekly and the producers who needed to supply the people with a variant of what they care and were used to. (Gehring, 1997).Some movies crop society. For instance Star Wars it still has a continuing force, which was released again in 1997. Gehring, who is a professor and an author of gobs of film books, his occupation covered a some of his adolescen ce of the 1967s which is called dark clowning to get back on the1930s fashion of clothings.Hollywood tries to safegaurd its contribution, because they are not new nor warrantied. Furthermore, the film production is more involved in considering societys desires and needs than in directing them. People who puts all the responsibility and guilt on Hollywood for the most part of the societys troubles are not noticing nor considering real life mores and films (Gehring, 1997).The fiction part in Hollywood has been acknowledged for a long time by the majority of critics and reviewers of the genre between high art and mass culture. For the common audience of those fictions, there has been a lot of disbelieving about the behavior and sexual mortality in the film cope there was also a concern about the moral value of films and their impact on the society as a whole (Springer, 2008).Some Hollywood movies reflect social attitudes or generalize from specific films. fictitious films are very difficult and hard to make. Social products are completed, distributed, and standard by the audience. The critics examine completely in order to evaluate their roles as historical evidence. For instance it is too risky to take into consideration only some films from a accompaniment period of time as an easy reflection to the American society. Furthermore, the attitudes that are represented in a particular film great power symbolize a chain of compromises cautiously knowing to be non-offensive. Also, some individual firms and companies might point out orient very unusual attitudes toward race relations or womens rights for object lesson.Approaches about class, gender, ethnicity, work, and all other aspects of life are represented in fictional films and movies as they are novels and plays. As a mass visual entertainment, those fictional films reflect the social attitudes in a precise dramatic manner.Some movies which were released from 1915 to about 1955 were Americas mainly pop ular structure of narrative entertainment. At that time, movies tended to be targeted to bigger group of audience, who are even larger than most of the audience of plays and novels. Moreover, movies by then reflected social attitudes more precisely than any other medium, as they got into the maximum number of people. The huge amount of audience doesnt necessarily mean that movies in America characterized all points of view. In filming a movie, directors and provide tries to avoid certain controversial points of view in order not to offend a huge number of people. Also, the producers of films try not to aggravate any wide groups of people and they normally stay away from political controversial, so that they can be able to sell the film internationally to make profit.A film that is driven by the society is basically stating whats really happening in the real world in a movie. Some movie directors try to reflect the picture of whats happening in the world or society by exaggerating a little more. different film directors might just mirror real life in their movies. Others might be brave and in their movies that they show what is hidden in the society and represent it in their movies. A great example of a movie that is driven by the society could be Casablanca. Since it was filmed during War World II and it has some political and social mores of the society. Another example is the movie Amadeus, since it was a story about the lives of Amadeus Mozart and Antonio Salieri, who are two composers and that was during the latter(prenominal) half of the 18th centuryOn the contrary, some movie director wants to add something to the society or want to drive a new idea or message into it, so they do that in their movies. This is what its called society drives the entertainment industry to create films within a specific moral, social, or political context. Those kinds of movies are more open minded, because it requires more creativity and imagination to come up with some thing new more than the movies that are driven by the society. Most of those kinds of movies are imaginary movies.Another issue of lean of the same field might be that modern society is addicted to media entertainment. Simply, people in society couldnt live without all the noises, the images, the technology weve reached to nowadays.Media and films might reckon society as well. It could have positive or negative influence on people. For example, violence movies might reckon children, teenagers, or adults as well. They might get influenced unconsciously with what they watch in those violent movies. It can affect ones moral values, political, and social mores and make them more aggressive. Moreover, films of teenagers drinking or transaction with drugs also affect adolescence negatively. On the other hand, movies that have great ethical motive affect people positively. For example, movies that might deal with family gathering throughout the whole film, can teach the audience the imp ortance and the value of a family.In conclusion, a lot of writers, historians, and people argue about weather films reflect our political and social mores of our society or vice versa. The subject of the matter here is still and will remain a subject of argument and discussion, although it defers from one movie to another. Some movies combine both. For instance, a movie can be driven by society and also could be that society drove the entertainment industry to create the film or parts of it within a specific social moral and political context.