The Movie I Am Love - Essay Example

? Media Production Mise-sn-scene (including camera work) Guadagnino, I Am Love (Italy, 2009) I Am Love is a movie that can be categorized among firms that are admirable due to Luca Guadagnino's tactful approach in create the story. In fact, this movie establishes a buffer between the audience and the character, through clear transition from the first and the second half of the film’s emotional resonance; thus, it offers a powerful second hour of the firm (Berardinelli, 2010, 1). However, there need to empathize with stylistic preferences of Tilda Swinton's Emma in all levels of the firm, which assists in maintaining a position of detachment in observation for the viewers. The settings of this film can be illustrated through the luxury portrayed by the Italian director Luca Guadagnino through choice of settings, thereby making the movies a form of European art film. For instance, the film utilizes lavish costumes, sets, elaborate pacing, and nuanced mise-en-scene; in fact, this form of visual poetry and opulent imagery is not common in European movies. The film is set during Christmas through an aperture sequence to reveal Milan during the winter. Furthermore, the film is made in spectacular mansion of the affluent Recchi family, thereby developing a scene, which evokes Visconti’s “The Leopard.” For example, this mise-sn-scene is portrayed during a gathering by the family for a birthday dinner in honour of patriarch Edoardo Recchi (Swinton), who is a stylish and reserved head of the family. Another scene through which elegance, luxury and beauty is portrayed in the film is when, a young man names Antonio joins the family at the house to deliver a cake to Edo and he is introduced to Emma. At this point, the Luca Guadagnino's I Am Love offers complete digression into the privileged world attributed to impossible of luxury and sophistication, which numerous Hollywood’s Golden Age film tries to achieve (Noh, 2010, 1). On the other hand, Yorick Le Saux’s photography skills presented magnificent designs of these scenes by focusing in the aspect of timelessly archetypal attires by Fendi. For instance, Swinton appearance portrayed Raf Simons to be a fashion genius in making his film debut. A new scene in this film is developed through a rigorous editing in order to establish a context of natural environ. In this case, there are master shots created through progression of speedy cuts of shots in order to offer a representation of the entire scene. Apparently, this new scene is strident in terms of its presentation; though there is difficulty in understanding the way these new surroundings are introduced. Besides, the movies do not present the transition from one scene to another in interesting ways to viewers’ consciousness. Instead, presentation of new scenes is focused on reforming viewers’ understanding of the new scene to fit into the narrative. The film presents another mise-sn-scene in a restaurant where Emma is dinning with her mother-in-law and prospect daughter-in-law. Apparently, Emma is stirred up by the prawn prepared by Antonio; in fact, this is a scene that depicts a transition from 2D to 3D and smell-o-vision. On the other hand, performance by Swinton in this mise-en-scene precisely depicts Emma's arousal by the food. In fact, this forms a brilliant scene in the film while viewers watch as Emma lose control of her senses while her inhibitors take control of her for the rest of the movie. In addition, the movie has a temperate pace, through it gas speedy cutting for sense alteration, and so does the Recchi family. Nonetheless, there are few things that occur in the film, though they are enough to make it captivating. Therefore, mise-en-scene of the film is attributable to powerful visual cues, which narrates the story and catalyze the narrative’s transition from plot to plot. Camera Work Camera works make the film splendid, whereby Guadagnino uses different angles by positioning the camera in unusual spots. In fact, this makes the film has few shots that can be considered relatively static; thus, the camera is always in motion. In this case, there are some characters’ images, which are memorable such as whereby they traverse a spiral staircase while being filmed from above. Other magnificent shorts include Swinton’s tracking shots at the streets level, then the camera pounce up to a forty degree angle above her, and it returns to horizontal plane at her rear. Therefore, almost every scene that passes, the camera does something fascinating (Weiss, 2013, 1). On the other hand, the movie has some memorable shots compositions such as the opening credit sequence that portrays Milan covered in Christmastime snow. In addition, it also presents a desolate comparison between the snow and dark object in the frame, thereby making them appear in black and white. Therefore, the film can be considered a cinematic splendour for people interested in diverse visual styles; in fact, they cannot even notice the accompanying slow pace. In this case, the film serves right, those who appreciate an opportunity to observe a masterful performance. There is a situation where people may find the film slow, ponderous and insignificant level of emotional attachment. Narrative, Plot and Story Garrone, Gomorrah (Italy, 2008) The film begins with a description made by Gomorrah, Roberto Saviano, regarding arrival of shipping container from China, which is encumbered with corpses that fall out in the port of Naples. In fact, he describes that as hatches that are closed inappropriately which abruptly sprang open leading bodies start falling out. Moreover, he describes that they bodies appeared like mannequins and when they land on the ground, heads gash as if they had skull. Saviano disclose his source after few lines of this narration, whereby he mentions that the port crane operator covered his face with hands as he told Saviano about the incidence. Moreover, Saviano seems to have substantial narrating skills, which is evident through his descriptions regarding various incidences (De Sanctis, Monetti and Pallanch, 2008, 40). The narrator in this film offers an example, which illustrates his personal journey into the dominion of Neapolitan-based organized crime system, which is referred to as Camorra. Nonetheless, the narrator fails to differentiate the subjective gaze of the writer from his sources that are unofficial. The narrator develops a dynamic oscillation between the centred and autonomous subjectivity. Besides, this film features integration of unexpected perceptions such as those offered by the crane operator, whereby Saviano facilitates breaking of boundaries between journalistic inquests, explanation of whistleblowers and political pamphlet. The perception of regarding the Italian Southern Question leads to a consideration of embracing multiple identities of ethical position. In this case, the narration regarding the incidents in port of Naples is enough to depict the global dealings of the Camorra, which are compared to an infected, wound that is, infected. Therefore, this film is a comprehensible representation of Saviano’s narrative in a setting that reveals the impact of American movie noir (Saviano, 2007, 20). Eccentricity of Gomorrah has a correlation between the noir imaginary and the chances that fundamental factor in accomplishment that is compared to the large body of reportages which are nonfiction or literature concerning organized crime; in fact, it describes illegal trafficking taking place in Camorra. The film caught between fiction and nonfiction debate regarding the nature of the narration; in fact, critics may seem to overlook stylistic preferences of the author, which narrates the actual event through adaptation of language of global noir. Essentially, this film presents effects of noir on the Saviano’s narrative that are explained and accentuated by cinematic adjustments of Matteo Garrone portrayed through Gomorrah. Furthermore, the film features many interviews that are indicated by Garrone through his experience in sinister attraction to the hyperreal ‘images’ such as those of Chinese bodies, which resembles mannequins (Garrone, 2008, 13). However, the film develops a plot, which facilitates preoccupation of the viewer with Saviano’s entire analysis of crime system. The story in this movie is based on a book which is regarded as “Unidentified Narrative Object” since it cannot be classified as novel, reportage, narrative or journalism; in fact, this movie utilizes police information; court documents and personal familiarity concerning operations of organized crimes in depict Naples in the context of globalized economy. On the other hand, the narration utilizes a inimitable approach of blending technical sources through a emblematic writing and film noir, while this narration depicts naked facts, which facilitates capturing attentions of specialists and that of generalist audience. The film has an element of interest towards organizing crime, which not everyone would like to interpret in a technical extent; thus, the narrator is able to identify an outstanding balance between necessary evil and evocative noir language. The narrative voice in this film resembles that of an investigator with a high fascination and repulsion towards organized crime. In this case, the story exemplifies an ultra-analytical and educated version of renowned narrators, who have unexpected social-political awareness, which results to activism. On the other hand, the story entails a voice with enigma, whereby some passages offer a description of new drugs that are deadly; in fact, these drugs are tested on heroin addicts (Porton, 2009, 1). There are other narrations regarding indifference in among people who are wounded and dying in the street, crossfire that takes the life of a fourteen year-old girl and primitive rituals aimed at recruiting teenagers into organized crimes. Seemingly, this movie is an extension of an inventive strategy of communication, and not an enclosed re-proposition of the original material. For instance, the story there is incidence where Garrone shots Gomorrah, and this is an event which meets increased awareness regarding Camorra. In this case, this enables the film to bypass a great deal of first hand materials that can be deemed informative or pedagogic. Consequently, the plot develops through a concentration on minimalist instead of the “epic” approach. Therefore, this makes the movie to appear ambitious in overcoming the current impasses of Italian neorealist heritage, whereby it integrates noir moral ambiguity and visual culture. In addition, the work in this film is revelatory in terms of proofing that contemporary film noir is not an American cinematic phenomenon; instead, it is a transnational with the capability of sensationalizing crisis of urban borders. Character and Characterization Arnold, Fish Tank (UK, 2009) This film presents Mia as the main character, who is a fifteen year old protagonist; in fact, analysis of her character depicts Andrea Arnold’s brilliance. Apparently, she is described as a speedy person with fury in her effort to escape from her depressing ambience. Mia is constrained in frame boxes with a sense of panicky claustrophobia, where she lives in cramped apartment in British housing project; in fact, these apartments are located in a bunch of megaliths in isolated place, where Mia is trapped due to inability to convey her view (Bradshaw, 2009, 1). The movie begins with scenes when she encounters a group of girls practicing hip-hop dance moves on a space of asphalt. In fact, she derisions and aggravates these apparent rivals, whereby she pushes the confrontational towards violence. However, after this incident she is seen in a fenced-in vacant lot as she tries to free a horse, which is tethered to a concrete block. Mia is seen veering off from a range of tenderness and the desire to acquire freedom, safety, and love. In this case, there is a form of contradiction of adolescence that is conveyed with dependability and force in her character. On the other hand, Mia appears to be poor and in dwelling in a social-work parlance with a significant level of risk. Mia’s mother Kierston Wareing and her younger sister are also volatile; hence this movie is not derived from case files, and it has no element of compassion (Sandhu, 2009, 1). Besides, there’s fine-grained realism and a surprising level of performance of actor Katie Jarvis, who plays Mia; in fact, she offers a reflection on the peril and progress of her brittle soul in a difficult situation. The film presents Mia’s emotions in a way that offers a significant perspective of her inner life to the audience. In fact, this character can be compared to Ms. Jarvis, who appears to be hesitant, and very opaque in regard to self-presentation. In this case, Mia’s transparency is a crucial attribute that can be associated with her confusion. On the other hand, she appears to be puzzled to herself with the inability to comprehend or control her anger, desires and fear. For instance, she is seen dancing alone in a vacant apartment, though not exactly at her place; in fact, this represents a condition of the confrontations that inside her. Although, she seems to have a high preference of being lonely, she develops friendship tentatively with one young man, who takes the role of keeping her poor half-metaphorical horse. Besides, she gets involved in a complicated relationship with Connor, who is boyfriend to her mother. Furthermore, her mother is seen to be abusive and less miserable especially when drunk; in fact, when sober she is responsible and decent. Connor seems to be a generous, friendly man, when she is with Mia and Sophie. Connor’s generosity is illustrated by the decision of lending his video camera to Mia, which she uses to record a dance routine for an audition. Mia develops feelings about Connor, which results to disconcerting repercussions, which gathers gradually to arise partially. On the other hand, she considers him a big brother, a father figure or an unconcerned friend, through with a crush on him (Scott, 2010, 1). Mia’s feelings about Connor intensify, and this raises audience’s interest to see his response. Initially, Connor’s character earns him audience’s trust due to lack of choice, though this changes gradually as he portrays his predatory and deceiving character that the audience are quick to notice even before Mia does. Therefore, this film resonates to explore a relationship between a twitchy teenage girl and an unpredictable older man, who resembles a teacher. In this case, this sets pace for the movie to wrap its sexual queasiness in duration of fascination, early sixties, when clothes, cigarettes and cultural references were enthusiastically young. The author portrays these characters without influence of being absorbed by the details established in film’s settings such as the graffiti in corridors, refuse on television and the clutter on the sidewalks; for instance, Mia’s character is portrayed with a brand of realism, which is no less a style than worldliness. In this case, the movie “Fish Tank” extends towards the end with a scene involving a pursuit that goes across which goes beyond the swampy seaside wastelands. Moreover, these scenes build up through progression, which is dominant and adroit; in fact, there is circumstances attributed to hideousness and revulsion, which infuses into the narrative considering superfluously self-pitying. Finally, the film Connor, who was initially playing the kind man, turns into a source of disappointment; in fact, hover on the threshold of melodrama. In this case, the film affirms and reconfirms three major talents in a situation, which is tense in the as Mia’s high regard turns into resentment, determination to survive, grow in her environs and forgive. References Berardinelli, J., 2010, “I Am Love”, Reel Views, Retrieved on 14 August 2013 from:http://www.reelviews.net/php_review_template.php?identifier=2103 De Sanctis, P., Monetti D. and Pallanch, L., 2008, Non solo Gomorra. Tutto il cinema di Matteo Garrone, Cantalupo in Sabina: Edizioni Sabinae Garrone, M., 2008, Gomorrah, Perf. Tony Servillo, Fandango Noh, D., 2010, “Film Review: I Am Love”, Film Journal International, Retrieved on 14 August 2013 from: http://www.filmjournal.com/filmjournal/content_display/reviews/specialty-releases/e3i9b6b41a3894c84cf992fc8609fd4da5d Bradshaw, P., 2009, “Fish Tank”, The Guardian, Retrieved on 14 August 2013 from: http://www.theguardian.com/film/2009/sep/10/fish-tank-review Porton, R., 2009, "Cineaste Magazine - Articles - Inside "The System: An Interview with Matteo Garrone," Cineaste Magazine, Retrieved on 14 August 2013 from: http://www.cineaste.com/articles/inside-the-system-an-interview-with-matteo-garrone Saviano, R., 2007, Gomorrah, New York, Farrar, Straus and Giroux Sandhu, S., 2009, “Fish Tank at Cannes 2009, review”, Telegraph Media Group, Retrieved on 14 August 2013 from: http://www.telegraph.co.uk/culture/film/cannes-film-festival/5324719/Fish-Tank-at-Cannes-2009-review.html Scott, A., 2010, “Fish Tank (2009)”, Movies: New York Times, Retrieved on 14 August 2013 from: http://movies.nytimes.com/2010/01/15/movies/15fish.html?_r=0 Weiss, A., 2013, “I Am Love”, Cluster Funk Media, Retrieved on 14 August 2013 from: http://www.cinemafunk.com/movie-reviews/i-am-love.html Read More

 

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