about films essay

Essays About Movies: 7 Examples and 5 Writing Prompts

Check out our guide with essays about movies for budding videographers and artistic students. Learn from our helpful list of examples and prompts.

Watching movies is a part of almost everyone’s life. They entertain us, teach us lessons, and even help us socialize by giving us topics to talk about with others. As long as movies have been produced, everyone has patronized them.  Essays about movies  are a great way to learn all about the meaning behind the picture.

Cinema is an art form in itself. The lighting, camera work, and acting in the most widely acclaimed movies are worthy of praise. Furthermore, a movie can be used to send a message, often discussing issues in contemporary society. Movies are entertaining, but more importantly, they are works of art. If you’re interested in this topic, check out our round-up of screenwriters on Instagram .

5 Helpful Essay Examples 

1. the positive effects of movies on human behaviour by ajay rathod, 2. horror movies by emanuel briggs, 3. casablanca – the greatest hollywood movie ever (author unknown).

• 4.  Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

5. Blockbuster movies create booms for tourism — and headaches for locals by Shubhangi Goel

• 6. Moonage Daydream: “Who Is He? What Is He?” by Jonathan Romney
• 7. La Bamba: American Dreaming, Chicano Style by Yolanda Machado

1. My Favorite Movie

2. movies genres, 3. special effects in movies, 4. what do you look for in a movie, 5. the evolution of movies.

“​​Films encourage us to take action. Our favourite characters, superheroes, teach us life lessons. They give us ideas and inspiration to do everything for the better instead of just sitting around, waiting for things to go their way. Films about famous personalities are the perfect way to affect social behaviour positively. Films are a source of knowledge. They can help learn what’s in the trend, find out more about ancient times, or fill out some knowledge gaps.”

In this movie essay, Rathod gives readers three ways watching movies can positively affect us. Movie writers, producers, and directors use their platform to teach viewers life skills, the importance of education, and the contrast between good and evil. Watching movies can also help us improve critical thinking, according to Briggs. Not only do movies entertain us, but they also have many educational benefits. You might also be interested in these  essays about consumerism .

“Many people involving children and adults can effect with their sleeping disturbance and anxiety. Myths, non-realistic, fairy tales could respond differently with being in the real world. Horror movies bring a lot of excitement and entertainment among you and your family. Horror movies can cause physical behavior changes in a person by watching the films. The results of watching horror movies shows that is has really effect people whether you’re an adult, teens, and most likely happens during your childhood.”

In his essay, Briggs acknowledges why people enjoy horror movies so much but warns of their adverse effects on viewers. Most commonly, they cause viewers nightmares, which may cause anxiety and sleep disorders. He focuses on the films’ effects on children, whose more sensitive, less developed brains may respond with worse symptoms, including major trauma. The films can affect all people negatively, but children are the most affected.

“This was the message of Casablanca in late 1942. It was the ideal opportunity for America to utilize its muscles and enter the battle. America was to end up the hesitant gatekeeper of the entire world. The characters of Casablanca, similar to the youthful Americans of the 1960s who stick headed the challenge development, are ‘genuine Americans’ lost in a hostile region, battling to open up another reality.”

In this essay, the author discusses the 1942 film  Casablanca , which is said to be the greatest movie ever made, and explains why it has gotten this reputation. To an extent, the film’s storyline, acting, and even relatability (it was set during World War II) allowed it to shine from its release until the present. It invokes feelings of bravery, passion, and nostalgia, which is why many love the movie. You can also check out these  books about adaption . 

4.   Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

“Lady Jessica is a powerful woman in the original book, yet her interactions with Paul diminish her as he thinks of her as slow of thought. Something we don’t like to see in 2021 — and for a good reason. Every book is a product of its time, and every great storyteller knows how to adapt an old story to a new audience. I believe Villeneuve received a lot of hate from diehard Dune fans for making these changes, but I fully support him.”

Like the previous essay, Cohen reviews a film, in this case, Denis Villeneuve’s  Dune , released in 2021. He praises the film, writing about its accurate portrayal of the epic’s vast, dramatic scale, music, and, interestingly, its ability to portray the characters in a way more palatable to contemporary audiences while staying somewhat faithful to the author’s original vision. Cohen enjoyed the movie thoroughly, saying that the movie did the book justice. 

“Those travelers added around 630 million New Zealand dollars ($437 million) to the country’s economy in 2019 alone, the tourism authority told CNBC. A survey by the tourism board, however, showed that almost one in five Kiwis are worried that the country attracts too many tourists. Overcrowding at tourist spots, lack of infrastructure, road congestion and environmental damage are creating tension between locals and visitors, according to a 2019 report by Tourism New Zealand.”

The locations where successful movies are filmed often become tourist destinations for fans of those movies. Goel writes about how “film tourism” affects the residents of popular filming locations. The environment is sometimes damaged, and the locals are caught off guard. Though this is not always the case, film tourism is detrimental to the residents and ecosystem of these locations. You can also check out these  essays about The Great Gatsby .

6. Moonage Daydream:  “Who Is He? What Is He?” by Jonathan Romney

“Right from the start, Brett Morgen’s  Moonage Daydream  (2022) catches us off guard. It begins with an epigraph musing on Friedrich Nietzsche’s proclamation that “God is dead,” then takes us into deep space and onto the surface of the moon. It then unleashes an image storm of rockets, robots, and star-gazers, and rapid-fire fragments of early silent cinema, 1920s science fiction, fifties cartoons, and sixties and seventies newsreel footage, before lingering on a close-up of glittery varnish on fingernails.” 

Moonage Daydream  is a feature film containing never-before-seen footage of David Bowie. In this essay, Romney delves into the process behind creating the movie and how the footage was captured. It also looks at the director’s approach to creating a structured and cohesive film, which took over two years to plan. This essay looks at how Bowie’s essence was captured and preserved in this movie while displaying the intricacies of his mind.

7. La Bamba:  American Dreaming, Chicano Style by Yolanda Machado

“A traumatic memory, awash in hazy neutral tones, arising as a nightmare. Santo & Johnny’s mournful “Sleep Walk” playing. A sudden death, foreshadowing the passing of a star far too young. The opening sequence of Luis Valdez’s  La Bamba  (1987) feels like it could be from another film—what follows is largely a celebration of life and music.”

La Bamba  is a well-known movie about a teenage Mexican migrant who became a rock ‘n’ roll star. His rise to fame is filled with difficult social dynamics, and the star tragically dies in a plane crash at a young age. In this essay, Machado looks at how the tragic death of the star is presented to the viewer, foreshadowing the passing of the young star before flashing back to the beginning of the star’s career. Machado analyses the storyline and directing style, commenting on the detailed depiction of the young star’s life. It’s an in-depth essay that covers everything from plot to writing style to direction.

5 Prompts for Essays About Movies

Simple and straightforward, write about your favorite movie. Explain its premise, characters, and plot, and elaborate on some of the driving messages and themes behind the film. You should also explain why you enjoy the movie so much: what impact does it have on you? Finally, answer this question in your own words for an engaging piece of writing.

From horror to romance, movies can fall into many categories. Choose one of the main genres in cinema and discuss the characteristics of movies under that category. Explain prevalent themes, symbols, and motifs, and give examples of movies belonging to your chosen genre. For example, horror movies often have underlying themes such as mental health issues, trauma, and relationships falling apart. 

Without a doubt, special effects in movies have improved drastically. Both practical and computer-generated effects produce outstanding, detailed effects to depict situations most would consider unfathomable, such as the vast space battles of the  Star Wars  movies. Write about the development of special effects over the years, citing evidence to support your writing. Be sure to detail key highlights in the history of special effects. 

Movies are always made to be appreciated by viewers, but whether or not they enjoy them varies, depending on their preferences. In your essay, write about what you look for in a “good” movie in terms of plot, characters, dialogue, or anything else. You need not go too in-depth but explain your answers adequately. In your opinion, you can use your favorite movie as an example by writing about the key characteristics that make it a great movie.

From the silent black-and-white movies of the early 1900s to the vivid, high-definition movies of today, times have changed concerning movies. Write about how the film industry has improved over time. If this topic seems too broad, feel free to focus on one aspect, such as cinematography, themes, or acting.

For help with your essays, check out our round-up of the  best essay checkers .

If you’re looking for more ideas, check out our  essays about music topic guide !

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How to Write a Film Analysis Essay: Examples, Outline, & Tips

A film analysis essay might be the most exciting assignment you have ever had! After all, who doesn’t love watching movies? You have your favorite movies, maybe something you watched years ago, perhaps a classic, or a documentary. Or your professor might assign a film for you to make a critical review. Regardless, you are totally up for watching a movie for a film analysis essay.

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However, once you have watched the movie, facing the act of writing might knock the wind out of your sails because you might be wondering how to write a film analysis essay. In summary, writing movie analysis is not as difficult as it might seem, and Custom-writing.org experts will prove this. This guide will help you choose a topic for your movie analysis, make an outline, and write the text.️ Film analysis examples are added as a bonus! Just keep reading our advice on how to get started.

❓ What Is a Film Analysis Essay?

• 🚦 Film Analysis Types

📽️ Movie Analysis Format

✍️ how to write a film analysis, 🎦 film analysis template, 🎬 film analysis essay topics.

• 📄 Essay Examples

🔗 References

To put it simply, film analysis implies watching a movie and then considering its characteristics : genre, structure, contextual context, etc. Film analysis is usually considered to be a form of rhetorical analysis . The key to success here is to formulate a clear and logical argument, supporting it with examples.

🚦 Film Analysis Essay Types

Since a film analysis essay resembles literature analysis, it makes sense that there are several ways to do it. Its types are not limited to the ones described here. Moreover, you are free to combine the approaches in your essay as well. Since your writing reflects your own opinion, there is no universal way to do it.

• Semiotic analysis . If you’re using this approach, you are expected to interpret the film’s symbolism. You should look for any signs that may have a hidden meaning. Often, they reveal some character’s features. To make the task more manageable, you can try to find the objects or concepts that appear on the screen multiple times. What is the context they appear in? It might lead you to the hidden meaning of the symbols.
• Narrative structure analysis . This type is quite similar to a typical literature guide. It includes looking into the film’s themes, plot, and motives. The analysis aims to identify three main elements: setup, confrontation, and resolution. You should find out whether the film follows this structure and what effect it creates. It will make the narrative structure analysis essay if you write about the theme and characters’ motivations as well.
• Contextual analysis . Here, you would need to expand your perspective. Instead of focusing on inner elements, the contextual analysis looks at the time and place of the film’s creation. Therefore, you should work on studying the cultural context a lot. It can also be a good idea to mention the main socio-political issues of the time. You can even relate the film’s success to the director or producer and their career.
• Mise-en-scene analysis . This type of analysis works with the most distinctive feature of the movies, audiovisual elements. However, don’t forget that your task is not only to identify them but also to explain their importance. There are so many interconnected pieces of this puzzle: the light to create the mood, the props to show off characters’ personalities, messages hidden in the song lyrics.

To write an effective film analysis essay, it is important to follow specific format requirements that include the following:

• Standard essay structure. Just as with any essay, your analysis should consist of an introduction with a strong thesis statement, body paragraphs, and a conclusion. The main body usually includes a summary and an analysis of the movie’s elements.
• Present tense for events in the film. Use the present tense when describing everything that happens in the movie. This way, you can make smooth transitions between describing action and dialogue. It will also improve the overall narrative flow.
• Proper formatting of the film’s title. Don’t enclose the movie’s title in quotation marks; instead, italicize it. In addition, use the title case : that is, capitalize all major words.
• Proper use of the characters’ names. When you mention a film character for the first time, name the actor portraying them. After that, it is enough to write only the character’s name.
• In-text citations. Use in-text citations when describing certain scenes or shots from the movie. Format them according to your chosen citation style. If you use direct quotes, include the time-stamp range instead of page numbers. Here’s how it looks in the MLA format: (Smith 0:11:24–0:12:35).

Even though film analysis is similar to the literary one, you might still feel confused with where to begin. No need to worry; there are only a few additional steps you need to consider during the writing process.

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Need more information? It can be found in the video below.

Starting Your Film Analysis Essay

There are several things you need to do before you start writing your film analysis paper. First and foremost, you have to watch the movie. Even if you have seen it a hundred times, you need to watch it again to make a good film analysis essay.

Note that you might be given an essay topic or have to think of it by yourself. If you are free to choose a topic for your film analysis essay, reading some critical reviews before you watch the film might be a good idea. By doing this in advance, you will already know what to look for when watching the movie.

In the process of watching, keep the following tips in mind:

• Consider your impression of the movie
• Enumerate memorable details
• Try to interpret the movie message in your way
• Search for the proof of your ideas (quotes from the film)
• Make comments on the plot, settings, and characters
• Draw parallels between the movie you are reviewing and some other movies

Making a Film Analysis Essay Outline

Once you have watched and possibly re-watched your assigned or chosen movie from an analytical point of view, you will need to create a movie analysis essay outline . The task is pretty straightforward: the outline can look just as if you were working on a literary analysis or an article analysis.

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• Introduction : This includes the basics of the movie, including the title, director, and the date of release. You should also present the central theme or ideas in the movie and your thesis statement .
• Summary : This is where you take the time to present an overview of the primary concepts in the movie, including the five Ws (who, what, when, where, and why)—don’t forget how!—as well as anything you wish to discuss that relates to the point of view, style, and structure.
• Analysis : This is the body of the essay and includes your critical analysis of the movie, why you did or did not like it, and any supporting material from the film to support your views. It would help if you also discussed whether the director and writer of the movie achieved the goal they set out to achieve.
• Conclusion: This is where you can state your thesis again and provide a summary of the primary concepts in a new and more convincing manner, making a case for your analysis. You can also include a call-to-action that will invite the reader to watch the movie or avoid it entirely.

You can find a great critical analysis template at Thompson Rivers University website. In case you need more guidance on how to write an analytical paper, check out our article .

Writing & Editing Your Film Analysis Essay

We have already mentioned that there are differences between literary analysis and film analysis. They become especially important when one starts writing their film analysis essay.

First of all, the evidence you include to support the arguments is not the same. Instead of quoting the text, you might need to describe the audiovisual elements.

However, the practice of describing the events is similar in both types. You should always introduce a particular sequence in the present tense. If you want to use a piece of a dialogue between more than two film characters, you can use block quotes. However, since there are different ways to do it, confirm with your supervisor.

For your convenience, you might as well use the format of the script, for which you don’t have to use quotation marks:

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ELSA: But she won’t remember I have powers?

KING: It’s for the best.

Finally, to show off your proficiency in the subject, look at the big picture. Instead of just presenting the main elements in your analysis, point out their significance. Describe the effect they make on the overall impression form the film. Moreover, you can dig deeper and suggest the reasons why such elements were used in a particular scene to show your expertise.

Stuck writing a film analysis essay? Worry not! Use our template to structure your movie analysis properly.

Introduction

• The title of the film is… [title]
• The director is… [director’s name] He/she is known for… [movies, style, etc.]
• The movie was released on… [release date]
• The themes of the movie are… [state the film’s central ideas]
• The film was made because… [state the reasons]
• The movie is… because… [your thesis statement].
• The main characters are… [characters’ names]
• The events take place in… [location]
• The movie is set in… [time period]
• The movie is about… [state what happens in the film and why]
• The movie left a… [bad, unforgettable, lasting, etc.] impression in me.
• The script has… [a logical sequence of events, interesting scenes, strong dialogues, character development, etc.]
• The actors portray their characters… [convincingly, with intensity, with varying degree of success, in a manner that feels unnatural, etc.]
• The soundtrack is [distracting, fitting, memorable, etc.]
• Visual elements such as… [costumes, special effects, etc.] make the film [impressive, more authentic, atmospheric, etc.]
• The film succeeds/doesn’t succeed in engaging the target audience because it… [tells a compelling story, features strong performances, is relevant, lacks focus, is unauthentic, etc.]
• Cultural and societal aspects make the film… [thought-provoking, relevant, insightful, problematic, polarizing, etc.]
• The director and writer achieved their goal because… [state the reasons]
• Overall, the film is… [state your opinion]
• I would/wouldn’t recommend watching the movie because… [state the reasons]
• Analysis of the film Inception by Christopher Nolan .
• Examine the rhetoric in the film The Red Balloon .
• Analyze the visual effects of Zhang Yimou’s movie Hero .
• Basic concepts of the film Interstellar by Christopher Nolan.
• The characteristic features of Federico Fellini’s movies.
• Analysis of the movie The Joker .
• The depiction of ethical issues in Damaged Care .
• Analyze the plot of the film Moneyball .
• Explore the persuasive techniques used in Henry V .
• Analyze the movie Killing Kennedy .
• Discuss the themes of the film Secret Window .
• Describe the role of audio and video effects in conveying the message of the documentary Life in Renaissance .
• Compare and analyze the films Midnight Cowboy and McCabe and Mrs. Miller .
• Analysis of the movie Rear Window .
• The message behind the film Split .
• Analyze the techniques used by Tim Burton in his movie Sleepy Hollow .
• The topic of children’s abuse and importance of trust in Joseph Sargent’s Sybil .
• Examine the themes and motives of the film Return to Paradise by Joseph Ruben .
• The issues of gender and traditions in the drama The Whale Rider.
• Analysis of the film Not Easily Broken by Duke Bill.
• The symbolism in R. Scott’s movie Thelma and Louise .
• The meaning of audiovisual effects in Citizen Kane .
• Analyze the main characters of The Girl with the Dragon Tattoo .
• Discuss the historical accuracy of the documentary The Civil War .
• Analysis of the movie Through a Glass Darkly .
• Explore the core idea of the comedy Get Out .
• The problem of artificial intelligence and human nature in Ex Machina .
• Three principles of suspense used in the drama The Fugitive .
• Examine the ideas Michael Bay promotes in Armageddon .
• Analyze the visual techniques used in Tenet by Christopher Nolan.
• Analysis of the movie The Green Mile .
• Discrimination and exclusion in the film The Higher Learning .
• The hidden meaning of the scenes in Blade Runner .
• Compare the social messages of the films West Side Story and Romeo + Juliet .
• Highlighting the problem of children’s mental health in the documentary Kids in Crisis .
• Discuss the ways Paul Haggis establishes the issue of racial biases in his movie Crash .
• Analyze the problem of moral choice in the film Gone Baby Gone .
• Analysis of the historical film Hacksaw Ridge .
• Explore the main themes of the film Mean Girls by Mark Walters .
• The importance of communication in the movie Juno .
• Describe the techniques the authors use to highlight the problems of society in Queen and Slim .
• Examine the significance of visual scenes in My Family/ Mi Familia .
• Analysis of the thriller Salt by Phillip Noyce.
• Analyze the message of Greg Berlanti’s film Love, Simon .
• Interpret the symbols of the film The Wizard of Oz (1939).
• Discuss the modern issues depicted in the film The Corporation .
• Moral lessons of Edward Zwick’s Blood Diamond .
• Analysis of the documentary Solitary Nation .
• Describe the audiovisual elements of the film Pride and Prejudice (2005) .
• The problem of toxic relationships in Malcolm and Marie .

📄 Film Analysis Examples

Below you’ll find two film analysis essay examples. Note that the full versions are downloadable for free!

Film Analysis Example #1: The Intouchables

Raising acute social problems in modern cinema is a common approach to draw the public’s attention to the specific issues and challenges of people facing crucial obstacles. As a film for review, The Intouchables by Oliver Nakache and Éric Toledano will be analyzed, and one of the themes raised in this movie is the daily struggle of the person with severe disabilities. This movie is a biographical drama with comedy elements. The Intouchables describes the routine life of a French millionaire who is confined to a wheelchair and forced to receive help from his servants. The acquaintance of the disabled person with a young and daring man from Parisian slums changes the lives of both radically. The film shows that for a person with disabilities, recognition as a full member of society is more important than sympathy and compassion, and this message expressed comically raises an essential problem of human loneliness.

Movie Analysis Example #2: Parasite

Parasite is a 2019 South Korean black comedy thriller movie directed by Bong Joon-ho and is the first film with a non-English script to win Best Picture at the Oscars in 2020. With its overwhelming plot and acting, this motion picture retains a long-lasting effect and some kind of shock. The class serves as a backbone and a primary objective of social commentary within the South Korean comedy/thriller (Kench, 2020). Every single element and detail in the movie, including the student’s stone, the contrasting architecture, family names, and characters’ behavior, contribute to the central topic of the universal problem of classism and wealth disparity. The 2020 Oscar-winning movie Parasite (2019) is a phenomenal cinematic portrayal and a critical message to modern society regarding the severe outcomes of the long-established inequalities within capitalism.

Want more examples? Check out this bonus list of 10 film analysis samples. They will help you gain even more inspiration.

• “Miss Representation” Documentary Film Analysis
• “The Patriot”: Historical Film Analysis
• “The Morning Guy” Film Analysis
• 2012′ by Roland Emmerich Film Analysis
• “The Crucible” (1996) Film Analysis
• The Aviator’ by Martin Scorsese Film Analysis
• The “Lions for Lambs” Film Analysis
• Bill Monroe – Father of Bluegrass Music Film Analysis
• Lord of the Rings’ and ‘Harry Potter’ Film Analysis
• Red Tails by George Lucas Film Analysis

Film Analysis Essay FAQ

• Watch the movie or read a detailed plot summary.
• Read others’ film reviews paying attention to details like key characters, movie scenes, background facts.
• Compose a list of ideas about what you’ve learned.
• Organize the selected ideas to create a body of the essay.
• Write an appropriate introduction and conclusion.

The benefits of analyzing a movie are numerous . You get a deeper understanding of the plot and its subtle aspects. You can also get emotional and aesthetic satisfaction. Film analysis enables one to feel like a movie connoisseur.

Here is a possible step by step scenario:

• Think about the general idea that the author probably wanted to convey.
• Consider how the idea was put across: what characters, movie scenes, and details helped in it.
• Study the broader context: the author’s other works, genre essentials, etc.

The definition might be: the process of interpreting a movie’s aspects. The movie is reviewed in terms of details creating the artistic value. A film analysis essay is a paper presenting such a review in a logically structured way.

• Film Analysis – UNC Writing Center
• Film Writing: Sample Analysis // Purdue Writing Lab
• Yale Film Analysis – Yale University
• Film Terms And Topics For Film Analysis And Writing
• Questions for Film Analysis (Washington University)
• Resources on Film Analysis – Cinema Studies (University of Toronto)
• Does Film Analysis Take the Magic out of Movies?
• Film Analysis Research Papers – Academia.edu
• What’s In a Film Analysis Essay? Medium
• Analysis of Film – SAGE Research Methods
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It’s an interesting point of view. Thank you for your opinion, Sourav!

EXCELENT COVERAGE!

Thank you, Mike!

Hi Rebecca,

Glad you liked the post. Sure thing, feel free to share the link with your audience!

All the best.

How Can I Write an Essay About a Movie?

By Film Threat Staff | May 23, 2023

Watching movies for a long time has been a major past-time for most individuals. The people expect to sit in front of their screens and get thrilled into a world of adventure, mystery, and wonder.

But how can you gauge your appreciation and understanding of filmmaking? Writing an essay about a movie is one way of showing your grasp of the content.

Movie analysis is a common assignment for most college students. It is an intricate task where every detail matters while tied together to form a part of the story.

A part of the assignment involves watching a particular movie and writing an essay about your overall impression of the movie.

Essay writing services such as WriteMyEssay show that more than rewatching a movie several times is needed to make up for a solid movie analysis essay. Here is a step-by-step guide on how to write your movie analysis:

What Is a Movie Essay?

The world of literature is multifaceted while testing different attributes of students. A movie analysis essay, at its core, seeks to uncover the hidden layers of meaning within the cinema world.

A movie analysis essay is much more than a movie review that seeks to delve into the artistry behind filmmaking. Thus, it seeks to test a student’s prowess in understanding various elements that come together to form a meaningful cinematic experience.

The main purpose of movie analysis essays is to dissect different components employed by a film in making a unique and impactful storyline.

Students can appreciate the filmmaking process’s complexities by analyzing these different elements. Also, students can develop a keen eye for the nuances that elevate a movie from entertainment to a work of art.

Here are top tips by experts when writing an essay about a particular movie during your assignments:

1. Watch the Movie

The first obvious standpoint for writing an essay about any movie is watching the film. Watching the movie builds an important foundation for the writing exercise. Composing an insightful, compelling, and well-thought movie essay requires you to experience it.

Therefore, select an appropriate environment to watch the movie free from distractions. Moreover, immerse yourself in the full movie experience to absorb all the intricate details. Some critical elements to note down include:

• Characterization
• Cinematography

We recommend watching the movie several times in case the time element allows. Rewatching the film deepens your understanding of the movie while uncovering unnoticed details on the first take.

2. Write an Introduction

The introductory paragraph to your movie essay should contain essential details of the movie, such as:

• Release date
• Name of the director
• Main actors

Moreover, start with a captivating hook to entice readers to keep reading. You can start with a memorable quote from one of the characters.

For example, released in 1976 and Directed by Martin Scorsese, ‘The Taxi Driver’ starring Robert De Niro as the eccentric taxi driver.’

After writing an enticing introduction, it is time to summarize what you watched. A summary provides readers with a clear understanding of the movie’s plot and main events. Hence, your readers can have a foundation for the rest of your movie essay.

Writing a summary need to be concise. The entire movie essay should be brief and straight to the point. Ensure to capture the main arguments within the movie’s plot. However, avoid going into too many details. Just focus on giving concise information about the movie.

4. Start Writing

The next vital part is forming the analysis part. This is where the analysis delves deeply into the movie’s themes, cinematography, characters, and other related elements.

First, start by organizing your analysis clearly and logically. Each section or paragraph should concentrate on a particular aspect of the film. Ensure to incorporate important elements such as cinematography, character development, and symbolism.

In addition, analyze different techniques employed by filmmakers. Take note of stylistic choices, including editing, sound, cinematography, imagery, and allegory. This helps contribute to the overall impact and meaning.

Lastly, connect your analysis to the thesis statement. Ensure all arguments captured in your analysis tie together to the main argument. It should maintain a straight focus throughout your essay.

Remember to re-state your thesis while summarizing previously mentioned arguments innovatively and creatively when finishing up your movie essay. Lastly, you can recommend your reader to watch the movie.

Final Takeaway

The writing process should be a fun, demanding, and engaging assignment. Try these tips from experts in structuring and logically organizing your essay.

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The Writing Place

Resources – writing about film: the critical essay, introduction to the topic.

Like it or not, studying film may very well be a part of the well-rounded education you receive here at Northwestern University. But how to go about writing such an essay? While film reviews and theoretical essays are part of Film Studies, the most common paper that students will face is: “the critical essay”

Fear not. Though its title combines a serious undertone that implies it is both a large chuck of your grade and also really hard and vague, this post will guide you on your way.

First, what is the critical essay? It may surprise you to note that it is much more than 35% of your grade. In actuality, the most common form of the cinematic critical essay is one in which the writer explores one or more aspects of a film and analyzes how they enhance the film’s meaning and/or artistry. This is very similar to English analysis papers. For example,  The Scarlet Letter  can be analyzed in terms of its motif of civilization versus the wilderness. In the novel, the town is representative of human civilization and authority while the forest represents natural authority (Sparknotes Editors, 2003).  Likewise, the same motif illustrates Terrence Malick’s  Tree of Life.  The wilderness represents the way of nature while the family (or civilization) represents the way of grace. The crossing over of these settings enables the viewer to visualize the internal struggles of Malick’s characters as they seek higher meaning from God.

“Hmmm…” I can hear you wondering. “I already know how to do that! It’s all we did in high school English classes!” But here is where the cinematic essay diverges from the literary essay— the elements that we analyze. Films can be analyzed from traditional literary aspects such as themes, narrative, characters, and points of view but there are also uniquely cinematic aspects: mise-en-scene, the shot, aesthetic history and edited images.

Parts of a Critical Essay

Aspect 1: mise-en-scene.

Mise-en-scene refers to everything in a scene independent of the camera’s position, movement, and editing (Corrigan, 1998). This includes lighting, costumes, sets, the quality of the acting, etc. It is important to remember that every aspect of a scene was consciously chosen by the director and his or her team. Because movies often present themselves as instances of real life, this fact is easily forgotten and the artistic choices that the film crew made are overlooked.

In the following still from   Wes Anderson’s  Moonrise Kingdom  (2012), one can analyze it in terms of mise-en-scene. One could note the arrangement of the props. In real life, it would be unlikely that rocks, sticks, and supplies would arrange themselves in an almost perfect circular fashion around the map. However, Anderson’s decision to arrange the props focus viewer’s attention on the map and highlight the adventure that the two children are about to go on in  Moonrise Kingdom.

Click  here for an example of an essay dealing with mise-en-scene.

Aspect 2: The Shot

The shot refers to the single image before the camera cuts to the next scene (Corrigan, 1998). These shots can include a lot of variety and movement. We can analyze the effect that shots have in terms of their photographic qualities such as tone, speed, and perspectives created, to name a few examples (Corrigan, 1998). A single shot is composed of multiple frames, or stills of the same scene. We can analyze the shot in terms of framing, i.e. what was actually decided to be included within the image and the location of stuff within the frame.

Watch the following shot (beginning at the 30 second mark) for an example: Click Here to Navigate to YouTube

In this shot from Dayton and Faris’  Little Miss Sunshine  (2006), Dwayne has just found out he cannot join the air force. He had maintained a vow of silence to help him focus on getting admitted to the air force and breaks it from utter frustration. The shot’s stationary position as Dwayne runs screaming from his family helps highlight how the physical distance Dwayne puts between himself and his family reflects the emotional distance and frustration he feels at the moment.

Aspect 3: Edited Images

When one or more shots are joined together, they become edited (Corrigan, 1998). These usually have two main purposes. One is the logical development of the story. A shot in the morning connected with a shot in the afternoon connotes to the viewer that time has passed. Other times the editing of shots has artistic intent. For example, in a Chipotle commercial the first shot is of an industrial slaughterhouse. The next shot features animals grazing in a pasture. This is an artistic statement on the part of the advertising team to convey to Chipotle’s customers about the higher standard of care and ethics that they ensure their meat sources follow.

Edited images can also be analyzed from other aspects. For example, one could explain how meaning is created by the specific arrangement in shots, their collisions with each other, and the presence of visual motifs “echoing” through subsequent shots.

For instance, in the edited shots from Patar and Aubier’s movie  A Town Called Panic  (2009) the editing of the kitchen shot and the snow shot serves two purposes. One purpose is to further the logical chronological development of the story. The other purpose is to add humor. Because being asleep for an entire summer is impossibly long, it adds absurd humor.

Hopefully, the brief foray into the various cinematic aspects that one could examine was helpful. The world of film analysis is vast and wide, offering a fecund source for analytical and cinematic exploration and creation.

-Developed by Kyla Donato  

Click here to return to the “writing place resources” main page..

Film Essays: The Ultimate Guide to Writing a Film Essay

By Essaywriter

If you’re a film buff or a student of film studies, you’ve probably encountered film essays at some point in your academic career.

Writing a film essay can be challenging, but with guidance, you can craft a compelling analysis of any cinematic masterpiece.

One of the world’s most well-liked and regularly watched forms of entertainment is a film, whether blockbusters or indie movies. The film has become an essential part of culture and society worldwide.

A film is a powerful tool for social critique and cultural expression. Despite changes, movies have never lost their capacity to amuse, instruct, and inspire. This post offers knowledge, suggestions, and resources for writing film essays. An analysis of a particular film’s many elements is done in a film essay.

Understanding the Elements of Film Analysis

Film analysis comprises evaluating and comprehending the many components that make up a film. These include the movie’s cinematography, sound, editing, acting, and narrative. It is possible to gain a deeper understanding of the movie’s themes, messages, and overall relevance by analyzing these components.

Films comprise certain components, which directors and movie producers tend to tweak to recreate different cultures and historical points in time. For instance, a movie set in the 1980s will have very different scenery, costumes, and soundtrack than a movie set in the present.

There has been a major advancement in technology, music, fashion, and social conventions between the 1980s and now. Therefore, these film components need to be properly considered when writing a film essay.

Tips for Writing Film Essays

Researching and selecting a film to analyze.

To explore possible films, choose your areas of interest, such as a specific genre, era, or filmmaker. After that, you can use various tools to gather information and ideas for new films.

Thousands of films, reviews, and ratings are available through online databases such as IMDb and Rotten Tomatoes. Search engines such as Google and Bing can also be used to find articles, criticisms, and analyses of certain films or directors.”

Outlining and Organizing the Film Essays

Outlining and arranging a film essay can help ensure that your analysis is clear and succinct. Create an outline that breaks down the various parts of the film you will be analyzing, such as the narrative, characters, cinematography, and symbolism so that you can arrange your thoughts.

Maintain focus by avoiding needless details. Instead, concentrate on offering specific examples from the film to back up and connect your analysis. You should also employ transitions between paragraphs to make it easier for the reader to follow your train of thought.

Citing Sources and Formatting the Film Essays

Citation of sources and Proper formatting gives credit to the film’s creators, but it also demonstrates the credibility of your research and analysis. When citing a film, it’s important to follow the guidelines of the citation style you use, whether it be MLA, APA, or Chicago.

This includes the title of the film, the director, and the year of release. When citing sources such as articles or books, it’s important to include the author, title, publication date, and page number(s).

Tips for Incorporating Film Terminology and Analysis Techniques

It is critical to strike a balance between employing technical language and making it accessible to your audience when incorporating cinema vocabulary and analysis procedures in a film essay.

One technique is to start with a clear and short statement that defines your essay’s major argument or purpose. From there, you can support and deepen your thesis by employing specialized cinema terminology and analysis approaches. Use film examples to illustrate your views and make them more accessible to the reader.

Use a clear and simple writing style and be consistent in using technical language and analysis methodologies. This will help the reader follow your argument and understand your views.

Finally, to provide a full understanding of the film, employing a variety of analysis methodologies such as formalism or psychoanalysis. This will not only help you obtain a deeper understanding of many components of the film, but it will also allow you to provide a more sophisticated analysis.

Sample Film Essays Outline

Thesis statement: “Through its use of surreal imagery and unconventional narrative structure, ‘Mulholland Drive’ deconstructs the Hollywood dream and exposes the darkness at the heart of the film industry.”

Main point 1: The cinematography and mise-en-scène of ‘Mulholland Drive’

Main point 2: The themes and messages of ‘Mulholland Drive’

Main point 3: The cultural and historical context of ‘Mulholland Drive’

Conclusion: Recap of main points and analysis of the lasting impact of the film

Film elements are what make each film production distinct from every other. Therefore, understanding them empowers writers with the tools to analyze and write fitting essays adequately.

When writing a film essay, tips like researching and selecting a film to analyze, outlining and organizing the essay, citing sources and formatting the essay, and incorporating film terminology and analysis techniques help present your essay in the most logical, clear, clear, concise, and comprehensive way.

If you’re looking to write a film essay anytime soon, following this stepwise guide on writing film essays will get you critical acclaim when your work is peer-reviewed.

Perhaps you do not have the time to write a film essay or any other paper, or maybe you need professional help writing your paper.

Our website, ThePaperExperts.com , is a place you can visit to get your paper professionally written and delivered on time, irrespective of the type of essay you need to be written.

Try us now by calling 1-888-774-9994 and speak to an academic advisor today and get help with film essays!

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Pass the Time With Purpose: 5 Essential Film Essays

Talking about movies is one of our favorite pastimes, maybe even more than the movies themselves. It’s irresistible to critique someone’s work, point out flaws, and relive some of the key moments. But, for filmmakers, talking about movies isn’t just fun—it’s essential.

As all of us well know, nothing in a film happens by accident (ok, almost nothing). So, when we notice that a film looks, feel, or sounds a certain way, then there’s a great chance it’s worth talking about. Outside of making a film yourself, examining other filmmakers’ works is probably the quickest way to learn the craft.

Most of us have a little extra time on our hands these days. So, instead of falling into the abyss of the endless scroll or rewatching the entirety of The Office for the sixth time, we wanted to take an opportunity to provide you with some valuable alternatives. 

Here are 5 essential film essays for you to learn from, plus a few channels to explore.

Thomas Flight | Chernobyl – A Masterclass in Perspective

In case you missed what may be one of the best miniseries of all time, we highly recommend stopping everything to watch Chernobyl . Then, watch Thomas Flight’s incredible examination of how to tell a story through a character’s eyes. The lessons to learn here are essential for effective storytelling, and he uses key examples of how to do it and how not to do it (sorry, Mark Wahlberg).

Nerdwriter | Mandy: The Art of Film Grain

“Time has no meaning anymore. Every aesthetic of the past is a pallet of the future.” That’s a pretty bold statement, but in this video from Nerdwriter, they do a pretty good job of backing it up. Now, there’s a lot to talk about with Mandy , but this examination of film grain is a great way to dive into how we connect with things, how aesthetics can play a role in filmmaking, and why it matters at all.

The Discarded Image | Once Upon a Time… in Hollywood | Tarantino at his Most Meta

This great essay from our friends at The Discarded Image has more “I never thought of that” moments than we can count. The video uses Once Upon a Time…in Hollywood as a launching point to explore Quentin Tarantino’s career, and how he uses our preconceived notions to subvert our expectations. There are some mind-blowing moments here, including how Tarantino casts actors based on our pop-culture awareness of them. Crazy stuff.

Hurlbut Academy | Parasite | The Look Of… 

Parasite is destined to be a “film school” film, and for good reason. Director Bong Joon-ho’s instant classic is one of the most intentional movies we’ve ever seen. Literally every decision was made to tell a story, either consciously or unconsciously, and in this essay from the Hurlbut Academy, they explore the visual decisions behind its production. They break down everything from camera choice to set creation, and how they all worked together to make a masterpiece.

Anna Catley | Die Hard: A Christmas Movie

There aren’t a whole lot of lessons to learn from this one, but this essay from Anna Catley settles the timeless debate: Is Die Hard a Christmas movie? With her characteristic humor and wit, she breaks down her argument while also reminding us why we love to talk about movies in the first place—because it’s fun. Do we really need a better reason than that?

Channels to Follow for more Film Essays

These are just a few recent examples of film essays for you to check out, but there are countless others. And, just like the classic films they explore, they’re pretty timeless as well. We can always learn lessons from the masters, which makes these channels worth revisiting time and time again. Here’s a short list of some essential video essay channels:

• Every Frame a Painting
• Thomas Flight
• The Discarded Image
• Hurlbut Academy
• Lindsay Ellis
• Anna Catley
• We Need to Talk About Film
• Lessons from the Screenplay

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Study Guide - Edward Scissorhands: How to write a Film Analysis Essay & Cinematic Techniques

• Characters, Plot, Synopsis &Themes
• Quotations & Bibilography
• Film Reviews
• How to write a Film Analysis Essay & Cinematic Techniques
• Film Genres & Film Lighting Terminology, Film QUIZ

How to write a film analysis essay

How to Write a Film Analysis Essay

By Timothy Sexton

Writing a film analysis essay is an assignment that is less likely to terrorize those who fear the idea of writing an essay, because it allows them to write about something most people enjoy. Film analysis is not the same thing as writing a movie review, which involves passively watching a movie. An analysis means you must engage on a level beyond that of storytelling.

Watch the movie. Then watch it again. Take notes during the first viewing and, if you are analyzing a movie that is available on DVD, be ready with your remote control to pause and rewind.

Critically engage the movie so that you can effectively produce a strong essay. Focus on a single thematic concept related to the film. Ideas for essays taking this route could include an analysis of how the film is photographed, how the movie relates a historical event in a dramatic way without compromising the facts or how a single sequence within the film relates to larger cinematic concepts, like overlapping dialogue or the utilization of dramatic irony.

Introduce the film and its major participants, such as the actors and director. Include the name of another technician on the film if your analysis will be focusing on that aspect. For instance, cite the name of the cinematographer if you are going to be writing about the importance of shadows to film noir, or include the name of the composer of the movie’s score if you are writing about the importance of background music to the emotional tone of the film.

Provide a brief overview of the story, but avoid the temptation to pad your word count by writing what amounts to a synopsis of the story rather than analysis. Reveal plots twists or the ending of the film only if they relate directly to your analysis.

Write your film analysis with the movie at hand if this is possible. Write next to a television and DVD player if applicable. Stay inside the theatre for the second or third showing with your notepad ready if this is possible. Writing an effective film analysis is best accomplished if you don’t have to rely on your memory of events, dialogue or cinematic techniques.

Familiarize yourself with technical jargon related to the art of filmmaking. Learn the difference between a cut and a dissolve. Write about subjective camera work if the analysis is dealing with a part of the movie shot from the point of view of one of the characters. Properly utilizing filmmaking terms will strengthen the authority of your essay.

Source:  http://classroom.synonym.com/write-film-analysis-essay-4125.html

Cinematic Techniques

Tim Burton's Edward Scissorhands Film Analysis

Help with writing a film essay - Linda Rubens

Film Techniques

Film techniques is the term used to describe the ways that meaning is created in film.

Camera Shots

A camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Reviewing the examples on the right hand side of this page should make the different camera shots clearer.

An extreme long shot ( animation on right ) contains a large amount of landscape. It is often used at the beginning of a scene or a film to establish general location (setting). This is also known as an establishing shot.

A long shot ( animation on right ) contains landscape but gives the viewer a more specific idea of setting. A long shot may show the viewers the building where the action will take place.

A full shot ( animation on right ) contains a complete view of the characters . From this shot, viewers can take in the costumes of characters and may also help to demonstrate the relationships between characters. For more information on costumes and acting refer to Chapter 4.

A mid shot ( animation on right ) contains the characters or a character from the waist up . From this shot, viewers can see the characters' faces more clearly as well as their interaction with other characters. This is also known as a social shot

A close-up ( animation on right ) contains just one character's face . This enables viewers to understand the actor's emotions and also allows them to feel empathy for the character. This is also known as a personal shot.

An extreme close-up ( animation on right ) contains one part of a character's face or other object. This technique is quite common in horror films, particularly the example above. This type of shot creates an intense mood and provides interaction between the audience and the viewer.

When analysing a film you should always think about the different camera shots and why they are being used. The next time that you are at the cinema or watching television see what camera shots are being used.

Important: These camera shots are used in all forms of visual texts including postcards, posters and print advertisements.

Camera angles

It is important that you do not confuse camera angles and camera shots. Camera shots are used to demonstrate different aspects of setting, themes and characters. Camera angles are used to position the viewer so that they can understand the relationships between the characters. These are very important for shaping meaning in film as well as in other visual texts.

The following examples will help you to understand the differences between the different camera angles

A bird's eye angle ( animation on right ) is an angle that looks directly down upon a scene . This angle is often used as an establishing angle, along with an extreme long shot, to establish setting.

A high angle ( animation on right ) is a camera angle that looks down upon a subject . A character shot with a high angle will look vulnerable or small. These angles are often used to demonstrate to the audience a perspective of a particular character. The example above demonstrates to us the perspective or point of view of a vampire. As a viewer we can understand that the vampire feels powerful.

An eye-level angle ( animation on right ) puts the audience on an equal footing with the character/s . This is the most commonly used angle in most films as it allows the viewers to feel comfortable with the characters.

A low angle ( animation on right ) is a camera angle that looks up at a character . This is the opposite of a high angle and makes a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character. This can help the responder feel empathy if they are viewing the frame from another character's point of view.

As with camera shots, you will be able to see many examples of camera angles in any film or visual text that you view. The next time that you watch television or see a film, take note of the camera angles and think of how they affect your perception (idea) of different characters.

Another camera angle that you might come across is a Dutch angle.

A Dutch angle ( animation on right ) is used to demonstrate the confusion of a character. The example above should disorientate you.

Camera movement

Composers of films also use camera movement to shape meaning. The following are some examples of common camera movements and how they can be used to shape meaning in films.

A crane shot ( animation on right ) is often used by composers of films to signify the end of a film or scene. The effect is achieved by the camera being put on a crane that can move upwards

A tracking shot and a dolly shot ( animation on right ) have the same effect. A tracking shot moves on tracks and a dolly shot is mounted on a trolley to achieve the effect in the example above. This camera movement is used in a number of ways but is most commonly used to explore a room such as a restaurant. By using a tracking shot or a dolly shot the composer of a film gives the viewer a detailed tour of a situation. It can also be used to follow a character.

Panning ( animation on right ) is used to give the viewer a panoramic view of a set or setting. This can be used to establish a scene

An Evangelion shot ( animation on right ) is derived from the popular anime series 'Neon Genesis Evangelion'. This camera movement begins as an extreme close-up and zooms out abruptly, creating a blurring effect to emphasise the speed and size of the object

Lighting is a very important aspect for shaping meaning in films. What kind of atmosphere is created in a room lit by candles? Have you ever heard of mood lighting? A room that is brightly lit by neon lights might seem to be sterile or a shadowy room might be eerie or scary. The lighting technicians in a film crew have the task of creating lighting to suit the mood and atmosphere of each scene in a film.

Consider the animations Lighting example one, Lighting example two, Lighting example three and think about what type of atmosphere is created in each.

For each example, do you think the lighting suits the characters in the frames? For instance, in Example Three the two people are very happy and the scene is lit brightly. What would be the effect on the atmosphere if the lighting were dark and shadowy, similar to Example Two?

Remember that lighting is used in still image visual texts as well as in films.

Cinematography

Cinematography is the combination of the techniques described in this chapter. This includes camera shots, camera angles, camera movement and lighting. Use the term cinematography to group all of these together, for example, 'The cinematography in that film was exceptional.'

Mise en Scene

Mise en scene refers to all the objects and characters in a particular frame. More specifically, it refers to the composition of the frame. When you use the term mise en scene, you are discussing where the composer or director has placed all the elements of the scene within the frame.

Source : Information taken from educational website - www.skwirkcom

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Film Analysis

What this handout is about.

This handout introduces film analysis and and offers strategies and resources for approaching film analysis assignments.

Writing the film analysis essay

Writing a film analysis requires you to consider the composition of the film—the individual parts and choices made that come together to create the finished piece. Film analysis goes beyond the analysis of the film as literature to include camera angles, lighting, set design, sound elements, costume choices, editing, etc. in making an argument. The first step to analyzing the film is to watch it with a plan.

Watching the film

First it’s important to watch the film carefully with a critical eye. Consider why you’ve been assigned to watch a film and write an analysis. How does this activity fit into the course? Why have you been assigned this particular film? What are you looking for in connection to the course content? Let’s practice with this clip from Alfred Hitchcock’s Vertigo (1958). Here are some tips on how to watch the clip critically, just as you would an entire film:

• Give the clip your undivided attention at least once. Pay close attention to details and make observations that might start leading to bigger questions.
• Watch the clip a second time. For this viewing, you will want to focus specifically on those elements of film analysis that your class has focused on, so review your course notes. For example, from whose perspective is this clip shot? What choices help convey that perspective? What is the overall tone, theme, or effect of this clip?
• Take notes while you watch for the second time. Notes will help you keep track of what you noticed and when, if you include timestamps in your notes. Timestamps are vital for citing scenes from a film!

For more information on watching a film, check out the Learning Center’s handout on watching film analytically . For more resources on researching film, including glossaries of film terms, see UNC Library’s research guide on film & cinema .

Brainstorming ideas

Once you’ve watched the film twice, it’s time to brainstorm some ideas based on your notes. Brainstorming is a major step that helps develop and explore ideas. As you brainstorm, you may want to cluster your ideas around central topics or themes that emerge as you review your notes. Did you ask several questions about color? Were you curious about repeated images? Perhaps these are directions you can pursue.

If you’re writing an argumentative essay, you can use the connections that you develop while brainstorming to draft a thesis statement . Consider the assignment and prompt when formulating a thesis, as well as what kind of evidence you will present to support your claims. Your evidence could be dialogue, sound edits, cinematography decisions, etc. Much of how you make these decisions will depend on the type of film analysis you are conducting, an important decision covered in the next section.

After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:

• Make sure you understand the prompt and what you are being asked to do. Remember that this is ultimately an assignment, so your thesis should answer what the prompt asks. Check with your professor if you are unsure.
• In most cases, the director’s name is used to talk about the film as a whole, for instance, “Alfred Hitchcock’s Vertigo .” However, some writers may want to include the names of other persons who helped to create the film, including the actors, the cinematographer, and the sound editor, among others.
• When describing a sequence in a film, use the literary present. An example could be, “In Vertigo , Hitchcock employs techniques of observation to dramatize the act of detection.”
• Finding a screenplay/script of the movie may be helpful and save you time when compiling citations. But keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).
• Go beyond describing basic film elements by articulating the significance of these elements in support of your particular position. For example, you may have an interpretation of the striking color green in Vertigo , but you would only mention this if it was relevant to your argument. For more help on using evidence effectively, see the section on “using evidence” in our evidence handout .

Also be sure to avoid confusing the terms shot, scene, and sequence. Remember, a shot ends every time the camera cuts; a scene can be composed of several related shots; and a sequence is a set of related scenes.

Different types of film analysis

As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write.

Semiotic analysis

Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context.

For instance, a writer could explore the symbolism of the flowers in Vertigo by connecting the images of them falling apart to the vulnerability of the heroine.

Here are a few other questions to consider for this type of analysis:

• What objects or images are repeated throughout the film?
• How does the director associate a character with small signs, such as certain colors, clothing, food, or language use?
• How does a symbol or object relate to other symbols and objects, that is, what is the relationship between the film’s signs?

Many films are rich with symbolism, and it can be easy to get lost in the details. Remember to bring a semiotic analysis back around to answering the question “So what?” in your thesis.

Narrative analysis

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell.

For example, you could take the same object from the previous example—the flowers—which meant one thing in a semiotic analysis, and ask instead about their narrative role. That is, you might analyze how Hitchcock introduces the flowers at the beginning of the film in order to return to them later to draw out the completion of the heroine’s character arc.

To create this type of analysis, you could consider questions like:

• How does the film correspond to the Three-Act Structure: Act One: Setup; Act Two: Confrontation; and Act Three: Resolution?
• What is the plot of the film? How does this plot differ from the narrative, that is, how the story is told? For example, are events presented out of order and to what effect?
• Does the plot revolve around one character? Does the plot revolve around multiple characters? How do these characters develop across the film?

When writing a narrative analysis, take care not to spend too time on summarizing at the expense of your argument. See our handout on summarizing for more tips on making summary serve analysis.

Cultural/historical analysis

One of the most common types of analysis is the examination of a film’s relationship to its broader cultural, historical, or theoretical contexts. Whether films intentionally comment on their context or not, they are always a product of the culture or period in which they were created. By placing the film in a particular context, this type of analysis asks how the film models, challenges, or subverts different types of relations, whether historical, social, or even theoretical.

For example, the clip from Vertigo depicts a man observing a woman without her knowing it. You could examine how this aspect of the film addresses a midcentury social concern about observation, such as the sexual policing of women, or a political one, such as Cold War-era McCarthyism.

A few of the many questions you could ask in this vein include:

• How does the film comment on, reinforce, or even critique social and political issues at the time it was released, including questions of race, ethnicity, gender, and sexuality?
• How might a biographical understanding of the film’s creators and their historical moment affect the way you view the film?
• How might a specific film theory, such as Queer Theory, Structuralist Theory, or Marxist Film Theory, provide a language or set of terms for articulating the attributes of the film?

Take advantage of class resources to explore possible approaches to cultural/historical film analyses, and find out whether you will be expected to do additional research into the film’s context.

Mise-en-scène analysis

A mise-en-scène analysis attends to how the filmmakers have arranged compositional elements in a film and specifically within a scene or even a single shot. This type of analysis organizes the individual elements of a scene to explore how they come together to produce meaning. You may focus on anything that adds meaning to the formal effect produced by a given scene, including: blocking, lighting, design, color, costume, as well as how these attributes work in conjunction with decisions related to sound, cinematography, and editing. For example, in the clip from Vertigo , a mise-en-scène analysis might ask how numerous elements, from lighting to camera angles, work together to present the viewer with the perspective of Jimmy Stewart’s character.

To conduct this type of analysis, you could ask:

• What effects are created in a scene, and what is their purpose?
• How does this scene represent the theme of the movie?
• How does a scene work to express a broader point to the film’s plot?

This detailed approach to analyzing the formal elements of film can help you come up with concrete evidence for more general film analysis assignments.

Reviewing your draft

Once you have a draft, it’s helpful to get feedback on what you’ve written to see if your analysis holds together and you’ve conveyed your point. You may not necessarily need to find someone who has seen the film! Ask a writing coach, roommate, or family member to read over your draft and share key takeaways from what you have written so far.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Aumont, Jacques, and Michel Marie. 1988. L’analyse Des Films . Paris: Nathan.

Media & Design Center. n.d. “Film and Cinema Research.” UNC University Libraries. Last updated February 10, 2021. https://guides.lib.unc.edu/filmresearch .

Oxford Royale Academy. n.d. “7 Ways to Watch Film.” Oxford Royale Academy. Accessed April 2021. https://www.oxford-royale.com/articles/7-ways-watch-films-critically/ .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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50 Film Analysis

Film analysis, what this handout is about.

This handout provides a brief definition of film analysis compared to literary analysis, provides an introduction to common types of film analysis, and offers strategies and resources for approaching assignments.

What is film analysis, and how does it differ from literary analysis?

Film analysis is the process in which film is analyzed in terms of semiotics, narrative structure, cultural context, and mise-en-scene, among other approaches. If these terms are new to you, don’t worry—they’ll be explained in the next section.

Analyzing film, like  analyzing literature (fiction texts, etc.) , is a form of rhetorical analysis—critically analyzing and evaluating discourse, including words, phrases, and images. Having a clear argument and supporting evidence is every bit as critical to film analysis as to other forms of academic writing.

Unlike literature, film incorporates audiovisual elements and therefore introduces a new dimension to analysis. Ultimately, however, analysis of film is not too different. Think of all the things that make up a scene in a film: the actors, the lighting, the angles, the colors. All of these things may be absent in literature, but they are deliberate choices on the part of the director, producer, or screenwriter—as are the words chosen by the author of a work of literature. Furthermore, literature and film incorporate similar elements. They both have plots, characters, dialogue, settings, symbolism, and, just as the elements of literature can be analyzed for their intent and effect, these elements can be analyzed the same way in film.

Different types of film analysis

Listed here are common approaches to film analysis, but this is by no means an exhaustive list, and you may have discussed other approaches in class. As with any other assignment, make sure you understand your professor’s expectations. This guide is best used to understand prompts or, in the case of more open-ended assignments, consider the different ways to analyze film.

Keep in mind that any of the elements of film can be analyzed, oftentimes in tandem. A single film analysis essay may simultaneously include all of the following approaches and more. As Jacques Aumont and Michel Marie propose in Analysis of Film, there is no correct, universal way to write film analysis.

Semiotic analysis

Semiotic analysis is the analysis of meaning behind signs and symbols, typically involving metaphors, analogies, and symbolism.

This doesn’t necessarily need to be something dramatic; think about how you extrapolate information from the smallest signs in your day to day life. For instance, what characteristics can tell you about someone’s personality? Something as simple as someone’s appearance can reveal information about them. Mismatched shoes and bedhead might be a sign of carelessness (or something crazy happened that morning!), while an immaculate dress shirt and tie would suggest that the person is prim and proper. Continuing in that vein:

• What might you be able to infer about characters from small hints?
• How are these hints (signs) used to construct characters? How do they relate to the relative role of those characters, or the relationships between multiple characters?

Symbols denote concepts (liberty, peace, etc.) and feelings (hate, love, etc.) that they often have nothing to do with. They are used liberally in both literature and film, and finding them uses a similar process. Ask yourself:

• In Frozen Elsa’s gloves appear in multiple scenes.
• Her gloves are first given to her by her father to restrain her magic. She continues to wear them throughout the coronation scene, before finally, in the Let It Go sequence, she throws them away.

Again, the method of semiotic analysis in film is similar to that of literature. Think about the deeper meaning behind objects or actions.

• Elsa’s gloves represent fear of her magic and, by extension, herself. Though she attempts to contain her magic by hiding her hands within gloves and denying part of her identity, she eventually abandons the gloves in a quest for self-acceptance.

Narrative structure analysis

Narrative structure analysis is the analysis of the story elements, including plot structure, character motivations, and theme. Like the dramatic structure of literature (exposition, rising action, climax, falling action, resolution), film has what is known as the Three-Act Structure: “Act One: Setup, Act Two: Confrontation, and Act Three: Resolution.” Narrative structure analysis breaks the story of the film into these three elements and might consider questions like:

• How does the story follow or deviate from typical structures?
• What is the effect of following or deviating from this structure?
• What is the theme of the film, and how is that theme constructed?

Consider again the example of Frozen. You can use symbolism and narrative structure in conjunction by placing the symbolic objects/events in the context of the narrative structure. For instance, the first appearance of the gloves is in Act One, while their abandoning takes place in Act Two; thus, the story progresses in such a way that demonstrates Elsa’s personal growth. By the time of Act Three, the Resolution, her aversion to touch (a product of fearing her own magic) is gone, reflecting a theme of self-acceptance.

Contextual analysis

Contextual analysis is analysis of the film as part of a broader context. Think about the culture, time, and place of the film’s creation. What might the film say about the culture that created it? What were/are the social and political concerns of the time period? Or, like researching the author of a novel, you might consider the director, producer, and other people vital to the making of the film. What is the place of this film in the director’s career? Does it align with his usual style of directing, or does it move in a new direction? Other examples of contextual approaches might be analyzing the film in terms of a civil rights or feminist movement.

For example, Frozen is often linked to the LGBTQ social movement. You might agree or disagree with this interpretation, and, using evidence from the film, support your argument.

Some other questions to consider:

• How does the meaning of the film change when seen outside of its culture?
• What characteristics distinguishes the film as being of its particular culture?

Mise-en-scene analysis

Mise-en-scene analysis is analysis of the arrangement of compositional elements in film—essentially, the analysis of audiovisual elements that most distinctly separate film analysis from literary analysis. Remember that the important part of a mise-en-scene analysis is not just identifying the elements of a scene, but explaining the significance behind them.

• What effects are created in a scene, and what is their purpose?
• How does the film attempt to achieve its goal by the way it looks, and does it succeed?

Audiovisual elements that can be analyzed include (but are not limited to): props and costumes, setting, lighting, camera angles, frames, special effects, choreography, music, color values, depth, placement of characters, etc. Mise-en-scene is typically the most foreign part of writing film analysis because the other components discussed are common to literary analysis, while mise-en-scene deals with elements unique to film. Using specific film terminology bolsters credibility, but you should also consider your audience. If your essay is meant to be accessible to non-specialist readers, explain what terms mean. The Resources section of this handout has links to sites that describe mise-en-scene elements in detail.

Rewatching the film and creating screen captures (still images) of certain scenes can help with detailed analysis of colors, positioning of actors, placement of objects, etc. Listening to the soundtrack can also be helpful, especially when placed in the context of particular scenes.

Some example questions:

• How is the lighting used to construct mood? Does the mood shift at any point during the film, and how is that shift in mood created?
• What does the setting say about certain characters? How are props used to reveal aspects of their personality?
• What songs were used, and why were they chosen? Are there any messages in the lyrics that pertain to the theme?

Writing the film analysis essay

Writing film analysis is similar to writing literary analysis or any argumentative essay in other disciplines: Consider the assignment and prompts, formulate a thesis (see the  Brainstorming Handout  and  Thesis Statement Handout  for help crafting a nuanced argument), compile evidence to prove your thesis, and lay out your argument in the essay. Your evidence may be different from what you are used to. Whereas in the English essay you use textual evidence and quotes, in a film analysis essay, you might also include audiovisual elements to bolster your argument.

When describing a sequence in a film, use the present tense, like you would write in the literary present when describing events of a novel, i.e. not “Elsa took off her gloves,” but “Elsa takes off her gloves.” When quoting dialogue from a film, if between multiple characters, use block quotes: Start the quotation on a new line, with the entire quote indented one inch from the left margin. However, conventions are flexible, so ask your professor if you are unsure. It may also help to follow the formatting of the script, if you can find it. For example:

ELSA: But she won’t remember I have powers? KING: It’s for the best.

You do not need to use quotation marks for blocked-off dialogue, but for shorter quotations in the main text, quotation marks should be double quotes (“…”).

Here are some tips for approaching film analysis:

• Make sure you understand the prompt and what you are being asked to do. Focus your argument by choosing a specific issue to assess.
• Review your materials. Rewatch the film for nuances that you may have missed in the first viewing. With your thesis in mind, take notes as you watch. Finding a screenplay of the movie may be helpful, but keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).
• Develop a thesis and an outline, organizing your evidence so that it supports your argument. Remember that this is ultimately an assignment—make sure that your thesis answers what the prompt asks, and check with your professor if you are unsure.
• Move beyond only describing the audiovisual elements of the film by considering the significance of your evidence. Demonstrate understanding of not just what film elements are, but why and to what effect they are being used. For more help on using your evidence effectively, see ‘Using Evidence In An Argument’ in the  Evidence Handout .

New York Film Academy Glossary Movie Outline Glossary Movie Script Database Citation Practices: Film and Television

Works Consulted

We consulted these works while writing the original version of this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find the latest publications on this topic. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the  UNC Libraries citation tutorial .

Aumont, Jacques, and Michel Marie. L’analyse Des Films. Paris: Nathan, 1988. Print. Pruter, Robin Franson. “Writing About Film.” Writing About Film. DePaul University, 08 Mar. 2004. Web. 01 May 2016.

Film Analysis Copyright © 2020 by Liza Long; Amy Minervini; and Joel Gladd is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License , except where otherwise noted.

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How to Write a Film Analysis Essay: Format & Examples

Movie analysis essays offer a unique opportunity to take a closer look at narrative techniques and artistic aspects of filmmaking. A paper on this subject lets you explore themes, characters, cinematography, and other elements that make movies stand out. Students can improve their movie analysis abilities by reading our comprehensive guide! It has enough information to make you a movie critic in your own right.

Our team has covered the main film analysis essay components to help you thoroughly analyze movies. By the end of this read, you’ll understand how to pick the right motion picture and craft a film review that best captures its essence. The guide covers all the crucial steps for students to make a film analysis essay captivating and thought-provoking for readers. Let’s dive into cinema analysis and discover the secret behind excellent papers!

• 📽️ What Is a Film Analysis?
• 🎞️ Types of Movie Analysis

🎬 Film Analysis Template

• 🤩 11 Tips for Movie Analysis
• 💡 Film Analysis Essay Topics

🔗 References

📽️ what is a film analysis essay.

In a film analysis paper, students should closely examine the various elements of the picture. These include directing , writing , cinematography , acting , and setting . As with any critical paper, the subject is evaluated based on specific standards. Sometimes, a film may be compared to other entries in its genre or series, for example, Star Wars vs. Star Trek.

🎞️ Types of Movie Analysis Essays

Before making a movie analysis outline, it’s essential to understand what kind of essay you want to create. There are several popular types with unique goals and aims. Understanding the difference between them helps you choose the right one for the paper you want to write.

The most common types of movie analysis essays include:

• Semiotic Analysis. This type discusses the symbols and signs represented in a particular movie. With its help, you may uncover the meaning of objects or images repeated throughout the picture. It’s also possible to show connections between different examples of imagery in the film. For example, you may discuss the meaning of oranges in The Godfather .
• Narrative Structure Analysis. This common type of analysis lets you look deeper into the various story elements, such as plot, narrative structure, and characters. For example, you may use it to explore the story and setting of Psycho.
• Contextual Analysis. In a contextual analysis, you draw connections between the film and its cultural and historical context. This works well with documentary films or movies based on real events. For example, you can describe the atmosphere of the Cold War in Red Dawn and The Hunt for Red October .
• Mise-En-Scene Analysis . If you want to go into deep detail about the beauty and meaning of scenes or single shots, mise-en-scene analysis is right for you. It lets you take a look at individual elements and interpret them. For example, you may try to explain how various details of the surroundings were depicted in Akira Kurosawa’s Yojimbo. This analysis is as effective for short films as it is for feature-length ones.

Creating a high-quality, compelling essay isn’t just about being creative. It also needs structure and a systematic approach. You can’t write it right if you don’t know how to do it. So, we’ll take a closer look at each step of this process to make your journey more comfortable. Come with us and learn what makes a movie critique essay great.

Prepare for Writing the Film Analysis Paper

Before you begin your first draft, it’s vital to prepare for the film analysis. This process is divided into five stages. We’ve decided to provide some advice and ideas for each of them. Look closely at what should be done to better prepare for this task:

Movie Analysis Format & Structure

A well-organized film essay structure will help you properly present your ideas and arguments. That is why we have provided some advice on how you should format your essay.

There are several parts you should include when writing your film critique:

• Introduction . Any good piece of writing starts with a catchy introduction. It must give readers a small taste of what the paper will be about with unique insights and analysis. One look at it should be enough to hook your readers.
• Body . After writing the perfect intro, summarize the work you’ll analyze and focus on the crucial plot points. Then, provide an analysis of the motion picture at length. Check your outline to ensure you only talk about relevant aspects. When organizing each of your paragraphs , you should remember its purpose and try not to stray off topic.
• Conclusion . The last part of your paper should summarize the main points and present your final thoughts. Don’t haste and write the first thing that comes to mind. Ensure that the conclusion is as impactful as the introductory part.

Sometimes, students get too engrossed when watching a movie and leave out essential details. To make sure that doesn’t happen, follow this movie analysis template. It will help you retain information and avoid making mistakes.

🤩 11 Tips to Follow While Writing a Movie Analysis

A movie analysis essay writing requires exceptional attention to detail. We’ve come up with several terrific pieces of advice that will improve your writing skills regarding these assignments. They will work for you whether you’re analyzing a Tim Burton animated film or the legendary Titanic movie.

• Even if you’ve seen the work before, rewatch it. It will refresh your memories of it.
• Don’t rush things, and see the movie at least twice. Arrange your time to have the opportunity to refresh your memories of the plot details.
• Sometimes, it helps to work on the body of the paper before adding an introduction.
• Develop a clear thesis statement . It helps better organize the paper’s arguments.
• Closely investigate the audio and visual elements. They often help bring more nuance to the story and the film’s atmosphere.
• Don’t make the paper all about the plot. It should be an analysis and not a retelling of the entire story.
• To make the paper more professional, incorporate some technical jargon. For example, you may explain the techniques used by the camera crew or the editors.
• Do your best to remain objective. Your paper should analyze the movie elements and your opinions should be evidence-based.
• Compare the film to other genre entries. Try to tell how other works tackle the same subjects and utilize similar cinema elements .
• Check the structural integrity of the work. Comb the paper for any inconsistencies or sentences that seem to dangle in the air. Your text should be easy to follow.
• Finally, remember to edit. It’s important to polish the paper until you have all the facts, grammar, stylistics, and spelling in order.

💡 Interesting Topics for Film Analysis Essays

• Pandora’s Unobtanium: Analyzing James Cameron’s “Avatar”
• Truth and Its Consequences in “Liar Liar” Directed by Tom Shadyac
• The Feminist Revolution in “Mona Lisa Smile” by Mike Newell
• Blade Runner’s Cyberpunk Aesthetic: A Scene Analysis
• Society and Class Distinctions in “Pride and Prejudice” Movie
• Power, Loyalty, and Betrayal in “The Godfather” by Francis Ford Coppola
• The Heroine’s Journey into “The Wizard of Oz” by Victor Fleming
• Generational Saga “Mi Familia” by Gregory Nava
• Life Is Like a Box of Chocolates: A Cinematic Journey in ‘Forrest Gump’
• Transformation in “Dances with Wolves” by Kevin Costner
• Spirit of Nature and Childhood Innocence in “My Neighbor Totoro”
• Subversive Masculinity in “Fight Club” by David Fincher
• Intercultural Communication in “Lost in Translation” by Sofia Coppola
• Ethical Dilemmas and Family Bonds in “My Sister’s Keeper” by Nick Cassavetes
• Shakespearean Romance and Identity in “Shakespeare in Love” 

Three Brilliant Movie Analysis Examples

Theoretical knowledge will only take you so far. We suggest taking a look at several scene analysis essay examples. Check out these three creative samples with different analytical approaches:

• “Remember the Titans” Movie by Jerry Bruckheimer. Outstanding achievement can only be won through hardship. It doesn’t matter whether you’re fighting for equality or striving to win a football game. Each small event resonates in history. Jerry Bruckheimer’s Remember the Titans is a testament to the sacrifice and struggle people endure to make a difference. This essay analyzes the work using several scenes that capture its central message.
• The Analysis of Film “Wilby Wonderful.”   Interpersonal relationships remain a big issue from a psychological point of view for many despite the perceived ease of their maintenance. It causes many misunderstandings and conflicts people may inadvertently find themselves in. Daniel Maclvor’s Wilby Wonderful demonstrates these inadequacies in full view on the streets of the Canadian island town of Wilby. This essay analyzes the themes of self-denial and the consequences it brings.
• Mary Shelley’s Frankenstein: 1994 Movie Analysis Essay.  1994’s Mary Shelley’s Frankenstein, directed by Kenneth Branagh, is one of the many adaptations of the classic horror novel. Like the original story, it explores the consequences of man playing god. But, despite its star-ridden cast led by Robert DeNiro, the film doesn’t quite live up to its literary counterpart. This paper analyzes why the adaptation didn’t capture the spirit of the original.

We did our best to address all questions you might have had about film review writing. Feel free to use our guide and review essay examples to write excellent papers and share our articles with your friends.

• Resources – How to Write a Film Analysis. – Northwestern University
• Film Analysis. – University of North Carolina at Chapel Hill
• Film Writing: Sample Analysis. – Purdue University
• How to Write a Movie Review: 9 Essential Tips. – New York Film Academy
• Step by Step Guide to Writing an Essay on Film. – Film Threat
• How To Write a Critical Analysis in 5 Steps (With Tips). – Indeed
• Film Review. – Writing Studio, Duke University
• How to Write About Film: The Movie Review, The Theoretical Essay, and The Critical Essay. – University of Colorado Denver
• Film & Media Studies Resources: Researching a Film. – Bowling Green State University
• Questions for Film Analysis. – University of Washington

Film Essay Writing And All You Need To Know About It        

• December 6, 2022

Hattie Funk

Keep reading to find out how to write a good film analysis essay and get the best grades from your submission.                                           

What Is A Film Essay?    

A film analysis essay aims to deconstruct and analyze various elements and details of the chosen film at hand. The purpose is to understand the nuances and intricacy of the film itself. We’re going to dive deeper into the topic of film analysis essays in order for you to have a firm grasp of its concept, and for you to write an exceptional one. 

Types Of Film Analysis Essays       

The most common type of film essay is a film review. Film reviews exist in the sphere of popular media. You can find plenty of them online, either given by professional critics or by the audience themselves. 

On the other hand, we have academic essays such as critical and theoretical essays, found in the academic side of things. In academic essays, films are usually analyzed through six lenses; author, formalism, genre, history, ideology, and national cinema.

A film analysis essay typically comprises an observation of these elements. The writer is typically taking the role of the “eyes in the sky” and distances themselves from the elements of the film they are analyzing.

The Movie Essay          

 A movie review is one of the most common and popular ways of analyzing a film. You can find them online and in newspapers. They’re meant for the masses. This type of writing is not academic but it is similar to a film essay.     

The Critical Essay

The critical essay aims to provide key details, themes, and other relevant information about the movie. The analysis will usually only focus on a part of the movie (a scene or a few scenes). On a side note, you can visit Essaypro’s website to get help from a writer to finish up any type of essay.

Moving on, this type of film essay can provide information on a few things. As we’ve stated above, the essay can focus on one or more of the following:

• Observes matters of style and structure.
• The analysis focuses on what happens in the film. Not including external factors such as the director, historical context of the film, etc.
• Looks at a particular scene and how the lighting, sound, cinematography, or editing impacts the film and the film’s meaning. 
• Looks at the form and the common patterns and content that emerge in the film. This can determine if a film conforms or diverges from a genre. 
• Keeps in mind the historical context of the film.
• Investigates the historical context and moment of the film’s contents and its production and release using the “eyes in the sky” distant approach. 
• Analyzes historical backgrounds in order to explain the narrative and technique of the film.
• Compares the subject matter of the film to other films in the same time period.
• Documents the reception of a film by a group/audience.

The critical film analysis essay goes into deep detail.

The Theoretical Essay       

This film analysis essay usually requires the writer of the film essay to already have a decent understanding of film theory, film history, and its technicalities. Unlike the critical essay, the theoretical one tries to analyze and understand the larger, more complex, and more abstract structures of cinema.

The writer should be an essay pro to be able to correctly research and structure all the data required for a high-quality theoretical essay and adapt the “eyes in the sky” approach in the most efficient way. The essay itself can focus on one or more of the following:

National Cinema

• Considers the cultural conditioning that might have affected how the film was made.
• Considers the difference in interpretation when a film is being viewed outside of one culture.
• Looks at how dominant figures such as directors, actors, and producers use themes and styles in their work. 
• Looks at the historical conditions of the film’s production and how it affects the auteur’s work.
• Looks at peculiarities that indicate the auteur’s control over a film.
• Looks at the potential underlying messages that the film is conveying about culture, society, politics, etc.
• Looks at how classical film formulas dominate and distort ways of perceiving the world.
• Looks at how gender is being represented in front or behind the camera.
• Looks at how race is represented. 
• Look at how social and economic classes represented in the film reflect or influence social power.
• Looks at how indigenous cultures are represented in film.
• Looks at how normative gender relations can be disrupted or challenged in film.

Advantages Of Film Essay    

There are a lot of advantages you can benefit from creating film essays. A film analysis essay can help you out in a lot of ways. For once, they can help you strengthen your visual thinking and sensory thinking. You can develop ideas through image, sound, and sensation. You can also develop your conceptual thinking skills by making up plots and storylines. 

It can also reveal if you can understand and reconceive an idea in a logical way, which has a big impact on your creativity, imagination, and organization skills. These types of skills are beneficial for almost anything in life, so the skills you hone are transferable and valuable.                  

Working with films can be extremely interesting, especially for those with an eye for art. Over time, you’ll be able to see the little details that make a good film. You’ll understand the acting, the mood, and all these nuances that you might not be able to grasp at first.

Stick around, we’re about to reveal the best essay writing help you can get online since we got an essay written for the film “Eye in the Sky” (frequently misspelled as “Eyes on the Sky”) to test them out.

Who Can Help You Write A Film Essay? 

If you need help writing your film analysis essay, then we’ve got your back. We know that crafting a good film essay isn’t as simple as it seems. We also know that as a student you might not always have the time to do all of your schoolwork on your own. This type of essay usually takes more time than writing a regular essay, since it requires you to watch the film.

If you’re not used to interpreting films or looking at them in closer detail, you have the chance of failing the assignment. So, why not play your cards right and hire a professional? That’s why you should buy essays from an online paper writing service , which is a site where students can buy an essay on any subject. This way you won’t have to browse through the internet for hours on end, trying to make a decision.

Through meticulous browsing via the site, we’ve chosen EssayHub as our main choice to hire a professional academic essay writer. We weren’t disappointed. We had to have a film essay written about the movie “Eyes In The Sky”, and we were not disappointed with the results. If you ask “Who can do my homework for me ? ”, you can find help on EssayHub!

We’re positive that no matter which film you’d have to make an analysis about, no matter how abstract it is, a writer from this reputable site can get the job done, and get the job done well. It’s high time to invest in better grades and a brighter future. Evidently, you’re also investing in your time.

Educational Institutions For Film

Beyond the film essay, there are students who become extremely passionate about films or just have an inclination to them that can’t fade away. If that applies to you maybe you should try shooting for the stars, and maybe applying to a university that can help you hone your passions. Here are two university options for filmmakers. 

And on a side note, don’t forget to check out the essay writing services at EssayPro. Before going to university, maybe you can learn a thing or two from a professional ASAP. We couldn’t be happier with their film essay on the “Eyes on the Sky” movie for us.

The University of Texas at Austin, Radio-Television-Film

The department of Radio-Television-Film at the University of Texas in Austin is a great choice for filmmaker aspirants. You’ll be able to review many films and make a film analysis essay regularly if you love diving into films. 

It was founded in 1965 and has become a top-ranking graduate program. The University of Texas Austin film MFA is top-notch. They also offer undergraduate and doctorate-level programs. They do have quite a selective admissions policy. Only 25% of applicants get accepted and only 15% go on to graduate.

Los Angeles Center (the University of Texas at Austin)                       

UTLA Center is an academic campus of the University of Texas at Austin located in California. It’s located in the Burbank area of LA.

Students who are interested in pursuing careers in the entertainment industry are well suited for the LA center. They can get experience through internships and get to work in production companies, talent agencies, record labels, and in marketing firms. 

They also get to take classes at UTLA Center which houses industry professional teachers, so forget about just writing a film essay , you get the whole deal at the University of Texas Los Angeles Center.

We hope this guide and article have shed light on the topic of film analysis essays and we hope we’ve sparked a flame of inspiration in a lot of you. Don’t forget to check out the EssayPro review on Essay-Reviews.com. They offer you the chance to get a stellar essay like the one they did for us for “Eyes in the Sky”. Save some time and effort, seriously.

If you’re passionate about movies maybe you can vouch for the big picture and check out the application process at the universities we mentioned. We wish you the best of luck. It’s always good to dream big, just put in the effort as well.

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Essay on Impact of Cinema in Life for Students and Children

500 words essay on impact of cinema in life.

Cinema has been a part of the entertainment industry for a long time. It creates a massive impact on people all over the world. In other words, it helps them give a break from monotony. It has evolved greatly in recent years too. Cinema is a great escape from real life.

Furthermore, it helps in rejuvenating the mind of a person. It surely is beneficial in many ways, however, it is also creating a negative impact on people and society. We need to be able to identify the right from wrong and make decisions accordingly.

Advantages of Cinema

Cinema has a lot of advantages if we look at the positive side. It is said to be a reflection of the society only. So, it helps us come face to face with the actuality of what’s happening in our society. It portrays things as they are and helps in opening our eyes to issues we may have well ignored in the past.

Similarly, it helps people socialize better. It connects people and helps break the ice. People often discuss cinema to start a conversation or more. Moreover, it is also very interesting to talk about rather than politics and sports which is often divided.

Above all, it also enhances the imagination powers of people. Cinema is a way of showing the world from the perspective of the director, thus it inspires other people too to broaden their thinking and imagination.

Most importantly, cinema brings to us different cultures of the world. It introduces us to various art forms and helps us in gaining knowledge about how different people lead their lives.

In a way, it brings us closer and makes us more accepting of different art forms and cultures. Cinema also teaches us a thing or two about practical life. Incidents are shown in movies of emergencies like robbery, fire, kidnapping and more help us learn things which we can apply in real life to save ourselves. Thus, it makes us more aware and teaches us to improvise.

Get the huge list of more than 500 Essay Topics and Ideas

Disadvantages of Cinema

While cinema may be beneficial in many ways, it is also very damaging in various areas. Firstly, it stereotypes a lot of things including gender roles, religious practices, communities and more. This creates a false notion and a negative impact against that certain group of people.

People also consider it to be a waste of time and money as most of the movies nowadays are not showing or teaching anything valuable. It is just trash content with objectification and lies. Moreover, it also makes people addicts because you must have seen movie buffs flocking to the theatre every weekend to just watch the latest movie for the sake of it.

Most importantly, cinema shows pretty violent and sexual content. It contributes to the vulgarity and eve-teasing present in our society today. Thus, it harms the young minds of the world very gravely.

Q.1 How does cinema benefit us?

A.1 Cinema has a positive impact on society as it helps us in connecting to people of other cultures. It reflects the issues of society and makes us familiar with them. Moreover, it also makes us more aware and helps to improvise in emergency situations.

Q.2 What are the disadvantages of cinema?

A.2 Often cinema stereotypes various things and creates false notions of people and communities. It is also considered to be a waste of time and money as some movies are pure trash and don’t teach something valuable. Most importantly, it also demonstrates sexual and violent content which has a bad impact on young minds.

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Writing About Film: Terminology and Starting Prompts

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This resource describes the terminology used to write about common cinematic techniques and provides some ideas for how to write a film analysis.

Written by Kylie Regan.

Writing about what makes a film good or bad involves a similar analytical skillset as writing about literature. However, because film is a medium that is newer and more collaborative than literature, and because film production involves very different technologies, film writing requires its own unique vocabulary. The following terminology guide is not comprehensive, but it provides a strong foundation for making sense of what you see on the screen. 

Types of Shots

A  shot  is any continuous stretch of film occurring between cuts or edits. 

The camera’s point of view automatically tells you something about how a film’s creators intend viewers to perceive a setting or subject. Below are terms to describe a subject’s spatial relationship to the camera.  

• Close-up : The camera is a very short distance away from the subject. This is used to depict detail. Close-ups of faces are common (usually to show an important expression or reaction), but the term also applies when the camera is very close to any body part or object. 
• Medium Shot : The camera is a middle distance away from the subject, focusing on the subject while still conveying contextual or background information. If the subject is a person, the shot typically encompasses their head and shoulders. This is often used in dialogue scenes. 
• Long Shot : The camera is a long distance from any identifiable subject, or is encompassing an overall view of a setting or scene. Long shots are often used at the beginning of new scenes as  establishing shots  that orient the viewer in a new setting. If the subject of the shot is a person, their whole body is usually visible.
• High-Angle Shot : The camera looks down on a subject. Often used to make the subject appear powerless, vulnerable, or overwhelmed by their surroundings.
• Low-Angle Shot : The camera looks up at a subject. Often used to make the subject appear powerful or threatening, or otherwise increase their sense of importance. 
• Reverse Shot : The camera cuts from one shot to show the opposite view of the previous shot. This is often used in dialogue sequences to track who is speaking and put the viewer in the place of the interlocutor. 
• Point of View Shot : The camera sees what a particular character sees.
• Static Shot : The camera is stationary for the entire length of the shot, performing none of the movements discussed in the next section.
• Dynamic Shot : At some point in the course of the shot, the camera performs one of the movements discussed in the next section.  

Camera Movement 

Dynamic shots can make use of several different types of camera movement. Below is a short list of the most common moves.

• Zoom : The camera stays stationary, but the lens adjusts to move the viewer closer to or farther away from the initial shot
• Pan:  The camera stays stationary but rotates horizontally
• Tilt : The camera stays stationary but rotates vertically
• Dolly Shot:  The entire camera moves to change the initial shot
• Tracking Shot:  The camera follows a single subject or object as they/it move(s) out of the initial shot

Shot Composition

Many decisions go into the construction of a shot beyond the camera’s position and movement.

• Mise-en-scène:  This theory, which literally means “placing on stage,” assumes that everything that is placed before the camera was intentionally put there and can be read for meaning. Analyzing a shot for its mise-en-scéne involves looking at the background setting, acting style, lighting, props, costuming, and choreography of the scene. 
• Deep focus  shots make use of wide angle lenses so that the foreground, middle ground, and background of a shot can all be easily seen.
• Shallow focus  shots make use of narrow lenses so that only one layer of the shot can be made out. Other layers remain blurry.
• Linear Composition : Shots composed largely of horizontal and vertical lines generally give the impression of stability. Shots composed largely of diagonal lines give the impression of stress, tension, or uncertainty.

Cuts & Other Postproduction Transitions

A  cut  is a break between two shots. After filmmakers have gathered sufficient raw film, in postproduction they choose which shots will make up the finished product, and how to best transition between them. The term “cutting” comes from the old process of physically slicing rolls of film. Much of this editing process happens digitally today, but we still use the same terminology. Below is a short list of some common types of postproduction edits. 

• Jump Cut : A sudden or otherwise startling cut that provides a strong contrast to the previous shot; this cut violates the 30 degree rule, thereby dirupting the viewers' orientation and the shot's continuity.  
• Fade In / Out : A shot gradually appears from a blank screen, or a shot gradually disappears into a blank screen
• Dissolve Edi t: A transition in which the old shot fades out while the new shot fades in. 
• Montage:  Several disparate shots are overlapped in editing so that they appear on-screen at the same time or in sequence.
• Pacing : If a sequence makes use of a lot of cuts in a short span of time, it’s considered fast-paced and usually conveys the feeling that there’s a lot of action happening. On the other hand, if a shot is not broken by a cut for a long stretch of time, this can slowly build tension as the audience anxiously waits for a cut. A shift between fast- and slow-paced sequences often marks an important narrative or tonal shift. 

Starting Places for Writing on Film

• Describe a shot, sequence, or scene that stands out to you. Sometimes just writing a good, detailed description will indicate an argument about how the filmmakers wanted us to see something in the world. 
• Who are the filmmakers, and how does the film you’re analyzing fit into their career? Think of the directors, writers, actors, cinematographers, musical score composers—everyone involved in the making of this film, and choose the career of one to contextualize the film in. Is it typical of their other work, or a notable break in some way?
• Is the film often considered to be part of a wider historical or filmic movement? How does it film illustrate or complicate a certain theory, style, or genre?
• When was the film made? How did that historical moment influence the production of the film? Were the filmmakers responding to a specific historic event? How does their depiction of that event encourage viewers to think of that event, and in turn of their present historical moment?
• What technology was used to create this film? Does the film innovate any new uses of camera or editing technology? If so, how did this innovation influence future filmmakers

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The essay film

In recent years the essay film has attained widespread recognition as a particular category of film practice, with its own history and canonical figures and texts. In tandem with a major season throughout August at London’s BFI Southbank, Sight & Sound explores the characteristics that have come to define this most elastic of forms and looks in detail at a dozen influential milestone essay films.

Andrew Tracy , Ginette Vincendeau , Katy McGahan , Chris Darke , Geoff Andrew , Olaf Möller , Sergio Wolf , Nina Power , Nick Bradshaw Updated: 7 May 2019

from our August 2013 issue

Le camera stylo? Dziga Vertov’s Man with a Movie Camera (1929)

I recently had a heated argument with a cinephile filmmaking friend about Chris Marker’s Sans soleil (1983). Having recently completed her first feature, and with such matters on her mind, my friend contended that the film’s power lay in its combinations of image and sound, irrespective of Marker’s inimitable voiceover narration. “Do you think that people who can’t understand English or French will get nothing out of the film?” she said; to which I – hot under the collar – replied that they might very well get something, but that something would not be the complete work.

The Sight & Sound Deep Focus season Thought in Action: The Art of the Essay Film runs at BFI Southbank 1-28 August 2013, with a keynote lecture by Kodwo Eshun on 1 August, a talk by writer and academic Laura Rascaroli on 27 August and a closing panel debate on 28 August.

To take this film-lovers’ tiff to a more elevated plane, what it suggests is that the essentialist conception of cinema is still present in cinephilic and critical culture, as are the difficulties of containing within it works that disrupt its very fabric. Ever since Vachel Lindsay published The Art of the Moving Picture in 1915 the quest to secure the autonomy of film as both medium and art – that ever-elusive ‘pure cinema’ – has been a preoccupation of film scholars, critics, cinephiles and filmmakers alike. My friend’s implicit derogation of the irreducible literary element of Sans soleil and her neo- Godard ian invocation of ‘image and sound’ touch on that strain of this phenomenon which finds, in the technical-functional combination of those two elements, an alchemical, if not transubstantiational, result.

Mechanically created, cinema defies mechanism: it is poetic, transportive and, if not irrational, then a-rational. This mystically-minded view has a long and illustrious tradition in film history, stretching from the sense-deranging surrealists – who famously found accidental poetry in the juxtapositions created by randomly walking into and out of films; to the surrealist-influenced, scientifically trained and ontologically minded André Bazin , whose realist veneration of the long take centred on the very preternaturalness of nature as revealed by the unblinking gaze of the camera; to the trash-bin idolatry of the American underground, weaving new cinematic mythologies from Hollywood detritus; and to auteurism itself, which (in its more simplistic iterations) sees the essence of the filmmaker inscribed even upon the most compromised of works.

It isn’t going too far to claim that this tradition has constituted the foundation of cinephilic culture and helped to shape the cinematic canon itself. If Marker has now been welcomed into that canon and – thanks to the far greater availability of his work – into the mainstream of (primarily DVD-educated) cinephilia, it is rarely acknowledged how much of that work cheerfully undercuts many of the long-held assumptions and pieties upon which it is built.

In his review of Letter from Siberia (1957), Bazin placed Marker at right angles to cinema proper, describing the film’s “primary material” as intelligence – specifically a “verbal intelligence” – rather than image. He dubbed Marker’s method a “horizontal” montage, “as opposed to traditional montage that plays with the sense of duration through the relationship of shot to shot”.

Here, claimed Bazin, “a given image doesn’t refer to the one that preceded it or the one that will follow, but rather it refers laterally, in some way, to what is said.” Thus the very thing which makes Letter “extraordinary”, in Bazin’s estimation, is also what makes it not-cinema. Looking for a term to describe it, Bazin hit upon a prophetic turn of phrase, writing that Marker’s film is, “to borrow Jean Vigo’s formulation of À propos de Nice (‘a documentary point of view’), an essay documented by film. The important word is ‘essay’, understood in the same sense that it has in literature – an essay at once historical and political, written by a poet as well.”

Marker’s canonisation has proceeded apace with that of the form of which he has become the exemplar. Whether used as critical/curatorial shorthand in reviews and programme notes, employed as a model by filmmakers or examined in theoretical depth in major retrospectives (this summer’s BFI Southbank programme, for instance, follows upon Andréa Picard’s two-part series ‘The Way of the Termite’ at TIFF Cinémathèque in 2009-2010, which drew inspiration from Jean-Pierre Gorin ’s groundbreaking programme of the same title at Vienna Filmmuseum in 2007), the ‘essay film’ has attained in recent years widespread recognition as a particular, if perennially porous, mode of film practice. An appealingly simple formulation, the term has proved both taxonomically useful and remarkably elastic, allowing one to define a field of previously unassimilable objects while ranging far and wide throughout film history to claim other previously identified objects for this invented tradition.

Las Hurdes (1933)

It is crucial to note that the ‘essay film’ is not only a post-facto appellation for a kind of film practice that had not bothered to mark itself with a moniker, but also an invention and an intervention. While it has acquired its own set of canonical ‘texts’ that include the collected works of Marker, much of Godard – from the missive (the 52-minute Letter to Jane , 1972) to the massive ( Histoire(s) de cinéma , 1988-98) – Welles’s F for Fake (1973) and Thom Andersen’s Los Angeles Plays Itself (2003), it has also poached on the territory of other, ‘sovereign’ forms, expanding its purview in accordance with the whims of its missionaries.

From documentary especially, Vigo’s aforementioned À propos de Nice, Ivens’s Rain (1929), Buñuel’s sardonic Las Hurdes (1933), Resnais’s Night and Fog (1955), Rouch and Morin’s Chronicle of a Summer (1961); from the avant garde, Akerman’s Je, Tu, Il, Elle (1974), Straub/Huillet’s Trop tôt, trop tard (1982); from agitprop, Getino and Solanas’s The Hour of the Furnaces (1968), Portabella’s Informe general… (1976); and even from ‘pure’ fiction, for example Gorin’s provocative selection of Griffith’s A Corner in Wheat (1909).

Just as within itself the essay film presents, in the words of Gorin, “the meandering of an intelligence that tries to multiply the entries and the exits into the material it has elected (or by which it has been elected),” so, without, its scope expands exponentially through the industrious activity of its adherents, blithely cutting across definitional borders and – as per the Manny Farber ian concept which gave Gorin’s ‘Termite’ series its name –  creating meaning precisely by eating away at its own boundaries. In the scope of its application and its association more with an (amorphous) sensibility as opposed to fixed rules, the essay film bears similarities to the most famous of all fabricated genres: film noir, which has been located both in its natural habitat of the crime thriller as well as in such disparate climates as melodramas, westerns and science fiction.

The essay film, however, has proved even more peripatetic: where noir was formulated from the films of a determinate historical period (no matter that the temporal goalposts are continually shifted), the essay film is resolutely unfixed in time; it has its choice of forebears. And while noir, despite its occasional shadings over into semi-documentary during the 1940s, remains bound to fictional narratives, the essay film moves blithely between the realms of fiction and non-fiction, complicating the terms of both.

“Here is a form that seems to accommodate the two sides of that divide at the same time, that can navigate from documentary to fiction and back, creating other polarities in the process between which it can operate,” writes Gorin. When Orson Welles , in the closing moments of his masterful meditation on authenticity and illusion F for Fake, chortles, “I did promise that for one hour, I’d tell you only the truth. For the past 17 minutes, I’ve been lying my head off,” he is expressing both the conjuror’s pleasure in a trick well played and the artist’s delight in a self-defined mode that is cheerfully impure in both form and, perhaps, intention.

Nevertheless, as the essay film merrily traipses through celluloid history it intersects with ‘pure cinema’ at many turns and its form as such owes much to one particularly prominent variety thereof.

The montage tradition

If the mystical strain described above represents the Dionysian side of pure cinema, Soviet montage was its Apollonian opposite: randomness, revelation and sensuous response countered by construction, forceful argumentation and didactic instruction.

No less than the mystics, however, the montagists were after essences. Eisenstein , Dziga Vertov and Pudovkin , along with their transnational associates and acolytes, sought to crystallise abstract concepts in the direct and purposeful juxtaposition of forceful, hard-edged images – the general made powerfully, viscerally immediate in the particular. Here, says Eisenstein, in the umbrella-wielding harpies who set upon the revolutionaries in October (1928), is bourgeois Reaction made manifest; here, in the serried ranks of soldiers proceeding as one down the Odessa Steps in Battleship Potemkin (1925), is Oppression undisguised; here, in the condemned Potemkin sailor who wins over his imminent executioners with a cry of “Brothers!” – a moment powerfully invoked by Marker at the beginning of his magnum opus A Grin Without a Cat (1977) – is Solidarity emergent and, from it, the seeds of Revolution.

The relentlessly unidirectional focus of classical Soviet montage puts it methodologically and temperamentally at odds with the ruminative, digressive and playful qualities we associate with the essay film. So, too, the former’s fierce ideological certainty and cadre spirit contrast with that free play of the mind, the Montaigne -inspired meanderings of individual intelligence, that so characterise our image of the latter.

Beyond Marker’s personal interest in and inheritance from the Soviet masters, classical montage laid the foundations of the essay film most pertinently in its foregrounding of the presence, within the fabric of the film, of a directing intelligence. Conducting their experiments in film not through ‘pure’ abstraction but through narrative, the montagists made manifest at least two operative levels within the film: the narrative itself and the arrangement of that narrative by which the deeper structures that move it are made legible. Against the seamless, immersive illusionism of commercial cinema, montage was a key for decrypting those social forces, both overt and hidden, that govern human society.

And as such it was method rather than material that was the pathway to truth. Fidelity to the authentic – whether the accurate representation of historical events or the documentary flavouring of Eisensteinian typage – was important only insomuch as it provided the filmmaker with another tool to reach a considerably higher plane of reality.

Dziga Vertov’s Enthusiasm (1931)

Midway on their Marxian mission to change the world rather than interpret it, the montagists actively made the world even as they revealed it. In doing so they powerfully expressed the dialectic between control and chaos that would come to be not only one of the chief motors of the essay film but the crux of modernity itself.

Vertov’s Man with a Movie Camera (1929), now claimed as the most venerable and venerated ancestor of the essay film (and this despite its prototypically purist claim to realise a ‘universal’ cinematic language “based on its complete separation from the language of literature and the theatre”) is the archetypal model of this high-modernist agon. While it is the turning of the movie projector itself and the penetrating gaze of Vertov’s kino-eye that sets the whirling dynamo of the city into motion, the recorder creating that which it records, that motion is also outside its control.

At the dawn of the cinematic century, the American writer Henry Adams saw in the dynamo both the expression of human mastery over nature and a conduit to mysterious, elemental powers beyond our comprehension. So, too, the modernist ambition expressed in literature, painting, architecture and cinema to capture a subject from all angles – to exhaust its wealth of surfaces, meanings, implications, resonances – collides with awe (or fear) before a plenitude that can never be encompassed.

Remove the high-modernist sense of mission and we can see this same dynamic as animating the essay film – recall that last, parenthetical term in Gorin’s formulation of the essay film, “multiply[ing] the entries and the exits into the material it has elected (or by which it has been elected)”. The nimble movements and multi-angled perspectives of the essay film are founded on this negotiation between active choice and passive possession; on the recognition that even the keenest insight pales in the face of an ultimate unknowability.

The other key inheritance the essay film received from the classical montage tradition, perhaps inevitably, was a progressive spirit, however variously defined. While Leni Riefenstahl’s Triumph of the Will (1935) and Olympia (1938) amply and chillingly demonstrated that montage, like any instrumental apparatus, has no inherent ideological nature, hers were more the exceptions that proved the rule. (Though why, apart from ideological repulsiveness, should Riefenstahl’s plentifully fabricated ‘documentaries’ not be considered as essay films in their own right?)

The overwhelming fact remains that the great majority of those who drew upon the Soviet montagists for explicitly ideological ends (as opposed to Hollywood’s opportunistic swipings) resided on the left of the spectrum – and, in the montagists’ most notable successor in the period immediately following, retained their alignment with and inextricability from the state.

Progressive vs radical

The Grierson ian documentary movement in Britain neutered the political and aesthetic radicalism of its more dynamic model in favour of paternalistic progressivism founded on conformity, class complacency and snobbery towards its own medium. But if it offered a far paler antecedent to the essay film than the Soviet montage tradition, it nevertheless represents an important stage in the evolution of the essay-film form, for reasons not unrelated to some of those rather staid qualities.

The Soviet montagists had created a vision of modernity racing into the future at pace with the social and spiritual liberation of its proletarian pilot-passenger, an aggressively public ideology of group solidarity. The Grierson school, by contrast, offered a domesticated image of an efficient, rational and productive modern industrial society based on interconnected but separate public and private spheres, as per the ideological values of middle-class liberal individualism.

The Soviet montagists had looked to forge a universal, ‘pure’ cinematic language, at least before the oppressive dictates of Stalinist socialist realism shackled them. The Grierson school, evincing a middle-class disdain for the popular and ‘low’ arts, sought instead to purify the sullied medium of cinema by importing extra-cinematic prestige: most notably Night Mail (1936), with its Auden -penned, Britten -scored ode to the magic of the mail, or Humphrey Jennings’s salute to wartime solidarity A Diary for Timothy (1945), with its mildly sententious E.M. Forster narration.

Night Mail (1936)

What this domesticated dynamism and retrograde pursuit of high-cultural bona fides achieved, however, was to mingle a newfound cinematic language (montage) with a traditionally literary one (narration); and, despite the salutes to state-oriented communality, to re-introduce the individual, idiosyncratic voice as the vehicle of meaning – as the mediating intelligence that connects the viewer to the images viewed.

In Night Mail especially there is, in the whimsy of the Auden text and the film’s synchronisation of private time and public history, an intimation of the essay film’s musing, reflective voice as the chugging rhythm of the narration timed to the speeding wheels of the train gives way to a nocturnal vision of solitary dreamers bedevilled by spectral monsters, awakening in expectation of the postman’s knock with a “quickening of the heart/for who can bear to be forgot?”

It’s a curiously disquieting conclusion: this unsettling, anxious vision of disappearance that takes on an even darker shade with the looming spectre of war – one that rhymes, five decades on, with the wistful search of Marker’s narrator in Sans soleil, seeking those fleeting images which “quicken the heart” in a world where wars both past and present have been forgotten, subsumed in a modern society built upon the systematic banishment of memory.

It is, of course, with the seminal post-war collaborations between Marker and Alain Resnais that the essay film proper emerges. In contrast to the striving culture-snobbery of the Griersonian documentary, the Resnais-Marker collaborations (and the Resnais solo documentary shorts that preceded them) inaugurate a blithe, seemingly effortless dialogue between cinema and the other arts in both their subjects (painting, sculpture) and their assorted creative personnel (writers Paul Éluard , Jean Cayrol , Raymond Queneau , composers Darius Milhaud and Hanns Eisler ). This also marks the point where the revolutionary line of the Soviets and the soft, statist liberalism of the British documentarians give way to a more free-floating but staunchly oppositional leftism, one derived as much from a spirit of humanistic inquiry as from ideological affiliation.

Related to this was the form’s problems with official patronage. Originally conceived as commissions by various French government or government-affiliated bodies, the Resnais-Marker films famously ran into trouble from French censors: Les statues meurent aussi (1953) for its condemnation of French colonialism, Night and Fog for its shots of Vichy policemen guarding deportation camps; the former film would have its second half lopped off before being cleared for screening, the latter its offending shots removed.

Night and Fog (1955)

Appropriately, it is at this moment that the emphasis of the essay film begins to shift away from tactile presence – the whirl of the city, the rhythm of the rain, the workings of industry – to felt absence. The montagists had marvelled at the workings of human creations which raced ahead irrespective of human efforts; here, the systems created by humanity to master the world write, in their very functioning, an epitaph for those things extinguished in the act of mastering them. The African masks preserved in the Musée de l’Homme in Les statues meurent aussi speak of a bloody legacy of vanquished and conquered civilisations; the labyrinthine archival complex of the Bibliothèque Nationale in the sardonically titled Toute la mémoire du monde (1956) sparks a disquisition on all that is forgotten in the act of cataloguing knowledge; the miracle of modern plastics saluted in the witty, industrially commissioned Le Chant du styrène (1958) regresses backwards to its homely beginnings; in Night and Fog an unprecedentedly enormous effort of human organisation marshals itself to actively produce a dreadful, previously unimaginable nullity.

To overstate the case, loss is the primary motor of the modern essay film: loss of belief in the image’s ability to faithfully reflect reality; loss of faith in the cinema’s ability to capture life as it is lived; loss of illusions about cinema’s ‘purity’, its autonomy from the other arts or, for that matter, the world.

“You never know what you may be filming,” notes one of Marker’s narrating surrogates in A Grin Without a Cat, as footage of the Chilean equestrian team at the 1952 Helsinki Olympics offers a glimpse of a future member of the Pinochet junta. The image and sound captured at the time of filming offer one facet of reality; it is only with this lateral move outside that reality that the future reality it conceals can speak.

What will distinguish the essay film, as Bazin noted, is not only its ability to make the image but also its ability to interrogate it, to dispel the illusion of its sovereignty and see it as part of a matrix of meaning that extends beyond the screen. No less than were the montagists, the film-essayists seek the motive forces of modern society not by crystallising eternal verities in powerful images but by investigating that ever-shifting, kaleidoscopic relationship between our regime of images and the realities it both reveals and occludes.

— Andrew Tracy

1.   À propos de Nice

Jean Vigo, 1930

Few documentaries have achieved the cult status of the 22-minute A propos de Nice, co-directed by Jean Vigo and cameraman Boris Kaufman at the beginning of their careers. The film retains a spontaneous, apparently haphazard, quality yet its careful montage combines a strong realist drive, lyrical dashes – helped by Marc Perrone’s accordion music – and a clear political agenda.

In today’s era, in which the Côte d’Azur has become a byword for hedonistic consumption, it’s refreshing to see a film that systematically undermines its glossy surface. Using images sometimes ‘stolen’ with hidden cameras, A propos de Nice moves between the city’s main sites of pleasure: the Casino, the Promenade des Anglais, the Hotel Negresco and the carnival. Occasionally the filmmakers remind us of the sea, the birds, the wind in the trees but mostly they contrast people: the rich play tennis, the poor boules; the rich have tea, the poor gamble in the (then) squalid streets of the Old Town.

As often, women bear the brunt of any critique of bourgeois consumption: a rich old woman’s head is compared to an ostrich, others grin as they gaze up at phallic factory chimneys; young women dance frenetically, their crotch to the camera. In the film’s most famous image, an elegant woman is ‘stripped’ by the camera to reveal her naked body – not quite matched by a man’s shoes vanishing to display his naked feet to the shoe-shine.

An essay film avant la lettre , A propos de Nice ends on Soviet-style workers’ faces and burning furnaces. The message is clear, even if it has not been heeded by history.

— Ginette Vincendeau

2. A Diary for Timothy

Humphrey Jennings, 1945

A Diary for Timothy takes the form of a journal addressed to the eponymous Timothy James Jenkins, born on 3 September 1944, exactly five years after Britain’s entry into World War II. The narrator, Michael Redgrave , a benevolent offscreen presence, informs young Timothy about the momentous events since his birth and later advises that, even when the war is over, there will be “everyday danger”.

The subjectivity and speculative approach maintained throughout are more akin to the essay tradition than traditional propaganda in their rejection of mere glib conveyance of information or thunderous hectoring. Instead Jennings invites us quietly to observe the nuances of everyday life as Britain enters the final chapter of the war. Against the momentous political backdrop, otherwise routine, everyday activities are ascribed new profundity as the Welsh miner Geronwy, Alan the farmer, Bill the railway engineer and Peter the convalescent fighter pilot go about their daily business.

Within the confines of the Ministry of Information’s remit – to lift the spirits of a battle-weary nation – and the loose narrative framework of Timothy’s first six months, Jennings finds ample expression for the kind of formal experiment that sets his work apart from that of other contemporary documentarians. He worked across film, painting, photography, theatrical design, journalism and poetry; in Diary his protean spirit finds expression in a manner that transgresses the conventional parameters of wartime propaganda, stretching into film poem, philosophical reflection, social document, surrealistic ethnographic observation and impressionistic symphony. Managing to keep to the right side of sentimentality, it still makes for potent viewing.

— Catherine McGahan

3. Toute la mémoire du monde

Alain Resnais, 1956

In the opening credits of Toute la mémoire du monde, alongside the director’s name and that of producer Pierre Braunberger , one reads the mysterious designation “Groupe des XXX”. This Group of Thirty was an assembly of filmmakers who mobilised in the early 1950s to defend the “style, quality and ambitious subject matter” of short films in post-war France; the signatories of its 1953 ‘Declaration’ included Resnais , Chris Marker and Agnès Varda. The success of the campaign contributed to a golden age of short filmmaking that would last a decade and form the crucible of the French essay film.

A 22-minute poetic documentary about the old French Bibliothèque Nationale, Toute la mémoire du monde is a key work in this strand of filmmaking and one which can also be seen as part of a loose ‘trilogy of memory’ in Resnais’s early documentaries. Les statues meurent aussi (co-directed with Chris Marker) explored cultural memory as embodied in African art and the depredations of colonialism; Night and Fog was a seminal reckoning with the historical memory of the Nazi death camps. While less politically controversial than these earlier works, Toute la mémoire du monde’s depiction of the Bibliothèque Nationale is still oddly suggestive of a prison, with its uniformed guards and endless corridors. In W.G. Sebald ’s 2001 novel Austerlitz, directly after a passage dedicated to Resnais’s film, the protagonist describes his uncertainty over whether, when using the library, he “was on the Islands of the Blest, or, on the contrary, in a penal colony”.

Resnais explores the workings of the library through the effective device of following a book from arrival and cataloguing to its delivery to a reader (the book itself being something of an in-joke: a mocked-up travel guide to Mars in the Petite Planète series Marker was then editing for Editions du Seuil). With Resnais’s probing, mobile camerawork and a commentary by French writer Remo Forlani, Toute la mémoire du monde transforms the library into a mysterious labyrinth, something between an edifice and an organism: part brain and part tomb.

— Chris Darke

4. The House is Black

(Khaneh siah ast) Forough Farrokhzad, 1963

Before the House of Makhmalbaf there was The House is Black. Called “the greatest of all Iranian films” by critic Jonathan Rosenbaum, who helped translate the subtitles from Farsi into English, this 20-minute black-and-white essay film by feminist poet Farrokhzad was shot in a leper colony near Tabriz in northern Iran and has been heralded as the touchstone of the Iranian New Wave.

The buildings of the Baba Baghi colony are brick and peeling whitewash but a student asked to write a sentence using the word ‘house’ offers Khaneh siah ast : the house is black. His hand, seen in close-up, is one of many in the film; rather than objects of medical curiosity, these hands – some fingerless, many distorted by the disease – are agents, always in movement, doing, making, exercising, praying. In putting white words on the blackboard, the student makes part of the film; in the next shots, the film’s credits appear, similarly handwritten on the same blackboard.

As they negotiate the camera’s gaze and provide the soundtrack by singing, stamping and wheeling a barrow, the lepers are co-authors of the film. Farrokhzad echoes their prayers, heard and seen on screen, with her voiceover, which collages religious texts, beginning with the passage from Psalm 55 famously set to music by Mendelssohn (“O for the wings of a dove”).

In the conjunctions between Farrokhzad’s poetic narration and diegetic sound, including tanbur-playing, an intense assonance arises. Its beat is provided by uniquely lyrical associative editing that would influence Abbas Kiarostami , who quotes Farrokhzad’s poem ‘The Wind Will Carry Us’ in his eponymous film . Repeated shots of familiar bodily movement, made musical, move the film insistently into the viewer’s body: it is infectious. Posing a question of aesthetics, The House Is Black uses the contagious gaze of cinema to dissolve the screen between Us and Them.

— Sophie Mayer

5. Letter to Jane: An Investigation About a Still

Jean-Luc Godard & Jean-Pierre Gorin, 1972

With its invocation of Brecht (“Uncle Bertolt”), rejection of visual pleasure (for 52 minutes we’re mostly looking at a single black-and-white still) and discussion of the role of intellectuals in “the revolution”, Letter to Jane is so much of its time as to appear untranslatable to the present except as a curio from a distant era of radical cinema. Between 1969 and 1971, Godard and Gorin made films collectively as part of the Dziga Vertov Group before they returned, in 1972, to the mainstream with Tout va bien , a big-budget film about the aftermath of May 1968 featuring leftist stars Yves Montand and  Jane Fonda . It was to the latter that Godard and Gorin directed their Letter after seeing a news photograph of her on a solidarity visit to North Vietnam in August 1972.

Intended to accompany the US release of Tout va bien, Letter to Jane is ‘a letter’ only in as much as it is fairly conversational in tone, with Godard and Gorin delivering their voiceovers in English. It’s stylistically more akin to the ‘blackboard films’ of the time, with their combination of pedagogical instruction and stern auto-critique.

It’s also an inspired semiological reading of a media image and a reckoning with the contradictions of celebrity activism. Godard and Gorin examine the image’s framing and camera angle and ask why Fonda is the ‘star’ of the photograph while the Vietnamese themselves remain faceless or out of focus? And what of her expression of compassionate concern? This “expression of an expression” they trace back, via an elaboration of the Kuleshov effect , through other famous faces – Henry Fonda , John Wayne , Lillian Gish and Falconetti – concluding that it allows for “no reverse shot” and serves only to bolster Western “good conscience”.

Letter to Jane is ultimately concerned with the same question that troubled philosophers such as Levinas and Derrida : what’s at stake ethically when one claims to speak “in place of the other”? Any contemporary critique of celebrity activism – from Bono and Geldof to Angelina Jolie – should start here, with a pair of gauchiste trolls muttering darkly beneath a press shot of ‘Hanoi Jane’.

6. F for Fake

Orson Welles, 1973

Those who insist it was all downhill for Orson Welles after Citizen Kane would do well to take a close look at this film made more than three decades later, in its own idiosyncratic way a masterpiece just as innovative as his better-known feature debut.

Perhaps the film’s comparative and undeserved critical neglect is due to its predominantly playful tone, or perhaps it’s because it is a low-budget, hard-to-categorise, deeply personal work that mixes original material with plenty of footage filmed by others – most extensively taken from a documentary by François Reichenbach about Clifford Irving and his bogus biography of his friend Elmyr de Hory , an art forger who claimed to have painted pictures attributed to famous names and hung in the world’s most prestigious galleries.

If the film had simply offered an account of the hoaxes perpetrated by that disreputable duo, it would have been entertaining enough but, by means of some extremely inventive, innovative and inspired editing, Welles broadens his study of fakery to take in his own history as a ‘charlatan’ – not merely his lifelong penchant for magician’s tricks but also the 1938 radio broadcast of his news-report adaptation of H.G. Wells’ The War of the Worlds – as well as observations on Howard Hughes , Pablo Picasso and the anonymous builders of Chartres cathedral. So it is that Welles contrives to conjure up, behind a colourful cloak of consistently entertaining mischief, a rueful meditation on truth and falsehood, art and authorship – a subject presumably dear to his heart following Pauline Kael ’s then recent attempts to persuade the world that Herman J. Mankiewicz had been the real creative force behind Kane.

As a riposte to that thesis (albeit never framed as such), F for Fake is subtle, robust, supremely erudite and never once bitter; the darkest moment – as Welles contemplates the serene magnificence of Chartres – is at once an uncharacteristic but touchingly heartfelt display of humility and a poignant memento mori. And it is in this delicate balancing of the autobiographical with the universal, as well as in the dazzling deployment of cinematic form to illustrate and mirror content, that the film works its once unique, now highly influential magic.

— Geoff Andrew

7. How to Live in the German Federal Republic

(Leben – BRD) Harun Farocki, 1990

Harun Farocki ’s portrait of West Germany in 32 simulations from training sessions has no commentary, just the actions themselves in all their surreal beauty, one after the other. The Bundesrepublik Deutschland is shown as a nation of people who can deal with everything because they have been prepared – taught how to react properly in every possible situation.

We know how birth works; how to behave in kindergarten; how to chat up girls, boys or whatever we fancy (for we’re liberal-minded, if only in principle); how to look for a job and maybe live without finding one; how to wiggle our arses in the hottest way possible when we pole-dance, or manage a hostage crisis without things getting (too) bloody. Whatever job we do, we know it by heart; we also know how to manage whatever kind of psychological breakdown we experience; and we are also prepared for the end, and even have an idea about how our burial will go. This is the nation: one of fearful people in dire need of control over their one chance of getting it right.

Viewed from the present, How to Live in the German Federal Republic is revealed as the archetype of many a Farocki film in the decades to follow, for example Die Umschulung (1994), Der Auftritt (1996) or Nicht ohne Risiko (2004), all of which document as dispassionately as possible different – not necessarily simulated – scenarios of social interactions related to labour and capital. For all their enlightening beauty, none of these ever came close to How to Live in the German Federal Republic which, depending on one’s mood, can play like an absurd comedy or the most gut-wrenching drama. Yet one disquieting thing is certain: How to Live in the German Federal Republic didn’t age – our lives still look the same.

— Olaf Möller

8. One Man’s War

(La Guerre d’un seul homme) Edgardo Cozarinsky , 1982

One Man’s War proves that an auteur film can be made without writing a line, recording a sound or shooting a single frame. It’s easy to point to the ‘extraordinary’ character of the film, given its combination of materials that were not made to cohabit; there couldn’t be a less plausible dialogue than the one Cozarinsky establishes between the newsreels shot during the Nazi occupation of Paris and the Parisian diaries of novelist and Nazi officer Ernst Jünger . There’s some truth to Pascal Bonitzer’s assertion in Cahiers du cinéma in 1982 that the principle of the documentary was inverted here, since it is the images that provide a commentary for the voice.

But that observation still doesn’t pin down the uniqueness of a work that forces history through a series of registers, styles and dimensions, wiping out the distance between reality and subjectivity, propaganda and literature, cinema and journalism, daily life and dream, and establishing the idea not so much of communicating vessels as of contaminating vessels.

To enquire about the essayistic dimension of One Man’s War is to submit it to a test of purity against which the film itself is rebelling. This is no ars combinatoria but systems of collision and harmony; organic in their temporal development and experimental in their procedural eagerness. It’s like a machine created to die instantly; neither Cozarinsky nor anyone else could repeat the trick, as is the case with all great avant-garde works.

By blurring the genre of his literary essays, his fictional films, his archival documentaries, his literary fictions, Cozarinsky showed he knew how to reinvent the erasure of borders. One Man’s War is not a film about the Occupation but a meditation on the different forms in which that Occupation can be represented.

—Sergio Wolf. Translated by Mar Diestro-Dópido

9. Sans soleil

Chris Marker, 1982

There are many moments to quicken the heart in Sans soleil but one in particular demonstrates the method at work in Marker’s peerless film. An unseen female narrator reads from letters sent to her by a globetrotting cameraman named Sandor Krasna (Marker’s nom de voyage), one of which muses on the 11th-century Japanese writer  Sei Shōnagon .

As we hear of Shōnagon’s “list of elegant things, distressing things, even of things not worth doing”, we watch images of a missile being launched and a hovering bomber. What’s the connection? There is none. Nothing here fixes word and image in illustrative lockstep; it’s in the space between them that Sans soleil makes room for the spectator to drift, dream and think – to inimitable effect.

Sans soleil was Marker’s return to a personal mode of filmmaking after more than a decade in militant cinema. His reprise of the epistolary form looks back to earlier films such as  Letter from Siberia  (1958) but the ‘voice’ here is both intimate and removed. The narrator’s reading of Krasna’s letters flips the first person to the third, using ‘he’ instead of ‘I’. Distance and proximity in the words mirror, multiply and magnify both the distances travelled and the time spanned in the images, especially those of the 1960s and its lost dreams of revolutionary social change.

While it’s handy to define Sans soleil as an ‘essay film’, there’s something about the dry term that doesn’t do justice to the experience of watching it. After Marker’s death last year, when writing programme notes on the film, I came up with a line that captures something of what it’s like to watch Sans soleil: “a mesmerising, lucid and lovely river of film, which, like the river of the ancients, is never the same when one steps into it a second time”.

10. Handsworth Songs

Black Audio Film Collective, 1986

Made at the time of civil unrest in Birmingham, this key example of the essay film at its most complex remains relevant both formally and thematically. Handsworth Songs is no straightforward attempt to provide answers as to why the riots happened; instead, using archive film spliced with made and found footage of the events and the media and popular reaction to them, it creates a poetic sense of context.

The film is an example of counter-media in that it slows down the demand for either immediate explanation or blanket condemnation. Its stillness allows the history of immigration and the subsequent hostility of the media and the police to the black and Asian population to be told in careful detail.

One repeated scene shows a young black man running through a group of white policemen who surround him on all sides. He manages to break free several times before being wrestled to the ground; if only for one brief, utopian moment, an entirely different history of race in the UK is opened up.

The waves of post-war immigration are charted in the stories told both by a dominant (and frequently repressive) televisual narrative and, importantly, by migrants themselves. Interviews mingle with voiceover, music accompanies the machines that the Windrush generation work at. But there are no definitive answers here, only, as the Black Audio Film Collective memorably suggests, “the ghosts of songs”.

— Nina Power

11.   Los Angeles Plays Itself

Thom Andersen, 2003

One of the attractions that drew early film pioneers out west, besides the sunlight and the industrial freedom, was the versatility of the southern Californian landscape: with sea, snowy mountains, desert, fruit groves, Spanish missions, an urban downtown and suburban boulevards all within a 100-mile radius, the Los Angeles basin quickly and famously became a kind of giant open-air film studio, available and pliant.

Of course, some people actually live there too. “Sometimes I think that gives me the right to criticise,” growls native Angeleno Andersen in his forensic three-hour prosecution of moving images of the movie city, whose mounting litany of complaints – couched in Encke King’s gravelly, near-parodically irritated voiceover, and sometimes organised, as Stuart Klawans wrote in The Nation, “in the manner of a saloon orator” – belies a sly humour leavening a radically serious intent.

Inspired in part by Mark Rappaport’s factual essay appropriations of screen fictions (Rock Hudson’s Home Movies, 1993; From the Journals of Jean Seberg , 1995), as well as Godard’s Histoire(s) de cinéma, this “city symphony in reverse” asserts public rights to our screen discourse through its magpie method as well as its argument. (Today you could rebrand it ‘Occupy Hollywood’.) Tinseltown malfeasance is evidenced across some 200 different film clips, from offences against geography and slurs against architecture to the overt historical mythologies of Chinatown (1974), Who Framed Roger Rabbit (1988) and L.A. Confidential (1997), in which the city’s class and cultural fault-lines are repainted “in crocodile tears” as doleful tragedies of conspiracy, promoting hopelessness in the face of injustice.

Andersen’s film by contrast spurs us to independent activism, starting with the reclamation of our gaze: “What if we watch with our voluntary attention, instead of letting the movies direct us?” he asks, peering beyond the foregrounding of character and story. And what if more movies were better and more useful, helping us see our world for what it is? Los Angeles Plays Itself grows most moving – and useful – extolling the Los Angeles neorealism Andersen has in mind: stories of “so many men unneeded, unwanted”, as he says over a scene from Billy Woodberry’s Bless Their Little Hearts (1983), “in a world in which there is so much to be done”.

— Nick Bradshaw

12.   La Morte Rouge

Víctor Erice, 2006

The famously unprolific Spanish director Víctor Erice may remain best known for his full-length fiction feature The Spirit of the Beehive (1973), but his other films are no less rewarding. Having made a brilliant foray into the fertile territory located somewhere between ‘documentary’ and ‘fiction’ with The Quince Tree Sun (1992), in this half-hour film made for the ‘Correspondences’ exhibition exploring resemblances in the oeuvres of Erice and Kiarostami , the relationship between reality and artifice becomes his very subject.

A ‘small’ work, it comprises stills, archive footage, clips from an old Sherlock Holmes movie, a few brief new scenes – mostly without actors – and music by Mompou and (for once, superbly used) Arvo Pärt . If its tone – it’s introduced as a “soliloquy” – and scale are modest, its thematic range and philosophical sophistication are considerable.

The title is the name of the Québécois village that is the setting for The Scarlet Claw (1944), a wartime Holmes mystery starring Basil Rathbone and Nigel Bruce which was the first movie Erice ever saw, taken by his sister to the Kursaal cinema in San Sebastian.

For the five-year-old, the experience was a revelation: unable to distinguish the ‘reality’ of the newsreel from that of the nightmare world of Roy William Neill’s film, he not only learned that death and murder existed but noted that the adults in the audience, presumably privy to some secret knowledge denied him, were unaffected by the corpses on screen. Had this something to do with war? Why was La Morte Rouge not on any map? And what did it signify that postman Potts was not, in fact, Potts but the killer – and an actor (whatever that was) to boot?

From such personal reminiscences – evoked with wondrous intimacy in the immaculate Castillian of the writer-director’s own wry narration – Erice fashions a lyrical meditation on themes that have underpinned his work from Beehive to Broken Windows (2012): time and change, memory and identity, innocence and experience, war and death. And because he understands, intellectually and emotionally, that the time-based medium he himself works in can reveal unforgettably vivid realities that belong wholly to the realm of the imaginary, La Morte Rouge is a great film not only about the power of cinema but about life itself.

Sight & Sound: the August 2013 issue

In this issue: Frances Ha’s Greta Gerwig – the most exciting actress in America? Plus Ryan Gosling in Only God Forgives, Wadjda, The Wall,...

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DVDs and Blu Ray

Buy The Complete Humphrey Jennings Collection Volume Three: A Diary for Timothy on DVD and Blu Ray

Humphrey Jennings’s transition from wartime to peacetime filmmaking.

Buy Chronicle of a Summer on DVD and Blu Ray

Jean Rouch’s hugely influential and ground-breaking documentary.

Further reading

Video essay: The essay film – some thoughts of discontent

Kevin B. Lee

The land still lies: Handsworth Songs and the English riots

Mark Fisher

The world at sea: The Forgotten Space

Kieron Corless

What I owe to Chris Marker

Patricio Guzmán

His and her ghosts: reworking La Jetée

Melissa Bradshaw

At home (and away) with Agnès Varda

Daniel Trilling

Pere Portabella looks back

Mar Diestro-Dópido

John Akomfrah’s Hauntologies

Laura Allsop

The roots of neorealism

Pasquale Iannone

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Essay Film by Yelizaveta Moss LAST REVIEWED: 12 April 2023 LAST MODIFIED: 24 March 2021 DOI: 10.1093/obo/9780199791286-0216

The term “essay film” has become increasingly used in film criticism to describe a self-reflective and self-referential documentary cinema that blurs the lines between fiction and nonfiction. Scholars unanimously agree that the first published use of the term was by Richter in 1940. Also uncontested is that Andre Bazin, in 1958, was the first to analyze a film, which was Marker’s Letter from Siberia (1958), according to the essay form. The French New Wave created a popularization of short essay films, and German New Cinema saw a resurgence in essay films due to a broad interest in examining German history. But beyond these origins of the term, scholars deviate on what exactly constitutes an essay film and how to categorize essay films. Generally, scholars fall into two camps: those who find a literary genealogy to the essay film and those who find a documentary genealogy to the essay film. The most commonly cited essay filmmakers are French and German: Marker, Resnais, Godard, and Farocki. These filmmakers are singled out for their breadth of essay film projects, as opposed to filmmakers who have made an essay film but who specialize in other genres. Though essay films have been and are being produced outside of the West, scholarship specifically addressing essay films focuses largely on France and Germany, although Solanas and Getino’s theory of “Third Cinema” and approval of certain French essay films has produced some essay film scholarship on Latin America. But the gap in scholarship on global essay film remains, with hope of being bridged by some forthcoming work. Since the term “essay film” is used so sparingly for specific films and filmmakers, the scholarship on essay film tends to take the form of single articles or chapters in either film theory or documentary anthologies and journals. Some recent scholarship has pointed out the evolutionary quality of essay films, emphasizing their ability to change form and style as a response to conventional filmmaking practices. The most recent scholarship and conference papers on essay film have shifted from an emphasis on literary essay to an emphasis on technology, arguing that essay film has the potential in the 21st century to present technology as self-conscious and self-reflexive of its role in art.

Both anthologies dedicated entirely to essay film have been published in order to fill gaps in essay film scholarship. Biemann 2003 brings the discussion of essay film into the digital age by explicitly resisting traditional German and French film and literary theory. Papazian and Eades 2016 also resists European theory by explicitly showcasing work on postcolonial and transnational essay film.

Biemann, Ursula, ed. Stuff It: The Video Essay in the Digital Age . New York: Springer, 2003.

This anthology positions Marker’s Sans Soleil (1983) as the originator of the post-structuralist essay film. In opposition to German and French film and literary theory, Biemann discusses video essays with respect to non-linear and non-logical movement of thought and a range of new media in Internet, digital imaging, and art installation. In its resistance to the French/German theory influence on essay film, this anthology makes a concerted effort to include other theoretical influences, such as transnationalism, postcolonialism, and globalization.

Papazian, Elizabeth, and Caroline Eades, eds. The Essay Film: Dialogue, Politics, Utopia . London: Wallflower, 2016.

This forthcoming anthology bridges several gaps in 21st-century essay film scholarship: non-Western cinemas, popular cinema, and digital media.

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Why are certain movies more successful in some markets than others? Are the entertainment products we consume reflective of our core values and beliefs? These questions drive our investigation into the relationship between a society’s oral tradition and the financial success of films. We combine a unique catalog of local tales, myths, and legends around the world with data on international movie screenings and revenues. First, we quantify the similarity between movies’ plots and traditional motifs employing machine learning techniques. Comparing the same movie across different markets, we establish that films that resonate more with local folklore systematically accrue higher revenue and are more likely to be screened. Second, we document analogous patterns within the US. Google Trends data reveal a pronounced interest in markets where ancestral narratives align more closely with a movie’s theme. Third, we delve into the explicit values transmitted by films, concentrating on the depiction of risk and gender roles. Films that promote risk-taking sell more in entrepreneurial societies today, rooted in traditions where characters pursue dangerous tasks successfully. Films portraying women in stereotypical roles continue to find a robust audience in societies with similar gender stereotypes in their folklore and where women today continue being relegated to subordinate positions. These findings underscore the enduring influence of traditional storytelling on entertainment patterns in the 21st century, highlighting a profound connection between movie consumption and deeply ingrained cultural narratives and values.

The authors have no financial interests to disclose. We would like to thank the seminar participants at Brown, Bocconi, the Paris School of Economics, Bath, Manchester, Durham, University of Piraeus - Ioannina - Macedonia - and the Athens University of Economics and Business, and the Political Economy of Development Conference at Northwestern, for their helpful comments. Eliana La Ferrara, Anna Maria Mayda, Elias Papaioannou, and Katia Zhuravskaya have provided insightful feedback. We are grateful to Eric Greenfeld, President of Fundamental Film Services, Inc., who has graciously shared his knowledge and expertise on the workings of the film-making industry in the US and beyond. Athiwat Thoopthong, Maria Medellin Esguerra, and Daniele Goffi provided outstanding research assistance. The views expressed herein are those of the authors and do not necessarily reflect the views of the National Bureau of Economic Research.

MARC RIS BibTeΧ

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Who dares to “hijack” the Holocaust?

Jonathan Glazer’s abject Oscars speech for The Zone of Interest served to downplay the inhumanity his film so powerfully depicts.

By Howard Jacobson

Jonathan Glazer’s profoundly subtle and disturbing film, The Zone of Interest , no sooner won an Oscar for Best International Feature than its director delivered an apology for his Jewishness so grovelling in its emotional simplicity it would have made the angels – of any religion – weep.

I wanted The Zone of Interest to win an Oscar. Quite frankly I would have been delighted had it won them all. Based freely on Martin Amis ’s dark-delving philosophical novel, it is a marvellously subtle film that addresses the greatest of moral conundrums – how it was that an educated and refined society could live cheek by jowl with barbarism. To say that the film didn’t flinch from the most vexed contradictions in human nature is not the half of it. To a soundtrack that could have been the music of the 20th century imploding, it minutely examined the thing we call normality and left it in shreds.

Maybe there is no explanation for the coexistence of the most jarring behavioural contrarieties, the mechanism that makes it possible to love one’s family and care not a jot about the destruction of other people’s. Unless it was something as demeaning as the desire to please, there is no explaining how such a subtle and unusual artist as Jonathan Glazer could, with the richly deserved Oscar in his hand, deliver such brutally sensational and commonplace thoughts.

“Right now, we stand here,” he said, “as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people.”

There is disagreement about the meaning of this clumsy formulation. Is Glazer refuting his Jewishness full stop, or refuting his Jewishness being hijacked to justify an occupation? Because I want to give him every benefit of every doubt I will accept the latter explanation. So that’s all right then. He’s holding on to his Jewishness after all. Whew! Except that it’s not all right. What and where is this hijacking of which he wants no part? I have not myself heard any serious, thinking moral Jew adducing the “occupation” to the Holocaust, though I have heard it said by those for whom discrediting Jews is a passion that this is the sort of moral blackmail Jews routinely employ. Jews, it is said, cry anti-Semitism only to silence criticism of Israel, just as they help emergency relief efforts in other countries only to harvest the organs of the dying, just as they selectively murder children because that’s what they’ve been doing for centuries…

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Such are the canards deployed to rob the Jews of any lingering sympathy they might yet enjoy as victims of that inhumanity The Zone of Interest depicts, and so to downplay, as just another gambit in Jewish subterfuge, the Holocaust itself.  Hijack ! Consider the import of that word. So despicable are the Jews, they will steal from themselves the most hellish events in their history to justify visiting hell on others.

Why would Jonathan Glazer, of all people – a man who has been immersed to an unusual degree in recent Jewish history – give the slightest weight to this libel? 

I don’t say he should have stood before a televised audience of millions and cheered on the Israeli Defence Forces. Indeed, he had no need to invoke his Jewishness at all. But since he chose to do so, could he not have used the opportunity to unite rather than divide, to explain, to speak wisely about a tragedy that is tearing all parties to it apart? Could he not have spoken of the horror felt by every Jew on 7 October, not just on account of the violence done but the approving reactions to it, and the horror felt today by every Jew at the death toll in Gaza , and allow no one to suppose that the heartbreaking scenes there somehow give succour to a fictional Jewish blood-lust justified by the Holocaust? 

I don’t accuse Jonathan Glazer of being selective in his compassion. “Whether the victims of October 7th in Israel or the ongoing attack on Gaza,” he said, “all the victims to dehumanisation – how do we resist?” But resistance to dehumanisation does not necessitate divesting oneself of Jewishness, however one interprets that, whether as the hijacking of it to win a false legitimacy or in seeking any other advantage that being Jewish might confer. For a Jew to concur in this fashionable defamation – that Jews are moral profiteers, and that it is only by shedding such Jewishness that a Jew can feel pity – is doubly despicable.

As a serious, thinking Jewish man, Jonathan Glazer must have read the late Amos Oz on the tragedy of the Israeli-Palestinian conflict, in which both parties could be said to be in the right, and then, when the situation worsened, both parties could be said to be in the wrong. The “occupation” didn’t just happen one day to satisfy Holocaust righteousness. It was a child of history, born of a mutual intransigence that pre-dated the Holocaust, the consequence of mistakes and violent obduracies on both sides. A tragedy does not entail blame, but if Jonathan Glazer must buy into Jewish blame he must buy into Palestinian blame as well. It would have taken real moral courage to pursue that line; right now it takes none to castigate Jews.

In my years teaching English literature I had frequent recourse to DH Lawrence’s dictum, “Never trust the teller, trust the tale.” That Dickens was a bad husband, I was forever telling my students, no more made him a bad novelist than beating her dog made Emily Brontë a bad novelist. We will no more fathom the nexus between art and moral intelligence, than that between a normal family life and savagery.

Jonathan Glazer made an ambitious, important film. I salute the artist. But his abject mea culpa debases him as a man.

[See also: The price of private education ]

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This article appears in the 13 Mar 2024 issue of the New Statesman, The battle for Keir Starmer’s soul

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2025 May Be The Best Year Ever For Superhero Films. Here's Why

I t's been a rough few years for superheroes at the movies . From depressing box office returns to unusually cold critical receptions, comic book fans would be forgiven for feeling as though the genre's popularity truly peaked with "Avengers: Endgame" in 2019.

Even though astonishing works of cape-fiction have been created in the years since -- "Spider-Man: Across the Spider-Verse," "Invincible," Max's "Harley Quinn," and "Watchmen," to name a few -- the overwhelming mood among Marvel and DC fans alike is unusually pessimistic these days. Where we once looked forward to these films as exciting blockbuster events, it's now all too easy for us to wait with cringing anticipation, hoping for a sign that the golden age of heroes isn't over just yet.

Fortunately, it appears as though one such sign is just beyond the horizon -- and it's a fairly massive one, too. As of writing, the slate of superhero films due out in 2025 is the most promising we've ever seen, so much so that its success could potentially revitalize the genre for a new generation.

Read more: 20 Strongest Superheroes Ever, Ranked

James Gunn Is Kicking Off His DC Universe In Earnest

The past two years have been absolutely brutal for the DC Comics arm of Warner Bros. From "Black Adam" to "Aquaman and the Lost Kingdom," the powers that be -- or, in certain cases, were -- quickly drove an unreliable but intriguingly polarizing universe into a dysfunctional mess plagued by cringeworthy behind-the-scenes drama and abysmal box office returns. And yet, in this painfully drawn-out Krypton-level disaster, the choice to bring Marvel Studios' prodigal son James Gunn aboard as their new creative lead was one of the boldest, smartest moves Warner Bros. has made in the last several years.

Gunn's work within the Marvel Cinematic Universe more than proved his status as one of the defining voices in modern superhero cinema, with "The Suicide Squad" and "Peacemaker" confirming his skill wasn't predicated on the specific characters he had access to. Even during the DC Extended Universe's admittedly spectacular 11th-hour nosedive, fans were blessed with the promise of an impending rebooted continuity carefully crafted by one of the most passionate voices in a waning genre.

"Superman" (recently retitled from "Superman: Legacy") is due out July 11, 2025, and while we won't know whether or not it succeeds critically or financially until then, its release marks an exciting new chapter for DC Comics films that finally won't be dragged down by what came before. For the first time in many years, DC won't be fighting against its past, but building a future -- and with a largely respected creative mind at the helm, to boot.

Marvel's First Family Is Finally Coming To The MCU

Speaking of historically troubled intellectual properties finally finding steady hands to guide them, Marvel Studios' "Fantastic Four" will be hitting cinemas on July 25, 2025. It's almost unanimously agreed among fans and critics alike that there's never been a good comics-to-film translation of Marvel's first and most beloved family (no, "The Incredibles" doesn't really count). The 1994 film was a shoddy, artistically dubious product that was allegedly made for less-than-altruistic reasons; the 2000s Tim Story films are charitably "of their time;" and Josh Trank's 2015 version was created under such creative duress that not even the director himself stands behind the final product.

But while it would be disingenuous to imply that putting the Fantastic Four in the same universe as the Avengers will suddenly make the team, well, fantastic , moving them under the Marvel Studios roof solves many of the problems they once faced. The upcoming film is in a diametrically opposite position to its 1994 counterpart, as it appears to be one of the most high-priority projects currently in development at Marvel -- a company that also just so happens to have discovered the exact formula for superhero stories to thrive past several early-2000s misfires. A harmonious, fully committed production at a studio that understands superhero stories at a fundamental level is precisely what a "Fantastic Four" film needs. It also helps that the recently revealed, Pedro Pascal-led cast is stacked with prestige talent, and there's even a rumor Marvel wants Javier Bardem as the main villain, Galactus .

Sam Wilson Is Finally Captain America — With None Of The Baggage

When Steve Rogers (Chris Evans) passed down his star-spangled vibranium shield to his longtime partner and co-star Sam Wilson (Anthony Mackie), it was abundantly clear that the plan for the future of the MCU was for The Falcon to become the next Captain America (as he had relatively recently in Marvel Comics). Aside from sidestepping Bucky Barnes (Sebastian Stan), there was nothing surprising or even meaningfully controversial about this move -- which probably made it frustrating for many viewers when Marvel's next project with Wilson was a so-called six-hour movie debating whether or not he was going to take the mantle everyone had assumed he would for two years at that point. Even if "The Falcon and the Winter Soldier" occasionally explored some genuinely complex ideas, a true Sam Wilson Captain America project has been long overdue. 

Fortunately, 2025 is set to bring us just that. Mackie's Cap appears to be the sole, narrative-driving focus of "Captain America: Brave New World." Without the baggage of his messy quasi-origin story that led to his Avengers-level promotion, Sam Wilson can finally be allowed to save the world rather than spending his screen time convincing us he's the guy to do it.

Four MCU Movies In One Year

2025 marks Marvel's most ambitious projected theatrical output arguably ever, but at least since 2021 (the year they released "Black Widow," "Shang-Chi and the Legend of the Ten Rings," "Eternals," and "Spider-Man: No Way Home"). The key difference between the two years is that Marvel was more or less forced to release four films in 2021 in order to steer the universe back on track after months of COVID-19 delays and restrictions.

On the other hand, 2025 seems like a more confident play for the studio, evoking the too-big-to-fail swagger Marvel Studios used to have throughout its first three phases. Is this confidence a good thing? Not necessarily -- unless that confidence is coming from historically reliable creators like Kevin Feige, whose only major stumbling blocks with Marvel were arguably caused by COVID-19-related production issues and the hubris of two CEOs who seemed to think the MCU was an infinite money glitch (fortunately, Bob Iger seems to be in a much different mindset now with regards to the volume of Marvel projects Disney greenlights).

As of writing, Marvel is due to release "Blade," "Captain America: Brave New World," "Thunderbolts," and "Fantastic Four" in 2025, all of which are meant to establish new franchise-leading characters or elevate supporting characters to franchise leads. These movies have a lot more riding on them than your average Marvel sequel -- so if Iger, Feige, and company are confident about putting them out within one calendar year, they must have an exceptional amount of faith in this lineup.

Captain America And Thunderbolts Are Coming Out Back-To-Back

The fact that "Captain America: Brave New World" and "Thunderbolts" are scheduled one after the other in Marvel's 2025 release schedule is another reason to hold some cautious optimism about the studio's unusually high volume of theatrical content. Both films -- each anchored by one of the two stars from "The Falcon and the Winter Soldier," and set within the SHIELD-adjacent spy-thriller world softly established by the second "Captain America" film -- could easily be related to one another, potentially in a way that makes them something of a duology.

Their place in the release schedule alone could indicate that Marvel will be gradually returning to the interconnected narrative style that made their first three phases so popular. The majority of films released in Phases Four and Five were disappointingly isolated (again, a factor likely influenced by pandemic-related production woes), robbing the MCU of its most unique quality. And while "Fantastic Four" and "Blade" will likely follow suit -- albeit by presumably being set in the 1960s or in whatever timeline the MCU acknowledges "Eternals" -- at least "Captain America" and "Thunderbolts" have a chance to strengthen the continuity rather than just flop on top of it.

Blade Puts Mahershala Ali On The Marquee Again

Cards on the table: There are a number of reasons why we're worried about Marvel Studios' "Blade,"  but Mahershala Ali isn't one of them. Whether featuring in grounded prestige dramas like "Moonlight" and Netflix's "House of Cards" or stepping into fantastical worlds like those of "The Hunger Games" or "Alita: Battle Angel," the two-time Academy Award-winner has proven again and again that he's one of the most reliable and versatile talents working today. He's already responsible for two of the most compelling comic book performances of all time -- Cornell "Cottonmouth" Stokes, the tragic villain of "Luke Cage" Season 1, and, of course, Miles Morales' Uncle Aaron in "Spider-Man: Into the Spider-Verse."

Yet despite his obvious talents on film, it's been a while since Ali has led a theatrically released film. For almost a decade now, his best work has been confined to the small screen, and while those projects (which include the underrated Hulu series "Ramy" and his AppleTV+ feature "Swan Song") are more than worthy of his talent, it's been far too long since he's been allowed to lead a project meant for cinemas. Even if "Blade" turns out to be the messiest of Marvel's 2025 output, Ali's performance as the titular vampire hunter will make it worthwhile.

We're Finally Getting A New, Lighter Take On Superman

Whatever you think of Zack Snyder's DC films -- be they underrated masterpieces ahead of their time or woefully indulgent and fundamentally misguided vanity projects -- some credit should be given for tackling a character as fantastical as Superman in the direct aftermath of "The Dark Knight." When they weren't being shown how snarky and self-aware superhero films could be at Marvel Studios, comic book fans were seemingly being primed to expect darker, more adult films from DC.

Snyder's response to this relatively newfound demand was to craft a Man of Steel so hopelessly introspective about whether or not he should be a god among men that he comes off as stoic, brooding, and alienated. Though the Henry Cavill iteration of the character certainly has its fans, it's struck a tone far from that of its comic book counterpart. This is likely why James Gunn's "Superman" will have one important thing Zack Snyder's didn't -- a sense of humor.

Speaking to the Associated Press at the 2024 Critics Choice Awards, Lois Lane actor Rachel Brosnahan shared that the cast and crew were intently focused on telling a "Superman" story that was true to the source material, in part by allowing David Corenswet's Clark Kent to have a stronger sense of humor than Cavill's. For those worried that this means Gunn will bring the same sort of jokes heard in "Guardians of the Galaxy," fear not -- the writer-director confirmed long before Corenswet or Brosnahan were cast that the tone of "Superman" would be very different from his past work.

One Of The Greatest Indie Comic Book Heroes Is Getting A Second Chance

The nature of the current comic book industry landscape and its presence in Hollywood more or less dictates that we spend the vast majority of this article talking about Marvel or DC. But that doesn't mean they're the only companies set to see a revival soon.

A new film based on Todd MacFarlane's groundbreaking Image Comics character "Spawn" is eyeing a 2025 release date, with producer Jason Blum telling ComicBook last year that he predicted the film would arrive in theaters by that time. And while his update that the movie is in "active development" isn't as great as it sounds , his vagueness was seemingly caused by the dual WGA and SAG-AFTRA strikes that shut down Hollywood for the better part of 2023. Unless the shutdown extended far past what Blum expected, that 2025 estimate is likely still within reach at this point.

Spawn was previously brought to the big screen in 1997, directed by Mark A.Z. Dippé and starring Michael Jai White. It drew a harsh critical reception at the time and failed to make an impression at the box office, seemingly causing Dippé to do a sharp career pivot in which he went from directing one of the most violent PG-13 movies ever to "Halloweentown High" and Netflix's "Marmaduke." Hopefully, the upcoming reboot fares significantly better, allowing MacFarlane's work to benefit from modern effects and storytelling sensibilities.

It's The Year Of The Ensemble Superhero Film

Of all the aspects of the modern superhero film that need to evolve for the genre to survive, perhaps none are as overlooked as casting. Not casting in the traditional sense, necessarily (though that too could use an overhaul), but rather in how writers, directors, and producers select which characters appear in a given film. The current formula is incredibly limiting -- one headlining superhero, a love interest/best friend, another supporting character (with spin-off potential), and a villain. The result is often a wild concept quickly getting dampened by an overabundance of normal people in the cast.

While characters with humanity are central to impactful storytelling, it seems comic book movie creatives confuse them with human characters whose lack of powers, costumes, and history in the source material can greatly hinder their ability to contribute to a genre that emphasizes all three. Excitingly, the films of 2025 appear to be favoring ensemble casts, allowing each story to be told by and populated with a previously rare number of colorful characters at their disposal.

"Fantastic Four," "Thunderbolts," and even "Superman" -- as Gunn recently announced the film will debut DC's brutal superhero team The Authority -- are ostensibly written to feature majority superheroes and supervillains in their respective stories. Additionally, "Captain America: Brave New World" seems to have a superpowered supporting cast as well, including the Leader (Tim Blake Nelson), Sabra (Shira Haas), a new Falcon (Danny Ramirez), and potentially even the Red Hulk, played by Harrison Ford.

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Ed Mintz, Who Gave Audiences the Chance to Grade Films, Dies at 83

With CinemaScore, he broke new ground by building a business based on the opinions of moviegoers rather than critics.

By Richard Sandomir

Ed Mintz, a mathematician who created an exit polling system for films called CinemaScore, which asks people leaving theaters on opening nights to grade the movies they have just seen — a precursor of the website Rotten Tomatoes, which aggregates and scores critics’ opinions — died on Feb. 6 in Las Vegas. He was 83.

His son Harold said the cause of death, in a memory care facility, was vascular dementia.

Mr. Mintz, a film buff, was a partner in a computerized billing service for dentists in 1978 when he and his wife, Rona, went to see “The Cheap Detective,” a comedy written by Neil Simon and starring Peter Falk, at a theater in the Westwood section of Los Angeles. They both disliked it, and they felt let down by the critics whose praise had encouraged them to see it.

Their disappointment was echoed by at least one other departing moviegoer.

“And all of a sudden, some guy said, ‘Is anybody here wondering why they can’t get the opinions of actual moviegoers and publish that? We keep getting critics,’” Mr. Mintz recalled in an interview with The Las Vegas Review-Journal in 2016. “I looked at him and thought, ‘Wow, that’s a great idea.’”

That thought percolated until later that year. While attending Yom Kippur services at a synagogue in Los Angeles, he gazed at a donation pledge card. Rather than write with a pen or pencil, which Jews are prohibited from doing on Yom Kippur and the Sabbath, worshipers designated what to give by bending a perforated tab.

“I almost jumped out of the chair,” he said. “I thought: ‘Simple. How simple.’”

He quickly conceived the CinemaScore ballot card, which he tested by sending employees of his dental business to a few theaters. When the testing phase ended, polling began in 1979, and Mr. Mintz started reporting the results in a syndicated newspaper column.

The card and the polling process have changed little since the beginning and create a crowdsourcing alternative to critics’ opinions.

The card features six categories: grade, gender, age, and reasons for attending (including actors and subject), plus two questions about buying or renting the movie in the future.

After hundreds of moviegoers at theaters around the country tear perforations in the cards to designate their answers, they return them to the pollsters, who input the data into their iPads, and the results are processed by Harold Mintz at the company’s office in Las Vegas.

“A’s are generally good, B’s generally are shaky and C’s are terrible,” Ed Mintz told The Review-Journal. “D’s and F’s, they shouldn’t have made the movie, or they promoted it funny and the absolute wrong crowd got into it.”

With enough A’s for a film, the CinemaScore algorithm can award an overall A-plus grade, as it has for movies like “E.T. the Extraterrestrial” (1982), “Remember the Titans” (2000), “Finding Nemo” (2003) and “Argo” (2012). One of its recent F’s was for “The Grudge ” (2020).

Studios use CinemaScore’s grades — at least the better ones — to promote their films, and use the demographic results from the other questions on the cards to guide their marketing. In the late 1980s, studios started asking to be the company’s clients.

“You want to know who went, why they went and what they thought of the film,” Dan Fellman, a former president of Warner Bros. Distributing, said by phone, adding that CinemaScore ended Warner’s own exit polling. “Ed was very smart in the way he analyzed his statistics and the locations that he used.”

Edward Allen Mintz was born on Dec. 24, 1940, in Milwaukee. His mother, Belle (Moroff) Mintz, sold clothing at a department store. His father, Herman, sold aluminum siding and later had a company that built carports.

Ed’s parents divorced when he was a boy; his father died soon after. His maternal grandmother, Bessie Moroff, moved in to help care for him. When his mother remarried and moved to Omaha, his grandmother raised him full time.

His interest in math led Ed, as a teenager, to write a book about square roots, and later to study the subject at the University of Wisconsin-Madison, where he earned a bachelor’s degree in 1964.

He eloped with Rona Shikora in 1963. In addition to their son, Harold, she survives him, as do their other son, Ricky; their daughter, Julie McInerney; three grandchildren; and a great-grandson.

After graduating from college, Mr. Mintz used his mathematical background and his knowledge of computers to start his dental billing business. In the 1970s, he also developed algorithms for a gambling service’s sports magazines.

“He did a lot of entrepreneurial things involved in computer programming,” Harold Mintz said by phone, “but his main focus went from dental billing to the movies.”

CinemaScore’s grading system predated by a few years the thumbs-up and thumbs-down assessments of the film critics Roger Ebert and Gene Siskel, and by two decades the film and TV review scoring done by Rotten Tomatoes, which gives numerical Tomatometer (based on critics’ reviews) and Audience scores.

The director Martin Scorsese — whose most recent film, “Killers of the Flower Moon,” earned an A-minus from CinemaScore — is not a fan of either service.

In an article in 2017 in The Hollywood Reporter , he described them as “hostile to serious filmmakers” and claimed that they “rate a picture the way you’d rate a horse at the racetrack, a restaurant in a Zagat’s guide, or a household appliance in Consumer Reports.”

After Mr. Scorsese reiterated his criticism at the TCM Classic Film Festival the next year, Harold Mintz responded by telling The Playlist, a film website: “CinemaScore polls the audience that MOST want to see it. The data is deadly accurate. It correlates to box office as well. To bury those results, as Mr. Scorsese wishes to suggest, only says that he doesn’t want his fans to let others know whether or not his latest film meets expectations.”

Like his son, Ed Mintz believed that CinemaScore grades accurately reflected audience sentiment and could be a good predictor of box-office success.

But he didn’t always love moneymakers.

“‘Out of Africa’ bored me, but it got an A,” he told The South Florida Sun Sentinel in 1993. “‘Wayne’s World’ got a good grade” — an A — “but I thought it was terrible.”

Richard Sandomir is an obituaries writer. He previously wrote about sports media and sports business. He is also the author of several books, including “The Pride of the Yankees: Lou Gehrig, Gary Cooper and the Making of a Classic.” More about Richard Sandomir

Miyazaki’s Oscar Winner ‘The Boy and the Heron’ Coming to Max; Streamer Renews Deal for Studio Ghibli Films

By Todd Spangler

Todd Spangler

NY Digital Editor

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Hayao Miyazaki’s “ The Boy and the Heron ,” which just won the Oscar for feature animated film , is streaming to Max in the U.S.

Warner Bros. Discovery announced a multiyear agreement with independent distributor GKids to extend Max’s exclusive U.S. film streaming rights for Studio Ghibli , Japan’s legendary animation house. The streamer has been the U.S. home to Studio Ghibli’s catalog since 2020 , when the service originally launched as HBO Max.

The extension with GKids also will keep nearly two dozen Studio Ghibli films — including “My Neighbor Totoro,” “Kiki’s Delivery Service,” “Ponyo,” “Spirited Away” and “Howl’s Moving Castle” — exclusively on Max in the U.S. for at least the next several years. (A WBD rep declined to disclose the term of the deal renewal.)

“Our subscribers are always looking for unique stories, and we are happy to continue to offer these award-winning, critically acclaimed films and to add ‘The Boy and the Heron’ to our deep and rich Max content offering,” Elizabeth Bannan Atcheson, VP of content acquisitions, Warner Bros. Discovery, said in a statement.

The Oscar for “The Boy and the Heron” is Miyazaki’s second, after he won the animated feature prize in 2003 for “Spirited Award.” He also accepted an honorary Academy Award in 2014 for “exceptional contributions to cinema.”

GKids released “The Boy and the Heron” in the U.S. on Dec. 8, 2023, in its original Japanese with English subtitles, as well as in a new English-language version featuring the voices of Christian Bale, Dave Bautista, Gemma Chan, Willem Dafoe, Karen Fukuhara, Mark Hamill, Robert Pattinson and Florence Pugh. The film is GKids’ highest-grossing release in its 16-year history, earning over $46 million at the North American box office to date and also hitting the milestone of highest-grossing original Japanese animated film of all time domestically. GKids said it will re-release the film in North American theaters later this month.

Below is the list of films available to stream on Max in the U.S., with the date for “The Boy and the Heron” to be announced later:

• Nausicaä of the Valley of the Wind (1984)
• Castle in the Sky (1986)
• My Neighbor Totoro (1988)
• Kiki’s Delivery Service (1989)
• Only Yesterday (1991)
• Porco Rosso (1992)
• Ocean Waves (1993)
• Pom Poko (1994)
• Whisper of the Heart (1995)
• Princess Mononoke (1997)
• My Neighbors the Yamadas (1999)
• Spirited Away (2001)
• The Cat Returns (2002)
• Howl’s Moving Castle (2004)
• Tales from Earthsea (2006)
• Ponyo (2008)
• The Secret World of Arrietty (2010)
• From Up on Poppy Hill (2011)
• The Wind Rises (2013)
• The Tale of The Princess Kaguya (2013)
• When Marnie Was There (2014)
• Earwig and the Witch (2020)
• The Boy and the Heron (2023)

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