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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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Step By Step Guide to Writing an Essay on Film

By Film Threat Staff | December 29, 2021

Writing an essay about a film sounds like a fun assignment to do. As part of the assignment, you get to watch the movie and write an analytical essay about your impressions. However, you will soon find that you’re staring at an empty sheet of paper or computer screen with no idea what to write, how to start writing your essay, or the essential points that need to be covered and analyzed. As an  essay writing service proves, watching the movie countless times isn’t all there is to write a film analysis essay. Here’s a step-by-step guide to help you with an essay service :

1. Watch the Movie

This is the obvious starting point, but surprisingly many students skip this step. It doesn’t matter if you’ve watched the movie twice before. If you’re asked to write an essay about it, you need to watch it again. Watching the film again allows you to pay more attention to specific elements to help you write an in-depth analysis about it.  

Watching the movie is crucial because it helps you not specific parts of the movie that can be used as illustrations and examples in your essay. You’re also going to explore and analyze the movie theme within your structured plan. Some of the critical elements that you have to look out for while watching the movie that may be crucial for your essay are:

• Key plot moments
• Editing style
• Stylistic elements
• Scenario execution
• Musical elements

2. Introduction

Your introduction will contain essential information about the film, such as the title, release date, director’s name, etc. This familiarizes the reader with the movie’s primary background information. In addition, researching the filmmaker may be crucial for your essay because it may help you discover valuable insights for your film analysis.

The introduction should also mention the movie’s central theme and explain why you think it was made that way.

Do not forget to include your thesis statement, which explains your focus on the movie.

3. Write a Summary

According to an  essay writing service  providing students   help with essays , a movie summary comes after the introduction. It includes the film’s basic premise, but it doesn’t have to reveal too many details about the film. It’s a summary, after all. Write the summary like your readers have not heard about the movie before, so you can mention the most basic plots but assume you have minimal time so you won’t be going into great details.

4. Write Your Analysis

This is the central part of the essay in which you analyze the movie critically and state your impressions about the film. Ensure to support your claims with relevant materials from the movie.

There are also several creative elements in a movie that are connected to make the film a whole. You must pay attention to these elements while watching the movie and analyze them in this part of the essay.

In this, you are looking out for the dialogs, character development, completion of scenes, and logical event sequences in the film to analyze.

Ensure you try to understand the logic behind events in the film and the actor’s motives to explain the scenario better.

The responsibility of different parts of the movie, such as plan selection and scenario execution, falls on the director. So, your analysis here focuses on how the director realized the script compared to his other movies. Understanding the director’s style of directing may be crucial to coming up with a conclusion relevant to your analysis and thesis.

The casting of a film is a significant element to consider in your essay. Without a great actor, the scriptwriter and director can’t bring their ideas to life. So, watch the actor’s acting and determine if they portrayed the character effectively and if their acting aligns with the film’s main idea.

• Musical element

A movie’s musical element enhances some of the sceneries or actions in the film and sets the mood. It has a massive impact on the movie, so it’s an essential element to analyze in your essay.

• Visual elements

This includes special effects, make-up, costumes, etc., which significantly impact the film. These elements must reflect the film’s atmosphere. It is even more crucial for historical movies since it has to be specific about an era.

Ensure to analyze elements relevant to your thesis statement, so you don’t drift from your main point.

5. Conclusion

In concluding your essay, you have to summarize the primary concepts more convincingly to support your analysis. Finally, you may include a CTA for readers to watch or avoid the movie.

These are the crucial steps to take when writing an essay about a film . Knowing this beforehand prevents you from struggling to start writing after watching the movie.

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[…] now and then. Unfortunately, not all of us can afford to get cinema tickets to do so.  Some…Writing an essay about a film sounds like a fun assignment to do. As part of the assignment, you get…Since a few decades the film and entertainment sector have undergone some drastic transformation. […]

I can’t list the number of essays that don’t follow this format in the least. But then I find most reviews of movies terrible and most people who purport themselves to be writers as people who need to spend more time drafting and editing before publishing.

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Film Analysis: Example, Format, and Outline + Topics & Prompts

Films are never just films. Instead, they are influential works of art that can evoke a wide range of emotions, spark meaningful conversations, and provide insightful commentary on society and culture. As a student, you may be tasked with writing a film analysis essay, which requires you to delve deeper into the characters and themes. But where do you start?

In this article, our expert team has explored strategies for writing a successful film analysis essay. From prompts for this assignment to an excellent movie analysis example, we’ll provide you with everything you need to craft an insightful film analysis paper.

• 📽️ Film Analysis Definition

📚 Types of Film Analysis

• ✍️ How to Write Film Analysis
• 🎞️ Movie Analysis Prompts
• 🎬 Top 15 Topics

📝 Film Analysis Example

• 🍿 More Examples

🔗 References

📽️ what is a film analysis essay.

A film analysis essay is a type of academic writing that critically examines a film, its themes, characters, and techniques used by the filmmaker. This essay aims to analyze the film’s meaning, message, and artistic elements and explain its cultural, social, and historical significance. It typically requires a writer to pay closer attention to aspects such as cinematography, editing, sound, and narrative structure.

Film Analysis vs Film Review

It’s common to confuse a film analysis with a film review, though these are two different types of writing. A film analysis paper focuses on the film’s narrative, sound, editing, and other elements. This essay aims to explore the film’s themes, symbolism , and underlying messages and to provide an in-depth interpretation of the film.

On the other hand, a film review is a brief evaluation of a film that provides the writer’s overall opinion of the movie. It includes the story’s short summary, a description of the acting, direction, and technical aspects, and a recommendation on whether or not the movie is worth watching.

Wondering what you should focus on when writing a movie analysis essay? Here are four main types of film analysis. Check them out!

📋 Film Analysis Format

The movie analysis format follows a typical essay structure, including a title, introduction, thesis statement, body, conclusion, and references.

The most common citation styles used for a film analysis are MLA and Chicago . However, we recommend you consult with your professor for specific guidelines. Remember to cite all dialogue and scene descriptions from the movie to support the analysis. The reference list should include the analyzed film and any external sources mentioned in the essay.

When referring to a specific movie in your paper, you should italicize the film’s name and use the title case. Don’t enclose the title of the movie in quotation marks.

📑 Film Analysis Essay Outline

A compelling film analysis outline is crucial as it helps make the writing process more focused and the content more insightful for the readers. Below, you’ll find the description of the main parts of the movie analysis essay.

Film Analysis Introduction

Many students experience writer’s block because they don’t know how to write an introduction for a film analysis. The truth is that the opening paragraph for a film analysis paper is similar to any other academic essay:

• Start with a hook to grab the reader’s attention . For example, it can be a fascinating fact or a thought-provoking question related to the film.
• Provide background information about the movie . Introduce the film, including its title, director, and release date. Follow this with a brief summary of the film’s plot and main themes.
• End the introduction with an analytical thesis statement . Present the central argument or interpretation that will be explored in the analysis.

Film Analysis Thesis

If you wonder how to write a thesis for a film analysis, we’ve got you! A thesis statement should clearly present your main idea related to the film and provide a roadmap for the rest of the essay. Your thesis should be specific, concise, and focused. In addition, it should be debatable so that others can present a contrasting point of view. Also, make sure it is supported with evidence from the film.

Let’s come up with a film analysis thesis example:

Through a feminist lens, Titanic is a story about Rose’s rebellion against traditional gender roles, showcasing her attempts to assert her autonomy and refusal to conform to societal expectations prevalent in the early 20th century.

Movie Analysis Main Body

Each body paragraph should focus on a specific aspect of the film that supports your main idea. These aspects include themes, characters, narrative devices , or cinematic techniques. You should also provide evidence from the film to support your analysis, such as quotes, scene descriptions, or specific visual or auditory elements.

Here are two things to avoid in body paragraphs:

• Film review . Your analysis should focus on specific movie aspects rather than your opinion of the film.
• Excessive plot summary . While it’s important to provide some context for the analysis, a lengthy plot summary can detract you from your main argument and analysis of the film.

Film Analysis Conclusion

In the conclusion of a movie analysis, restate the thesis statement to remind the reader of the main argument. Additionally, summarize the main points from the body to reinforce the key aspects of the film that were discussed. The conclusion should also provide a final thought or reflection on the film, tying together the analysis and presenting your perspective on its overall meaning.

✍️ How to Write a Film Analysis Essay

Writing a film analysis essay can be challenging since it requires a deep understanding of the film, its themes, and its characters. However, with the right approach, you can create a compelling analysis that offers insight into the film’s meaning and impact. To help you, we’ve prepared a small guide.

1. Understand the Prompt

When approaching a film analysis essay, it is crucial to understand the prompt provided by your professor. For example, suppose your professor asks you to analyze the film from the perspective of Marxist criticism or psychoanalytic film theory . In that case, it is essential to familiarize yourself with these approaches. This may involve studying these theories and identifying how they can be applied to the film.

If your professor did not provide specific guidelines, you will need to choose a film yourself and decide on the aspect you will explore. Whether it is the film’s themes, characters, cinematography, or social context, having a clear focus will help guide your analysis.

2. Watch the Film & Take Notes

Keep your assignment prompt in mind when watching the film for your analysis. For example, if you are analyzing the film from a feminist perspective, you should pay attention to the portrayal of female characters, power dynamics , and gender roles within the film.

As you watch the movie, take notes on key moments, dialogues, and scenes relevant to your analysis. Additionally, keeping track of the timecodes of important scenes can be beneficial, as it allows you to quickly revisit specific moments in the film for further analysis.

3. Develop a Thesis and an Outline

Next, develop a thesis statement for your movie analysis. Identify the central argument or perspective you want to convey about the film. For example, you can focus on the film’s themes, characters, plot, cinematography, or other outstanding aspects. Your thesis statement should clearly present your stance and provide a preview of the points you will discuss in your analysis.

Having created a thesis, you can move on to the outline for an analysis. Write down all the arguments that can support your thesis, logically organize them, and then look for the supporting evidence in the movie.

4. Write Your Movie Analysis

When writing a film analysis paper, try to offer fresh and original ideas on the film that go beyond surface-level observations. If you need some inspiration, have a look at these thought-provoking questions:

• How does the movie evoke emotional responses from the audience through sound, editing, character development , and camera work?
• Is the movie’s setting portrayed in a realistic or stylized manner? What atmosphere or mood does the setting convey to the audience?
• How does the lighting in the movie highlight certain aspects? How does the lighting impact the audience’s perception of the movie’s characters, spaces, or overall mood?
• What role does the music play in the movie? How does it create specific emotional effects for the audience?
• What underlying values or messages does the movie convey? How are these values communicated to the audience?

5. Revise and Proofread

To revise and proofread a film analysis essay, review the content for grammatical, spelling, and punctuation errors. Ensure the paper flows logically and each paragraph contributes to the overall analysis. Remember to double-check that you haven’t missed any in-text citations and have enough evidence and examples from the movie to support your arguments.

Consider seeking feedback from a peer or instructor to get an outside perspective on the essay. Another reader can provide valuable insights and suggestions for improvement.

🎞️ Movie Analysis: Sample Prompts

Now that we’ve covered the essential aspects of a film analysis template, it’s time to choose a topic. Here are some prompts to help you select a film for your analysis.

• Metropolis film analysis essay . When analyzing this movie, you can explore the themes of technology and society or the portrayal of class struggle. You can also focus on symbolism, visual effects, and the influence of German expressionism on the film’s aesthetic.
• The Godfather film analysis essay . An epic crime film, The Godfather , allows you to analyze the themes of power and corruption, the portrayal of family dynamics, and the influence of Italian neorealism on the film’s aesthetic. You can also examine the movie’s historical context and impact on future crime dramas.
• Psycho film analysis essay . Consider exploring the themes of identity and duality, the use of suspense and tension in storytelling, or the portrayal of mental illness. You can also explore the impact of this movie on the horror genre.
• Forrest Gump film analysis essay . If you decide to analyze the Forrest Gump movie, you can focus on the portrayal of historical events. You might also examine the use of nostalgia in storytelling, the character development of the protagonist, and the film’s impact on popular culture and American identity.
• The Great Gatsby film analysis essay . The Great Gatsby is a historical drama film that allows you to analyze the themes of the American Dream, wealth, and class. You can also explore the portrayal of the 1920s Jazz Age and the symbolism of the green light.
• Persepolis film analysis essay . In a Persepolis film analysis essay, you can uncover the themes of identity and self-discovery. You might also consider analyzing the portrayal of the Iranian Revolution and its aftermath, the use of animation as a storytelling device, and the film’s influence on the graphic novel genre.

🎬 Top 15 Film Analysis Essay Topics

• The use of color symbolism in Vertigo and its impact on the narrative.
• The moral ambiguity and human nature in No Country for Old Men .
• The portrayal of ethnicity in Gran Torino and its commentary on cultural stereotypes.
• The cinematography and visual effects in The Hunger Games and their contribution to the dystopian atmosphere.
• The use of silence and sound design in A Quiet Place to immerse the audience.
• The disillusionment and existential crisis in The Graduate and its reflection of the societal norms of the 1960s.
• The themes of sacrifice and patriotism in Casablanca and their relevance to the historical context of World War II.
• The psychological horror in The Shining and its impact on the audience’s experience of fear and tension.
• The exploration of existentialism in Eternal Sunshine of the Spotless Mind .
• Multiple perspectives and unreliable narrators in Rashomon .
• The music and soundtrack in Titanic and its contribution to the film’s emotional resonance.
• The portrayal of good versus evil in the Harry Potter film series and its impact on understanding morality.
• The incorporation of vibrant colors in The Grand Budapest Hotel as a visual motif.
• The use of editing techniques to tell a nonlinear narrative in Pulp Fiction .
• The function of music and score in enhancing the emotional impact in Schindler’s List .

Check out the Get Out film analysis essay we’ve prepared for college and high school students. We hope this movie analysis essay example will inspire you and help you understand the structure of this assignment better.

Film Analysis Essay Introduction Example

Get Out, released in 2017 and directed by Jordan Peele, is a culturally significant horror film that explores themes of racism, identity, and social commentary. The film follows Chris, a young African-American man, visiting his white girlfriend’s family for the weekend. This essay will analyze how, through its masterful storytelling, clever use of symbolism, and thought-provoking narrative, Get Out reveals the insidious nature of racism in modern America.

Film Analysis Body Paragraphs Example

Throughout the movie, Chris’s character is subject to various types of microaggression and subtle forms of discrimination. These instances highlight the insidious nature of racism, showing how it can exist even in seemingly progressive environments. For example, during Chris’s visit to his white girlfriend’s family, the parents continuously make racially insensitive comments, expressing their admiration for black physical attributes and suggesting a fascination bordering on fetishization. This sheds light on some individuals’ objectification and exotification of black bodies.

Get Out also critiques the performative allyship of white liberals who claim to be accepting and supportive of the black community. It is evident in the character of Rose’s father, who proclaims: “I would have voted for Obama for a third term if I could” (Peele, 2017). However, the film exposes how this apparent acceptance can mask hidden prejudices and manipulation.

Film Analysis Conclusion Example

In conclusion, the film Get Out provides a searing critique of racial discrimination and white supremacy through its compelling narrative, brilliant performances, and skillful direction. By exploring the themes of the insidious nature of racism, fetishization, and performative allyship, Get Out not only entertains but also challenges viewers to reflect on their own biases.

🍿 More Film Analysis Examples

• Social Psychology Theories in The Experiment
• Anakin Skywalker/Darth Vader: George Lukas’s Star Wars Review
• Girl, Interrupted : Mental Illness Analysis
• Mental Disorders in the Finding Nemo Film
• One Flew Over the Cuckoo’s Nest Film: Interpretive Psychological Analysis
• Analysis of Spielberg’s Film Lincoln
• Glory – The Drama Movie by Edward Zwick
• Inventors in The Men Who Built America Series
• Crash Movie: Racism as a Theme
• Dances with Wolves Essay – Movie Analysis
• Superbad by G. Mottola
• Ordinary People Analysis and Maslow Hierarchy of Needs
• A Review of the Movie An Inconvenient Truth by Guggenheim
• Chaplin’s Modern Times and H.G. Wells’s The Island of Dr. Moreau
• Misé-En-Scene and Camera Shots in The King’s Speech
• Children’s Sexuality in the Out in the Dark Film
• Chinese and American Women in Joy Luck Club Novel and Film
• The Film Silver Linings Playbook by Russell
• The Role of Music in the Films The Hours and The Third Man
• The Social Network : Film Analysis
• My Neighbor Totoro : Film by Hayao Miyazaki
• Marriage Story Film Directed by Noah Baumbach

❓ Film Analysis Essay: FAQ

Why is film analysis important.

Film analysis allows viewers to go beyond the surface level and delve into the deeper layers of a film’s narrative, themes, and technical aspects. It enables a critical examination that enhances appreciation and understanding of the film’s message, cultural significance, and artistic value. At the same time, writing a movie analysis essay can boost your critical thinking and ability to spot little details.

How to write a movie analysis?

• Watch the film multiple times to grasp its key elements.
• Take notes on the story, characters, and themes.
• Pay attention to the film’s cinematography, editing, sound, message, symbolism, and social context.
• Formulate a strong thesis statement that presents your main argument.
• Support your claims with evidence from the film.

How to write a critical analysis of a movie?

A critical analysis of a movie involves evaluating its elements, such as plot, themes, characters, and cinematography, and providing an informed opinion on its strengths and weaknesses. To write it, watch the movie attentively, take notes, develop a clear thesis statement, support arguments with evidence, and balance the positive and negative.

How to write a psychological analysis of a movie?

A psychological analysis of a movie examines characters’ motivations, behaviors, and emotional experiences. To write it, analyze the characters’ psychological development, their relationships, and the impact of psychological themes conveyed in the film. Support your analysis with psychological theories and evidence from the movie.

• Film Analysis | UNC Writing Center
• Psychological Analysis of Films | Steemit
• Critical Film Analysis | University of Hawaii
• Questions to Ask of Any Film | All American High School Film Festival
• Resources – How to Write a Film Analysis | Northwestern
• Film Analysis | University of Toronto
• Film Writing: Sample Analysis | Purdue Online Writing Lab
• Film Analysis Web Site 2.0 | Yale University
• Questions for Film Analysis | University of Washington
• Film & Media Studies Resources: Types of Film Analysis | Bowling Green State University
• Film & Media Studies Resources: Researching a Film | Bowling Green State University
• Motion Picture Analysis Worksheet | University of Houston
• Reviews vs Film Criticism | The University of Vermont Libraries
• Television and Film Analysis Questions | University of Michigan
• How to Write About Film: The Movie Review, the Theoretical Essay, and the Critical Essay | University of Colorado

Descriptive Essay Topics: Examples, Outline, & More

371 fun argumentative essay topics for 2024.

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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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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Essays About Cinema: Top 5 Examples and 10 Prompts

Are you writing an essay on cinema? Check out our round-up of great examples of essays about cinema and creative prompts to stir up your thoughts on this art form.

Cinema is primarily referred to as films. With the power to transport people to different worlds and cultures, cinema can be an evocative medium to tell stories, shape beliefs, and seed new ideas. Cinema can also refer to the production process of films or even film theaters.

If you’re writing an essay about cinema, our inspiring essay examples and prompts below can help you find the best way to express your thoughts on this art form:  

Best 5 Essay Examples

1. french cinema is more than just entertainment by jonathan romney, 2. “nope” is one of the greatest movies about moviemaking by richard brody, 3. the wolf of wall street and the new cinema of excesses by izzy black, 4. how spirited away changed animation forever by kat moon, 5. from script to screen: what role for intellectual property by cathy jewell, 1. the history of cinema, 2. analysis of my favorite movie, 3. the impact of cinema on life, 4. the technological evolution of cinema, 5. cinema and piracy, 6. how to make a short film, 7. movies vs. film vs. cinema, 8. movie theaters during the pandemic, 9. film festivals, 10. the effect of music on mood.

“In France, cinema is taken seriously, traditionally considered an art rather than merely a form of entertainment or an industrial product. In that spirit, and in the name of ‘cultural exception,’ the French state has long supported home-grown cinema as both art and business.”

The culture of creating and consuming cinema is at the heart of French culture. The essay gives an overview of how the French give premium to cinema as a tool for economic and cultural progress, inspiring other countries to learn from the French in maintaining and elevating the global prestige of their film industry.

“‘Nope’ is one of the great movies about moviemaking, about the moral and spiritual implications of cinematic representation itself—especially the representation of people at the center of American society who are treated as its outsiders.”

The essay summarizes “Nope,” a sci-fi horror released in 2022. It closely inspects its action, technology play, and dramatic point-of-view shots while carefully avoiding spoilers. But beyond the cinematic technicalities, the movie also captures Black Americans’ experience of exploitation in the movie’s set period. 

“These films opt to imaginatively present the psychology of ideology rather than funnel in a more deceptive ideology through moralizing. The hope, then, perhaps, that indulging in the sin that we might better come to terms with the animal of capitalism and learn something of value from it. Which is to say, there is a moral end to at all.” 

This essay zooms into various movies of excess in recent times and compares them against those in the ‘60s when the style in the cinema first rose. She finds that current films of excess do not punish their undiscerning heroes in the end. While this has been interpreted as glorifying the excess, Black sees this as our way to learn.

Check out these essays about heroes and essays about college .

“Spirited Away shattered preconceived notions about the art form and also proved that, as a film created in Japanese with elements of Japanese folklore central to its core, it could resonate deeply with audiences around the world.”

Spirited Away is a hand-drawn animation that not only put Japanese cinema on the map but also changed the animation landscape forever. The film bent norms that allowed it to break beyond its target demographics and redefine animation’s aesthetic impact. The Times essay looks back on the film’s historic journey toward sweeping nominations and awards on a global stage long dominated by Western cinema. 

“[IP rights] help producers attract the funds needed to get a film project off the ground; enable directors, screenwriters and actors, as well as the many artists and technicians who work behind the scenes, to earn a living; and spur the technological innovations that push the boundaries of creativity and make the seemingly impossible, possible.”

Protecting intellectual property rights in cinema has a significant but often overlooked role in helping make or break the success of a film. In this essay, the author identifies the film-making stages where contracts on intellectual property terms are created and offers best practices to preserve ownership over creative works throughout the film-making process.

10 Exciting Writing Prompts

See below our writing prompts to encourage great ideas for your essay:

In this essay, you can write about the beginnings of cinema or pick a certain period in the evolution of film. Then, look into the defining styles that made them have an indelible mark in cinema history. But to create more than just an informational essay, try to incorporate your reflections by comparing the experience of watching movies today to your chosen cinema period.

Pick your favorite movie and analyze its theme and main ideas. First, provide a one-paragraph summary. Then, pick out the best scenes and symbolisms that you think poignantly relayed the movie’s theme and message. To inspire your critical thinking and analysis of movies, you may turn to the essays of renowned film critics such as André Bazin and Roger Ebert . 

Talk about the advantages and disadvantages of cinema. You can cite research and real-life events that show the benefits and risks of consuming or producing certain types of films. For example, cinematic works such as documentaries on the environment can inspire action to protect Mother Nature. Meanwhile, film violence can be dangerous, especially when exposed to children without parental guidance.

Walk down memory lane of the 100 years of cinema and reflect on each defining era. Like any field, the transformation of cinema is also inextricably linked to the emergence of groundbreaking innovations, such as the kinetoscope that paved the way for short silent movies and the technicolor process that allowed the transition from black and white to colored films. Finally, you can add the future innovations anticipated to revolutionize cinema. 

Content piracy is the illegal streaming, uploading, and selling of copyrighted content. First, research on what technologies are propelling piracy and what are piracy’s implications to the film industry, the larger creative community, and the economy. Then, cite existing anti-piracy efforts of your government and several film organizations such as the Motion Picture Association . Finally, offer your take on piracy, whether you are for or against it, and explain. 

A short film is a great work and a starting point for budding and aspiring movie directors to venture into cinema. First, plot the critical stages a film director will undertake to produce a short film, such as writing the plot, choosing a cast, marketing the film, and so on. Then, gather essential tips from interviews with directors of award-winning short films, especially on budgeting, given the limited resource of short film projects. 

Beyond their linguistic differences, could the terms movie, film, and cinema have differences as jargon in the film-making world? Elaborate on the differences between these three terms and what movie experts think. For example, Martin Scorsese doesn’t consider the film franchise Avengers as cinema. Explain what such differentiation means. 

Theaters were among the first and worst hit during the outbreak of COVID-19 as they were forced to shut down. In your essay, dig deeper into the challenges that followed their closure, such as movie consumers’ exodus to streaming services that threatened to end cinemas. Then, write about new strategies movie theater operators had to take to survive the pandemic. Finally, write an outlook on the possible fate of movie theaters by using research studies and personally weighing the pros and cons of watching movies at home.

Film Festivals greatly support the film industry, expand national wealth, and strengthen cultural pride. For this prompt, write about how film festivals encouraged the rise of specific genres and enabled the discovery of unique films and a fresh set of filmmakers to usher in a new trend in cinema.

First, elaborate on how music can intensify the mood in movies. Then, use case examples of how music, especially distinct ones, can bring greater value to a film. For example, superhero and fantasy movies’ intro music allows more excellent recall. 

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

If you’re still stuck, check out our general resource of essay writing topics .

Yna Lim is a communications specialist currently focused on policy advocacy. In her eight years of writing, she has been exposed to a variety of topics, including cryptocurrency, web hosting, agriculture, marketing, intellectual property, data privacy and international trade. A former journalist in one of the top business papers in the Philippines, Yna is currently pursuing her master's degree in economics and business.

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Film Writing: Sample Analysis

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Introductory Note

The analysis below discusses the opening moments of the science fiction movie  Ex Machina  in order to make an argument about the film's underlying purpose. The text of the analysis is formatted normally. Editor's commentary, which will occasionally interrupt the piece to discuss the author's rhetorical strategies, is written in brackets in an italic font with a bold "Ed.:" identifier. See the examples below:

The text of the analysis looks like this.

[ Ed.:  The editor's commentary looks like this. ]

Frustrated Communication in Ex Machina ’s Opening Sequence

Alex Garland’s 2015 science fiction film Ex Machina follows a young programmer’s attempts to determine whether or not an android possesses a consciousness complicated enough to pass as human. The film is celebrated for its thought-provoking depiction of the anxiety over whether a nonhuman entity could mimic or exceed human abilities, but analyzing the early sections of the film, before artificial intelligence is even introduced, reveals a compelling examination of humans’ inability to articulate their thoughts and feelings. In its opening sequence, Ex Machina establishes that it’s not only about the difficulty of creating a machine that can effectively talk to humans, but about human beings who struggle to find ways to communicate with each other in an increasingly digital world.

[ Ed.:  The piece's opening introduces the film with a plot summary that doesn't give away too much and a brief summary of the critical conversation that has centered around the film. Then, however, it deviates from this conversation by suggesting that Ex Machina has things to say about humanity before non-human characters even appear. Off to a great start. ]

The film’s first establishing shots set the action in a busy modern office. A woman sits at a computer, absorbed in her screen. The camera looks at her through a glass wall, one of many in the shot. The reflections of passersby reflected in the glass and the workspace’s dim blue light make it difficult to determine how many rooms are depicted. The camera cuts to a few different young men typing on their phones, their bodies partially concealed both by people walking between them and the camera and by the stylized modern furniture that surrounds them. The fourth shot peeks over a computer monitor at a blonde man working with headphones in. A slight zoom toward his face suggests that this is an important character, and the cut to a point-of-view shot looking at his computer screen confirms this. We later learn that this is Caleb Smith (Domhnall Gleeson), a young programmer whose perspective the film follows.

The rest of the sequence cuts between shots from Caleb’s P.O.V. and reaction shots of his face, as he receives and processes the news that he has won first prize in a staff competition. Shocked, Caleb dives for his cellphone and texts several people the news. Several people immediately respond with congratulatory messages, and after a moment the woman from the opening shot runs in to give him a hug. At this point, the other people in the room look up, smile, and start clapping, while Caleb smiles disbelievingly—perhaps even anxiously—and the camera subtly zooms in a bit closer. Throughout the entire sequence, there is no sound other than ambient electronic music that gets slightly louder and more textured as the sequence progresses. A jump cut to an aerial view of a glacial landscape ends the sequence and indicates that Caleb is very quickly transported into a very unfamiliar setting, implying that he will have difficulty adjusting to this sudden change in circumstances.

[ Ed.:  These paragraphs are mostly descriptive. They give readers the information they will need to understand the argument the piece is about to offer. While passages like this can risk becoming boring if they dwell on unimportant details, the author wisely limits herself to two paragraphs and maintains a driving pace through her prose style choices (like an almost exclusive reliance on active verbs). ]

Without any audible dialogue or traditional expository setup of the main characters, this opening sequence sets viewers up to make sense of Ex Machina ’s visual style and its exploration of the ways that technology can both enhance and limit human communication. The choice to make the dialogue inaudible suggests that in-person conversations have no significance. Human-to-human conversations are most productive in this sequence when they are mediated by technology. Caleb’s first response when he hears his good news is to text his friends rather than tell the people sitting around him, and he makes no move to take his headphones out when the in-person celebration finally breaks out. Everyone in the building is on their phones, looking at screens, or has headphones in, and the camera is looking at screens through Caleb’s viewpoint for at least half of the sequence.  

Rather than simply muting the specific conversations that Caleb has with his coworkers, the ambient soundtrack replaces all the noise that a crowded building in the middle of a workday would ordinarily have. This silence sets the uneasy tone that characterizes the rest of the film, which is as much a horror-thriller as a piece of science fiction. Viewers get the sense that all the sounds that humans make as they walk around and talk to each other are being intentionally filtered out by some presence, replaced with a quiet electronic beat that marks the pacing of the sequence, slowly building to a faster tempo. Perhaps the sound of people is irrelevant: only the visual data matters here. Silence is frequently used in the rest of the film as a source of tension, with viewers acutely aware that it could be broken at any moment. Part of the horror of the research bunker, which will soon become the film’s primary setting, is its silence, particularly during sequences of Caleb sneaking into restricted areas and being startled by a sudden noise.

The visual style of this opening sequence reinforces the eeriness of the muted humans and electronic soundtrack. Prominent use of shallow focus to depict a workspace that is constructed out of glass doors and walls makes it difficult to discern how large the space really is. The viewer is thus spatially disoriented in each new setting. This layering of glass and mirrors, doubling some images and obscuring others, is used later in the film when Caleb meets the artificial being Ava (Alicia Vikander), who is not allowed to leave her glass-walled living quarters in the research bunker. The similarity of these spaces visually reinforces the film’s late revelation that Caleb has been manipulated by Nathan Bates (Oscar Isaac), the troubled genius who creates Ava.

[ Ed.:  In these paragraphs, the author cites the information about the scene she's provided to make her argument. Because she's already teased the argument in the introduction and provided an account of her evidence, it doesn't strike us as unreasonable or far-fetched here. Instead, it appears that we've naturally arrived at the same incisive, fascinating points that she has. ]

A few other shots in the opening sequence more explicitly hint that Caleb is already under Nathan’s control before he ever arrives at the bunker. Shortly after the P.O.V shot of Caleb reading the email notification that he won the prize, we cut to a few other P.O.V. shots, this time from the perspective of cameras in Caleb’s phone and desktop computer. These cameras are not just looking at Caleb, but appear to be scanning him, as the screen flashes in different color lenses and small points appear around Caleb’s mouth, eyes, and nostrils, tracking the smallest expressions that cross his face. These small details indicate that Caleb is more a part of this digital space than he realizes, and also foreshadow the later revelation that Nathan is actively using data collected by computers and webcams to manipulate Caleb and others. The shots from the cameras’ perspectives also make use of a subtle fisheye lens, suggesting both the wide scope of Nathan’s surveillance capacities and the slightly distorted worldview that motivates this unethical activity.

[ Ed.: This paragraph uses additional details to reinforce the piece's main argument. While this move may not be as essential as the one in the preceding paragraphs, it does help create the impression that the author is noticing deliberate patterns in the film's cinematography, rather than picking out isolated coincidences to make her points. ]

Taken together, the details of Ex Machina ’s stylized opening sequence lay the groundwork for the film’s long exploration of the relationship between human communication and technology. The sequence, and the film, ultimately suggests that we need to develop and use new technologies thoughtfully, or else the thing that makes us most human—our ability to connect through language—might be destroyed by our innovations. All of the aural and visual cues in the opening sequence establish a world in which humans are utterly reliant on technology and yet totally unaware of the nefarious uses to which a brilliant but unethical person could put it.

Author's Note:  Thanks to my literature students whose in-class contributions sharpened my thinking on this scene .

[ Ed.: The piece concludes by tying the main themes of the opening sequence to those of the entire film. In doing this, the conclusion makes an argument for the essay's own relevance: we need to pay attention to the essay's points so that we can achieve a rich understanding of the movie. The piece's final sentence makes a chilling final impression by alluding to the danger that might loom if we do not understand the movie. This is the only the place in the piece where the author explicitly references how badly we might be hurt by ignorance, and it's all the more powerful for this solitary quality. A pithy, charming note follows, acknowledging that the author's work was informed by others' input (as most good writing is). Beautifully done. ]

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588 Cinema Essay Topic Ideas & Examples

🏆 best cinema topic ideas & essay examples, 👍 good essay topics on cinema, 💡 most interesting cinema topics to write about, 📌 writing prompts for cinema, ✅ simple & easy cinema essay titles, 📑 good research topics about cinema.

• Books Vs. Movies: Similarities and Differences Essay For both movies and books, the story is a central part and the authors or directors come up with themes and plotlines that can captivate and entertain the audience. In the Harry Potter Movies, the […]
• Hidden Figures Movie: Summary and Analysis Essay Example In the essay, two main arguments will be made based on the events described in the movie: while the women’s colleagues at NASA did see the potential in them and tried to eliminate barriers that […] We will write a custom essay specifically for you by our professional experts 808 writers online Learn More
• Favorite Movie: “Home Alone” by John Hughes Despite the fact that the film is primarily associated with Macaulay Culkin, the rest of the actors have contributed significantly to the movie’s atmosphere.
• Daisy Randone’s Mental Disorders in the Girl, Interrupted Movie In the following scene with Daisy, Susanne knocks on the door to Randone’s room to offer her the drugs Daisy wanted.
• “Mona Lisa Smile” Movie Analysis One of the examples is when Katherine was getting to know the students and met Joan who was one of the smartest in the class.
• The Corporation Documentary Essay: Reflection Paper on the 2003 Movie It is noted in the documentary that corporations have made profits out of everything, including those that are essential to human life.
• “The Corporation” a Film by Mark Achbar, Jennifer Abbott and Joel Bakan The documentary begins with an intriguing synopsis of the recent culmination of corporate scandals, and then it proceeds to ridicule the overriding media’s analysis of this scandal “crisis” as the consequence of many “bad apples” […]
• Symbolism in “Get Out” Movie Overall, the silver spoon is symbolic of the wealth and power of white people over minorities. Colors in the movie are used to oppose the characters and show their attitudes towards people of color.
• Mental Disorders in the “What About Bob?” Film He is easy to talk to and compliments people all the time to gain their affection. He also has problems leaving his house and constantly is in the fear of the unknown.
• Watching a Movie at Home or Theater: An Exciting Adventure or the Ideal Place In this essay, one will be enlightened why watching movies at home is better than going to the movie theater By watching movie at home, one will save a fair amount of money.
• Mother India: A Representation of the Whole Country The movie Mother India can be considered the film that represents the whole country in a particular period of its evolution, which makes it an essential piece of art that embodies problems, hopes, and views […]
• The Blind Side Essay Movie Review The Blind Side is a movie produced in 2009 that focuses on the life of Michael Oher. Leigh Anne believes that the decision to make Michael part of her family is right despite objections from […]
• Nina Sayers’s Mental Disorders in the Black Swan Movie She runs to this rehearsal; in the hall, she hears the music from her role and sees Lily rehearsing the part of the black swan.
• Pride and Prejudice: Film Interpretation Collins, the cousin of the five sisters, is the probable heir to the family’s estate because of his close kinship to the family. In the midst of the journeys between London and Derbyshire, the viewers […]
• August Wilson’s “Fences” Play vs. Movie Comparison The first difference is that the movie has more sets compared to the consistent house-front used in the play. Characters occasionally enter the house in the movie compared to the play, which is acted at […]
• Boyne’s “The Boy in the Striped Pajamas” Book and Film Comparison The book The Boy in the Striped Pajamas and the film The Boy in the Striped Pajamas are both stories by John Boyne about Bruno, a nine-year-old boy narrating his experience in World War II […]
• Tuck Everlasting: Differences Between the Book and the Film The plot of the book involves the description of the Tucks and Fosters Family. In the film, Winnie and Jesse are of the same age and seem to equally feel love for each other.
• Movie Analysis: “Slumdog Millionaire” It is depicted in the assassination of Jamal’s mother during the religious conflict and Salim and Jamal running into a rich man, as they try to escape from policemen.
• Psychological Disorders in “American Psycho” Movie The main character, who will be the basis of this paper’s analysis, is Patrick Bateman, who is a young and successful individual.
• The Film “Precious”: Claireece Precious Jones’ Case To resolve the identified problems of the client, the social worker needs to establish consent, discuss confidentiality terms, carry out assessment procedure, and thoroughly address the steps of interventions implementation within the treatment plan.
• The Analysis of the Movie “Inside Out” by Pixar A clear difference between an adult and a child is depicted through the maturity of the characters that represent people’s emotions.
• The Ten Commandments: A Historically Wrong Film One of the historical aspects that the movie failed to capture was the good things that God did to the Israelites.
• Precious (2009): Patient Assessment and Treatment Also, to put further reasoning in the proper context, it is critical to notice that the whole assessment and discussion of the treatment plan are based entirely on what is presented in the movie, and […]
• The Movie “Split” Analysis When a dissociative identity disorder hits a person severely, the only recommendation for the main character to resolve the psychological issue is contacting a psychotherapist and conducting comprehensive treatment.
• “Hotel Rwanda” (2004) by Terry George The events in the movie unfold in 1994 when the Rwandan genocide was just about to begin. Thereafter, the country plunges into a state of chaos after the death of the president.
• The Film “Black Panther” Analysis Moreover, the film and distribution of a motion picture allow the audience to consider such important issues as diversity and range, the importance of social media, and its impact on society, and women’s power.
• Movie Grave of the Fireflies Seita and Setsuko are represented as the victims of the war because they need to struggle with the oppressive conditions each day of their life.
• Analysis of the Shirt Scene in “The Great Gatsby” Film Although the shirts mean nothing to Gatsby without Daisy, the audience watches Gatsby’s facial expression display a great deal of empathy and love whenever Daisy seems distressed, especially in this scene when she begins to […]
• Analysis of the Movie “Wit” The film describes the experimental treatment of ovarian cancer with metastases, showing the situation from three sides, the patient’s feelings, the doctors who need to experiment, and a caring nurse.
• Review and Analysis of “The Message” Movie The historical film The Message is dedicated to the era of the formation of Islam and tells about the events that took place in the period from 610 to 632.
• The “Pirates of Silicone Valley” Film Analysis When it came to pirating and copying the work of others in the field of technology, Steve Jobs and Bill Gates were both seen negatively.
• Social Inequality in the Titanic Movie Even when she rejects the privileges that her class offers in order to be with the one she loves, she is eventually separated from him because of the consequences of social inequality.
• “2012” Directed by Roland Emmerich The Mayans calendar cyclic end inspires the movie’s story, and a general picture of dooms day is seen throughout the entire movie.
• Persepolis: Movie vs. Book Comparison Essay But it is still easy to realize that two chapters in the book have been completely done away with in the movie: those of ‘The Letter’ and ‘The Jewels’. The scene at the end of […]
• Se7en: Theme, Concept and Characters The Theme of the Film and The general theme of the film is that even if the world is a bad place to live in, it is still worth fighting for in the end.
• “12 Angry Men”: Comparison of the Play and the 1997 Movie The core of the story covered in the play is preserved in the movie, which validates the abundance of differences. In both the play and the movie, the protagonist is Juror 8 and the antagonist […]
• Rhetoric in “12 Angry Men” Film by Sidney Lumet In the same manner, he points to the fact that some of the information presented as incriminating the boy is insufficient for establishing the personality of a killer.
• Analysis of “Precious Knowledge” Film The film Precious Knowledge focuses on the fall and defense of the ethnic studies program within the Tucson district. Music is also another form of code used in the film to show the film’s pace […]
• Race and Gender in “Hidden Figures” (2016) Discussing the restroom scene within the context of the main theme of race and gender in Hidden Figures is important because it showed the tension between the urgent scientific work and the lack of logic […]
• The Movie “If Only” by Gil Junger and Christina Welsh The genre of the film is romance and similar to many other movies that I have watched in the past; for instance, The Romantics and You Again among others.
• Alfred Hitchcock’s Vertigo: Film Techniques and Cinematography Critical Essay The main purpose of this paper is to dwell upon the movie Vertigo and to understand its underlying theme, the role of lighting and cinematography effects in movie perception and to compare and contrast it […]
• Whip Whitaker in the Movie “Flight” by Zemeckis However, in the process of the investigation, despite his brilliance and experience as a pilot, his personal problems and incompetent behaviors begin to emerge.
• Ethical Dilemma as Witnessed in the Cassavetes’ Film “My Sister’s Keeper” Organ transplants require the voluntary participation of donors and the society at large in donating the vital organs from living or deceased members of the society.
• “Shakespeare in Love”: Movie Analysis The movie is set in the late 16th century, which aligns with the existing historical accounts of the events that took place in the life of the poet in reality.
• The Film ‘Coach Carter’ The second issue is the lack of values, respect, and attitude among the members in the team. The issue of discrimination and racism is another sociological concern in the film.
• Mental Retardation in the Movie “Forrest Gump” Although he was mentally retarded Forrest Gump had another quality in him and it is the innocence and the graciousness of a gentleman.
• The “Avatar” (2009) Film Analysis Given the deep plot, the eternal love line between the main characters seemed inappropriate, so I would say that the only thing I did not like was this moment in the plot.
• Critical Analysis of the Movie Gandhi What motivates a leader to do one of these, or all of them, can be examined in the internal and external environment of the leader, the characteristics of the people, events that are happening, and […]
• “Brain on Fire”: Movie Analysis The movie begins with a general overview of the life of a 21-year-old Susannah before she was diagnosed with a rare health issue.
• Applying a Sociological Theory to the Movie ‘The Truman Show’ The Truman Show is a drama film that captures the basic principles of the social structure at the beginning of life besides helping us to uncover the origin of the prevailing social interactions or socialization […]
• Sometime in April: Summary and Analysis of the Movie Tutsis blamed the Hutus for taking away the life of a president who was a liberal, while the Hutus blamed the Tutsis for killing the president by virtue of his tribe. The mission of the […]
• Sociological Principles in the ‘Crash’ Movie After the incident, the couple calls a Hispanic locksmith to replace the locks in the house. Other examples of stereotypes include the white pawnbroker believing the Persian male has terror links and the Persian linking […]
• Issues Raised in the “Erin Brockovich” Movie According to memos written back in 1966, the senior management of the company knew about the carcinogenic effects of chromium 6 that the company was using, but the management did nothing to correct the situation.
• The Animated Movie “Up” by Carl Fredricksen Nevertheless, it is challenging to assess Carl’s grief, as he does not speak openly about his feelings following Ellie’s death in the movie.
• “Kingdom of Heaven” Film Analysis Apart from the fame that may come with such leadership, there is the need for the leaders to fight and ensure that the city is maintained.
• Italian Neorealism Impact on the French New Wave Movies The most appropriate for comparison are two movies; the representative of the Italian neorealism is the Thief directed by Vittorio De Sica and the second one is the work of the French New Wave director […]
• An Interpersonal Conflict in the “Frozen” Movie The central conflict demonstrated to the audience in the animated film Frozen is based on quarrels and disputes between the two sisters, Elsa and Anna, in terms of intrapersonal and external disagreements.
• “Visual Pleasure and Narrative Cinema” by Laura Mulvey In following her to various locations, Scottie discovers that Madeline is overcome by her past and in particular the tragic life of her great-grandmother Carlotta Valdes.
• Harry Potter Books and Movies The lead character is the hero Harry Potter, a famous wizard whose adventures are the central focus of the book and the movie.
• In Time by Andrew Niccol Film Analysis This was shown in the film that the cost of living was constantly increased by the rich to keep the working class in their place.
• Central Themes in the Movie “Water” According to Hinduism fundamentalism at this time, a widow has to spend the rest of her days in an ashram atoning for the sins that might have caused the death of the husband.
• Movies as a Medium of Mass Communication Over the decades of its development, the phenomenon of a movie has changed significantly, especially with the introduction of new genres and the discovery of new ways of conveying a particular idea visually.
• “Tuesdays With Morrie” Film by Mick Jackson Nature, loved and praised by Morrie, is used in the film to show the end of his life. The conversations with Morrie help him to remember who he actually is, reconsider his life, and focus […]
• “To Kill a Mockingbird”: Book and Movie Differences It is important to note that the film, To Kill a Mockingbird entails most of the aspects depicted in the novel.
• “Notting Hill”: The Movie Analysis The purpose of the movie “Notting Hill ” was to show the life of two people and how it is sometimes limited by the social regulations and norms.
• American Dream in “The Pursuit of Happiness” Film In America today, there is a general belief that every individual is unique, and should have equal access to the American dream of life “life, liberty, and the pursuit of happiness”.
• My Big Fat Greek Wedding (2002) Cultural Analysis And the root of the word Miller is Greek and means apple in Greek. Overall, the treatment of the Greek culture in the movie is inelegant.
• Rio (2011) and the Issue of Freedom As a matter of fact, this is the only scene where Blu, Jewel, Linda, Tulio, and the smugglers are present at the same time without being aware of each other’s presence.
• The Disney Movie “Enchanted” The plot of the movie focuses on Giselle, a Disney Princess, who moves from her animation world of Andalasia, though by force, to the real world to the city of New York. Giselle is a […]
• “The Lion King” Movie as Adaptation of Shakespeare’s “Hamlet” The film parallels Hamlet as the main characters in the play and the film are both princes, and the antagonists are uncles who murder their brothers to gain power.
• Film “Freedom Writers”: The Difficult Fate of Students One of the students, Eva Benitez, struggles with her identity as a gang member and a young woman in high school.
• “The Godfather” a Film by Francis Ford Coppola The response captures the failed criminal justice of America and the power and honor of the Godfather.”I went to the police, like a good American,” the man says.
• Classism, Ableism and Sexism in the 1939 Film “The Hunchback of Notre Dame” Discrimination in all its forms is a timeless issue in the society; classism, ableism, and sexism, as forms of discrimination, are prevalent in the film The Hunchback of Notre Dame and similar examples exist in […]
• “Chungking Express” a Movie by Wong Kar-Wai The opening scene introduces the viewer to the main characters and the location where most of the action takes place, the Chungking Express.
• The HIV/AIDS Epidemic in the Movie “And the Band Played On” In particular, they knew that many of the patients had sexual intercourse with one another, but they could not explain why this disease was widespread in the gay community.
• Sociological Concepts in the “Inside Out” Film Suddenly, Sadness and Joy turn out to be in the storage of memory, and the girl falls into depression. Understanding the urgency of the situation, he tries to help and lead them on the way […]
• “12 Years a Slave”: An Analysis of the Film The movie was based on the memoir Twelve Years a Slave by Solomon Northup. Although 12 Years a Slave is a film about slavery, the issues of collectivism and individualism are also raised.
• The Film “The Social Network” One of the most important characters in the film is Garfield who plays the role of Saverin, the only friend Zuckerberg had while in college.
• A Cinematographic Techniques in Alfred Hitchcock’s Film “Rear Window” When the camera returns from the exterior of the backyard to the inside of the photographer’s room, there emerges a close-up on the most significant objects in the interior.
• Summary of “We Were Soldiers” Movie Despite the existence of racism during the movie, the same Geoghegan marches in a tender way to check out the bare foot of the same black man.
• The Absurd Hero as an Interesting Type of Hero in Literature and Movies It is through his adventures living as Tyler that the Narrator truly explores the dark side of his personality, living not by the laws of society but in direct contrast to them, until the Narrator […]
• Bollywood Movies: History and the ‘Bollywood Movement’ It is based in the city of Mumbai, India and although people often incorrectly use the term for referring to the entire Indian cinema, Bollywood only represents a part of the Indian movie industry and […]
• “Do the Right Thing” by Spike Lee: Film Analysis Overall, the film appears to be a great piece of film-making art representing the themes of racism, nationalism, discrimination, and all the complexity behind the necessity to live and cope with each other by the […]
• “Ali: Fear Eats the Soul” Film Cinematography Angst Essen Seele Auf is known as Ali: Fear Eats the Soul released in 1974 is a beautiful direction of Rainer Werner Fassbinder who has sketched the entire movie as direct as the scornful glare […]
• “Salaam Bombay!” (1988) by Mira Nair Consequently, the story also incorporates a variety of themes and ideas that are interesting to explore in terms of the functioning of the society, the role of the city in marginalization and poverty, and human […]
• “The Mission” Movie Analysis The mission tells us about life the struggles of the Guanari tribe, and the representatives of the Jesuit Order, who have entered the tribe to convert it.
• The “My Neighbor Totoro” Film Analysis This cartoon Embodies the main motives of Miyazaki’s work – childhood, the fidelity of friends, the dark side of the personality, and the power of fantasy.
• The Movie “Dog Pound” by Kim Chapiron The issue depicts poor governance that happens in the juvenile center and is not in line with the primary objectives of making sure that the lives of the minors are drastically changed.
• Lessons Learnt from the “3 Idiots” Movie 3 idiots do not contain fantasy elements or episodes; it is a story of the maturing protagonists, Farhan, Raju, and Rancho, and their overcoming of life path hardships related to tertiary education and young adulthood.
• Therapy Aspects in the “Antwone Fisher” Movie Antwone contributes to the treatment by listening to the doctor’s advice, answering all the questions, even personal ones about his sexual experience, reading the book Davenport suggests, and practicing sublimation of his anger through drawing, […]
• Film “In the Mood for Love” (“Corridor Glance”) To expound on the mystery of this dream, one should watch the scene called “Corridor Glance” which conveys the gist of the story.
• Media Convergence with Film and Cinema In media convergence and film, there has been the transformation of established services, work processes, and industries, over and above the facilitation of completely new varieties of content.
• Lessons from “The Pursuit of Happyness” Movie The struggle of Chris Gardner to survive in this world financially and emotionally is a core theme in The Pursuit of Happyness that proves the correctness of choice to sit and watch the movie.
• Themes in “The Battle for Algiers” (1966) The movie is a strong representation of the battle that marked the struggle for freedom by the native Algerians against the French colonial government.
• Film ‘Outsourced’ by John Jeffcoat The film Outsourced introduces viewers to the customs of the Indian culture through the experience of the principal character, Todd Anderson.
• Olive’s Character in the “Little Miss Sunshine” Systems in which Olive as a character is part of Olive is part of the family and the community systems. Here, the impact of Olive is felt in the family.
• Critique of “Hidden Figures” Movie The main theme of the movie is that the motivation to achieve results can overcome discrimination and benefit society. It forces Glenn to request that Katherine check the calculations.
• Ice Ages and Ice Age the Movie: The Realistic and Unrealistic Components of the Film In the process of trying to survive the ice age three animals chanced upon a human baby and decided that they should return the child to its parents.
• Citizen Kane (1941): Editing Techniques Thus, involving several storytellers in the process of portraying the characters, the author allows the audience to collect separate fragments and scattered facts that help understand the fractured personalities of the main characters. The film […]
• The “Brave” Intercultural Film Analysis In their discourse in the forest, the princess and her mother realized the need for relationship rebuilding, mending the bond that led to a solution for the kingdom’s survival.
• Nelson Mandela’s Leadership in the “Invictus” Film The film “Invictus” is a 2009 drama and biography that depicts the challenging initiative of Nelson Mandela to unite the country with the help of sport.
• Violence in Movies and Its Effects Some people claim that violence in movies negatively affects people, whereas others argue that violence in movies does not lead to violence in life.
• Sociology Within the “Parasite” Movie Similar to the connection between “structure” and “culture” in society, there is a connection between film and sociology. The Parasite uses an exaggerated narrative through the wealth gap to emphasize class struggle and social inequality.
• The Film “Catch Me If You Can” by Steven Spielberg The failure of Frank’s father to secure a bank loan forces his family to move from their luxury home to a small house.
• “Silenced” (2011) by Hwang Dong-Hyuk The problems raised in the movie are social and should bother the whole society as being based on the realistic events, it means that there may be many places where disabled children are treated in […]
• Analysis of the Film “La La Land” Poster The naming of the film La La Land is a denotation of the movie, giving a literal meaning to the movie.
• The Concept of Gender in Cinema The concept of gender in cinema refers to the portrayal of female roles in cinemas. These representations of female roles in cinemas show the consistent effort by filmmakers to use cinemas to emphasize the mainstream […]
• Analysis the Movie “Thirteen” by Catherine Hardwicke The movie’s purpose is to show the tackles of adolescents from their side and disclose to the viewer the difficulties they can face.
• Disability Is Not Inability: “Door to Door” by Steven Schachter This is a movie review of the movie “Door to door” it is based on the true story of Bill Porter authored by William H.
• What Theory or Theories of Counseling are Observed in the Film Good Will Hunting? It is crucial to state that there are too many therapists who refused to work with Will Hunting because of a number of reasons, the main of which was the character’s contempt to them.
• Social Media Impacts in the “Cyberbully” Film The first problem associated with the use of social media that is exemplified in the film is the lack of privacy.
• Gender Issues in the Movie “The Stoning of Soraya M.” Gender roles and the discrimination of women have been the main topics of concern in most movies in the recent past. The movie shows women as inferior to men as illustrated by the differentials in […]
• Various Themes in the Film “Children of Heaven” In addition to highlighting the struggles of the have-nots in contemporary urban centers, these scenes depict the relationship between the rich and the poor.
• The Movie Industry The meaning of the PESTLE analysis entails evaluating each of the PESTLE components and the way in which they influence the movie industry.
• Horror Movies’ Negative Effects on Children’s Health The film industry took note of the increasing popularity of the use of fear and produced “The Curse of Frankenstein” in 1957, which spurred the growth of horror movies in Hollywood.
• The Movie “Mean Girls”: Psychosocial Analysis On the other hand, Kohlberg states that people’s sense of morality is tied to their personal and societal relationships, as revealed in Candy’s characters.
• Aladdin Movie Critique by National Public Radio Aladdin is not a bad adaptation for this moment and, probably, the best chance for many people to return in time and remember the joy and happiness of childhood.
• Jim Carroll’s Drug Addiction in the Movie “The Basketball Diaries” by Leonardo Dicaprio After the bursting of Jim and apprehending of his friends, using drugs red handed by the couch, disintegration starts taking place in the group and most of the boys lose their essence for being thrown […]
• A Biological Catastrophe: “Contagion” (2011) The plot is written in different viewpoints that range from the society itself and the representatives attached at the Center for Disease Control and Prevention to the government officials, all in an attempt to recognize […]
• The Movie “Blue Velvet”: Psychological Criticism The gist of this paper, therefore, is to offer psychological criticism of the Movie as regards its screenplay, plot, direction, and general presentation, and this is done by applying the Freudian Theory of Psychological Analysis […]
• Stereotypes in Disney’s “Aladdin” Movie We all know that Germany produces quality products, and that everything made in China is prone to breaking, that democracy is good and communism is bad, that Europeans are cowards and the Middle East is […]
• Personality Theory in the Movie “Pursuit of Happyness” In addition, it seeks to understand the internal and external forces that affect his personality in the film and the factors that enable him to succeed.
• Hirokazu Koreeda’s ‘Nobody Knows’ Movie Analysis 1 The purpose of this paper is to analyze such aspects of Nobody Knows as the theme of family, the genre combining elements of fiction and documentaries, a linear narrative, the children’s perspective, and camera […]
• The King’s Speech: Prevailing Through Weakness When the king spoke, all the country was still and quiet listening to the radio and waiting for the words to reveal themselves from the unbearable throat seizures. The movie is about the attempt to […]
• The Role of Music in the Film “Titanic” Also, it will discuss the content and themes of the movie and explain the role played by music in the movie.
• The Movie “Outsourced” by John Jeffcoat Specifically, the misalignment between the expectations that the leading character has of the new staff members and the Indian employees’ perception of their role in the organization, as well as the approach toward managing their […]
• Story, Plot, and Symbolism of “Othello” Film The movie’s point of attack is Othello’s decision to overlook Iago for a promotion to the position of Lieutenant in favor of Cassio.
• Historical Context of the “King Kong” (1933) In general, the film was cast as a symbol of the beastly myth and archetypal beauty. Ann’s beauty is a form of obsession in the film.
• “Lost in Translation” by Sofia Coppola: Film Analysis In the same scene, a confused Bob is placed in the middle of the lift surrounded by his colleagues in line with the movie title Lost in Translation.
• Difference Between Silent Films and the Contemporary Movies The striking difference between films produced during the silent era and the modern movies is the absence of sound in the former.
• Korean Women’s Portrayal in Korean Films Before discussing the portrayal of Korean women in Korean films it would be pertinent to look at the condition of Korean women in a Confucian society since it will help in understanding the present condition […]
• Turtles Can Fly Film Analysis In effect this is to take the baby’s point of view communicating a theme of confusion, and also the helplessness of the situation because almost all the characters in the film are young children.
• “The Karate Kid” a Film by Harald Zwart Dre is a complete foreigner who struggles to fit into his new environment and live life the normal freeway that he is used to in his home country. He claims that his style of Kung […]
• “The Color Purple” by Steven Spielberg: Movie Analysis She is more of a slave to her husband until the time that Shug enters her life in being the mistress of her husband. Celie is also able to gather immense strength and benefits from […]
• Negotiation Scenes in the “Erin Brockovich” Movie To shape the perceptions of their clients, Masry and Brockovich start to enumerate the diseases plaintiffs suffer from due to the harmful influences of the corporation.
• Critique of the Film “17 Again” Such films generally highlight the difficulties in relationships between children and parents and the fact that adults tend to lose the passion to live and become mediocre.
• Moonlight by Barry Jenkins: A Movie Analysis This paper is divided into sections to; highlight the stages of development of Chiron, theoretical perspectives in understanding behavioral development and the impact of the behavior on the main characters life, impact on the society, […]
• African American Family in the “Soul Food” Movie The family in the movie, called Joseph’s family, consists of Big Mama, the head of the family, who has three daughters: Terri, Bird and Maxine.
• Film Studies: ”The Bicycle Thieves” by Vittorio de Sica The audience is only in a position to obtain the projected meaning due to the raw emotions used in the film.
• The Film “Inception” by Christopher Nolan The interrelation of dreams’ different levels makes it difficult for the viewers to differentiate between dreams and reality, which can be assumed to be one of the motifs of the film.
• Romeo and Juliet’s Analysis and Comparison With the Film Romeo Must Die It can be concluded that, in the case of the original Romeo and Juliet, the main heroes are dying, but their families reconcile.
• Cinematic Techniques in the Film “Stagecoach” The most prominent aspect of the Stagecoach film is the fact that it used several cinematographic methods to enrich the overall storytelling.
• “The Ghost Writer” (2010) by Roman Polanski This is a serious set back for the ghost writer because he is forced to take a flight in the heart of winter to an estate that is in front of the ocean.
• “The Mountain of Sgaana” by Auchter: A Film Review The attention to detail and the unique ways of animating the characters result in a fantastic film. One of the qualities is the use of dialogue and no dialogue in some aspects of the film.
• Cinematography in the “Breathless” Film To begin with, the director relies on the use of long shots to narrate the story. The approach is used by the photographer to depicting the emotional cues of the characters.
• Positive Psychology in “The Pursuit of Happyness” Film Gardner demonstrates perseverance, hope, and social intelligence and illustrates the importance of effectance motivation and the power of social networks, even though the protagonist’s relationship with his wife could be improved.
• “Lights Out”, a Horror: Are You Afraid of the Dark? The movie tells us the story of a family that has to deal with the mysterious creatures generated by the power of horror.
• ‘Gladiator’ by Ridley Scott: Plot and Historical Facts Maximus realizes the facts about murder of his emperor and he is not ready to give loyalty to Commodus. Gladiators of Proximo come to participate in the game in the leadership of Maximus.
• “The Hobbit”: Book vs. Movie The names of places, characters, and events are the same in both the book and the movie. In contrast, in the movie, the story revolves around Bilbo and the dwarves.
• “The Greatest Showman” by Michael Gracey The film opens with character presentation, then the plot develops to the climax, and the final scene brings the movie to the end.
• Do Horror Movies Make People Aggressive? In essence, horror movies do not make people aggressive. In essence, horror movies do not make people aggressive.
• Grendel’s Mother in Film “Beowulf” She is one of the main antagonists in the plot, and she is directly involved in the lives of the main characters.
• Fireproof the Movie From the producers of Facing the Giants, Fireproof is a Christian drama film about a firefighter and his wife, married for seven years and on the brink of a divorce.
• Experience of Making a Film I was the producer and was involved in making critical decisions that guided the production of the film. To improve the quality of the film, we hired three people to participate in the filming as […]
• “Smoke Signals” Movie and “This is What It Means to Say Phoenix, Arizona” by Sherman Alexie Speaking about what is in common between the movie and the novel it should be first of all stated that the movie is based on the novel and thus basically has the same plot.
• Ethical Issues in the “Unthinkable” Film However, the crescendo of the interrogation is reached when the nuclear explosions are about to occur, and the interrogator threatens the victim’s family in a bid to stop the explosion by locating the bombs; the […]
• Wonder Movie: A Miracle of Family In addition, the mother always acts as the peacemaker: during the dinner on the first day of school, she is the one to start the conversation to comfort others.
• Film Character Analysis Rushmore is a brilliant example of a boy’s life where it is necessary to perform a number of particular roles without considering personal ambitions and interests; the boy finds it interesting to use his funny […]
• Cultural Differences Among Families in the “Hotel Rwanda” Film Arguably, the existence of cultural differences between families across the lifespan is the most significant problem affecting the family of Rusesabagina as he attempts to play the role of a corporate manager and a family […]
• Film Studies: “Babel” by Alejandro Gonzalez Innarritu After several attempts to find someone to look after the kids to no avail, Amelia decides to take the kids with her to the wedding in Mexico.
• Film Review “See What I’m Saying: The Deaf Entertainers Documentary”
• Ethical Analysis of the Movie “Liar, Liar”
• Classical Editing Technique in “The Gold Rush” Film
• The Film “Salud!” and the Cuban Healthcare System
• Violent Movies and Children
• The Cinderella Movie: Sociological Analysis
• Mortality: Film, The Hours
• Character Analysis in Movie “Girl, Interrupted”
• Diaspora Identity in “Dilwale Dulhaniya Le Jayenge” Film
• “The Crooked E: The Unshredded Truth About Enron” Film
• The Blind Side: Book and Movie Comparison
• Scene Analysis from the “Deadpool” Film
• “Troy” Film by Wolfgang Petersen
• Leadership in the “Invictus” Movie
• Growing Popularity of Science Fiction Films in 1950s
• The Analysis of the Film: One Week
• Trauma- and Stressor-Related Disorder in the “American Sniper” Film
• Depression and Grief in the “Ordinary People” Film
• Lamb to the Slaughter: Movie vs. Book
• The Political Satire Film “Wag the Dog”
• “Joker” 2019 Film: Scene Analysis
• Social Issues in “Frankenstein” Film
• Male and Female Characters in Films and Shows
• The Creation of Narrative Films: History and Factors
• Music in Films: “The Shawshank Redemption”
• “Shall We Dance”: Movie Analysis
• How the Movie Techniques of Space and Mise-En-Scene Work to Deliver Meaning in Film
• Dissociative Identity Disorder in “Sybil”
• The Advantages of the Cinema Over Other Media
• Environmental Law in “A Civil Action” Drama Film
• The Neorealism Movement in “The Bicycle Thief” Film
• YouTube Case: Copyright Infringement of Music and Films
• Cinema and Its Impact on People’s Behavior
• “Saving Private Ryan” Film Overview
• A Rhetorical Analysis of the Titanic Film
• The Gifted Hands: The Ben Carson Story Film
• The Planet of the Apes – A Dystopian Film
• African and Western Culture in the “Touki Bouki” Film
• Representation of African-American Women in the Movie Foxy Brown
• Metropolis’ Women: Analysis of the Movie’s Feminism & Examples
• The Singin’ in the Rain Movie: A Scene Analysis
• Love and Relationships in “The Notebook” Movie
• Zodiac Movie: Crime, Media Reporting and Ethics
• Social Problems in The Godfather Movie
• How Disney Pixar Runs Their Films for Families?
• The Animation “Rango” Movie Analysis
• Battleship Potemkin: An Important Contribution to World Cinema
• The Movie Adaptation of the “Othello” by William Shakespeare
• Analysis of the Movie ‘Olympus Has Fallen’
• The Genre of Crime and Gangster Movies
• The Movie “It” by Andy Muschietti
• “Erin Brockovich” Movie: How One Person Can Change Everything
• “Mulholland Drive” by David Lynch: Symbolism of Color
• “The Lion King” Franchise: Concepts, Themes, and Characters
• “Memento” by Christopher Nolan Film Analysis
• “Flight” Film Analysis
• Jane Eyre: Novel vs. Film
• “La Vita E’ Bella” by Roberto Benigni Film Analysis
• Communication Elements in the “I Am Sam” Movie
• Social Classes in “Metropolis” Film by Fritz Lang
• Film Studies: “Life of Pi” by Ang Lee
• Children of Heaven Movie Analysis
• The “Cold Journey” Film by Martin Defalco
• Kinds of Movies: Narrative Film, Documentary Film, and Experimental Film
• “Boyz n the Hood”: Movie Analysis
• John Nash’s Drama in “A Beautiful Mind” Film
• Moral Dilemma in the “Gone Baby Gone” Movie
• “Colors of the Wind” Scene in the “Pocahontas” Film
• Bioethics in the Film “The Cider House Rules”
• Film Analysis: “The Fall” by Tarsem Singh
• The Film ‘Chinatown’ and Corruption in the American Society
• The Hunger Games by Gary Ross – Film Study
• Gender Issues in the Movie “The Accused” by J. Kaplan
• An Analysis of the Character John Nash in the Movie A Beautiful Mind
• Secondhand Lions (2003): Storyline and Key Aspects
• Analysis of the Movie The Crucible
• “Green Mile” Directed by Frank Darabont: Film Review
• Evil and Anti-Christ: “The Omen” (1976)
• The Film as Art and Entertainment
• Film Piracy, Its Positive and Negative Impacts
• Film Studies: “The Physician” by Philipp Stölzl
• The “Harriet” Movie by Kasi Lemmons
• How Taoist Concepts Are Represented in Movies
• Codes in “10 Things I Hate About You” Movie
• Earl in “Memento Mori” Short Story and “Memento” Film
• Visions of the Future in the Film I, Robot
• “Double Indemnity”: An Exemplary Noir Film
• Paisà (1946) by Roberto Rossellini: Style, Theme, and Cultural Value
• Movie Theatres’ Market Segmentation
• The Movie “12 Years a Slave”
• Mary Shelley’s “Frankenstein” (1994)
• Gender Stereotypes in the “Frozen” and “Shrek” Movies
• Hollywood Success in the Film “Sunset Boulevard”
• Yacoubian Building Film Analysis
• Film Studies: “Class Action” by Michael Apted
• Classical American Cinema and Soviet Montage
• Political Sensitivity in “My Own Private Idaho” Film
• “Dog’s Life” by Charlie Chaplin Film Analysis
• The Movie “Wag the Dog”
• “The Mirror Has Two Faces” Film Analysis
• Film – Cinderella Man
• Ethics in the Film “A Time to Kill”
• Sunset Blvd: Women Sexuality in the Dark Side of the Reality and Films Noir
• Representation of Race in Disney Films
• The Analysis of the Film “Midsommar” by Ari Aster
• “Rear Window” Film vs. “It Had to Be Murder” Story
• Strategic Management: Movie Industry
• Beloved: Demme’s Film vs Morrison’s Novel
• “The Great Gatsby” Film by Baz Luhrmann
• Tarzan’s Decision in Film “Tarzan” by Walt Disney
• Classical Hollywood Cinema and Its Ideology
• Disney Movies as a Part of Childhood Entertainment
• Film “Gladiator”: Technical Aspects and Approaches
• Eastman Kodak and Photographic Film Industry Major Changes
• Fashion and Cinema: “Breakfast at Tiffany’s”
• The Film Industry During Cold War
• Ethical Principles in the Movie The Firm
• ‘1917’ by Sam Mendes: Analysis of Film
• Fisher King Case Assessment: Review the Film
• Hays Code in “The Public Enemy” Film
• Social Issues in the Film “Grease”
• Hamlet in the Film and the Play: Comparing and Contrasting
• Groundhog Day: Ethical Analysis of the Movie
• The Truman Show Movie
• The Movie “A Beautiful Mind” and Display of Schizophrenia
• Business Ethics in John Q. and Wall Street Movies
• “The Goddess” by Wu Yonggang Film Analysis
• Slumdog Millionaire Film Analysis
• The Film “Gattaca” and Genetic Engineering
• Film Critique: The Shawshank Redemption
• Psychology in Movies: Stephen Chbosky’s Wonder
• “Burn” 1969: Film Critique on the Structure, Characters
• “Race” Biographical Movie: Jesse Owens’ Motif
• “Cinema Paradiso” an Drama Film by Giuseppe Tornatore
• Oil Spill in the “Deepwater Horizon” Movie
• Dogtooth: Greek Understanding of Horror Films as a Separate Genre
• The Film “A Girl Walks Home Alone at Night” by Ana Lily Amirpour
• “Whale Rider” the Film by Niki Caro
• Leadership Concepts in the “Seabiscuit” Drama Film
• Love Portrayal in Modern Day Film and Literature
• Avatar Movie Analysis
• The Film “La la Land”: Argument Scene
• Crisis Intervention in “The Impossible” Film
• “Gladiator” by Ridley Scott: Freedom and Affection
• Cultural Family Assessment in “Under the Same Moon” Film
• AIDS Discrimination in “Philadelphia” (1993) by Jonathan Demme
• Racial and Ethnic Conflicts in “The Help” Film
• “Paradise Now” Film Analysis
• Problems of the Movie Industry
• Difficult Cinematography: “Millennium Mambo” Film
• The Movie Life and Debt
• The Hunger Games: Book Versus Movie
• The Film “Remember the Titans” by Boaz Yakin
• The “Macbeth” Film by Rupert Goold
• “Halloween” (1978): A Film Analysis
• “Marriage Story” Film Analysis
• The Platform Film: How the Cinema Work Functions
• The Role of Television and Movies in Our Life
• “The Big Picture: Rethinking Dyslexia” by James Redford
• Depression, Grief, Loss in “Ordinary People” Film
• Themes in “The Good, the Bad and the Ugly” Movie
• Film Studies: “Malcolm X”
• Film Studies: “Provoked” by Jag Mundhra
• Critique the Film a Prophet Directed by Jacques Audiard
• Justine’s Psychological State in “Melancholia”
• Comparison of a Short Story and the Film
• “Mrs. Doubtfire” Film by Chris Columbus
• A Girl in the River (2015): Facilitating Change in the Community
• Beverly Hills Cop Film Analysis
• The Movie “Hotel Rwanda”
• ‘Mi Familia’ a Film by Gregory Nava
• The “22 Again” Short Movie Analysis
• Shakespeare’s “Twelfth Night” vs. “She’s the Man” Film
• Economics of Pricing Movies. Essential of Economics
• The Movie “Cannibal Tours”
• A Tree of Life film Analysis
• A Critical Review of the Film “Blood Diamond”
• “The Time That Remains” Film Analysis
• The Ex Machina Film by Alex Garland
• Main Themes of the “White Zombie” Movie
• The Movie “Les Miserables” by Tom Hooper
• Japanese Film Influences on Modern Hollywood Cinemas
• “Annie Hall” and “When Harry Met Sally” Films Comparison
• Ethical Dilemma in “The Reader” Film by S. Daldry
• Political Sensibilities in “My Own Private Idaho” Film
• Film Genre and Gross Income
• Ethics in “The Clockwork Orange” Film by Kubrick
• The Cinderella Story Film Analysis
• “Welcome to Dongmakgol” by Park Kwang Hyeon
• A Critique of the Film “Lord of War” Created and Directed by Andrew Niccol
• Analysis of Trauma and Testimony in the 1982 Film “Sophie’s Choice”
• Relationships in the “Crazy, Stupid, Love” Movie
• “The Heart” Movie’s Poster Analysis
• “Braveheart” (1995) by Mel Gibson
• The Film “Doctor Strange”
• The Film “The Company Men” Analysis
• “The Aimless Bullet” by Yu Hyun-Mok Film Analysis
• “Scream” a Horror Film by Wes Craven
• Urban Slum in the “City of God” (2002)
• The “They Call Us Monsters” Film Analysis
• Afro-Futurism in the “Black Panther” Film
• Nursing in the “One Flew Over the Cuckoo’s Nest” Film
• Gender Issues in Dystopian Film “Children of Men”
• Visual Analysis: Untitled Film Still #21
• Thriller Genre in Films
• Children of Men: Durkheim’s Understanding of Religion
• The Character of Jane Burnham in American Beauty Film
• The Hunger Games Movie’s Marketing Strategies
• “The Story of the Weeping Camel”: Film Study
• Mise-en-scenes in the Film “Amadeus”
• Artistic Color Usage in Zhang Yimou’s Films
• The Tragedy “Throne of Blood” by Akira Kurosawa – Film Analysis
• The Women of the Veil: Gaining Rights and Freedoms
• Step Up by Anne Fletcher Movie
• Film Studies: Chilsu and Mansu by Park Kwang-Su
• Why We Enjoy Horror Films
• “To Kill a Mockingbird” (1962) by Robert Mulligan
• To Live (HuoZhe) Film Discussion
• Roman Patriotism in Ridley Scott’s “Gladiator”
• The Importance of Film Music
• Ageism in the “Driving Miss Daisy” Film
• Theories of Movie “The Color Purple” by Spielberg
• Development of Narrative Film in the Early 20th Century
• Design & Composition in “The Godfather” Film
• “Little Buddha” the Film by Bernardo Bertolucci
• Psychology in the “50/50” Hollywood Film
• Opening Scene in “The Grand Budapest Hotel” Film
• “The Breakfast Club” Film Analysis
• Sicko by Michael Moore Film Analysis
• Film Studies: Girl Interrupted by Susana Kaysen
• Analysis of the Film “The Iron Lady 2011”
• The Film Baraka and Its Spiritual Reflections
• The Movie Mystic River as a Cautionary Tale
• Cinematography of the “Thelma and Louise” Film
• Social Issues in the “Thelma and Louise” Movie
• Harriet Tubman: From History to a Detailed and Realistic Film
• “Radio” (2003) by Michael Tollin
• ‘Road to Perdition’ (2002) by Sam Mendes
• The Illusionist: Film and Short Story
• India Movie Industry as a Medium of Mass Communication
• “Newsies” by Kenny Ortega and the Industrial Revolution
• “Do the Right Thing” Film by Spike Lee
• Sociology of Education: “Stand and Deliver” Film
• The Film “Boyz N the Hood” Analysis
• US Economy Recession in the Too Big to Fail Film
• Chinatown’ by Roman Polanski Film Analysis
• English Film Director Danny Boyle Film Analysis
• Human Memory in Christopher Nolan’s “Memento” and “Inception”
• Macbeth Versions Comparison Film Analysis
• “Far and Away” (1992) by Ron Howard
• Theme of Sex Education in “Superbad” (2007)
• Iron Man 3 Movie
• Demystifying the Fiction Movie “The Matrix”
• Film Analysis of ‘One Week’ by Buster Keaton
• On the Art of Film Analysis
• Group Dynamics in the Movie “Hoosiers”
• Movie Analysis of Pearl Harbor Using Principles of Interpersonal Communication
• The Film “Soul” by Pixar: Understanding Plato’s Rhetoric
• The “Shattered Glass” Film’s Analysis
• “A River Runs Through It”: The Novella vs. The Movie Adaptation
• System of Justice in Kaplan’s Movie “The Accused”
• The Film “Super Size Me 2: Holy Chicken!”: How the Fast Food Industry Interacts With Its Customers
• Themes in “McLintock!” (1963) by Andrew V. McLaglen
• Family Assessment in Payne’s Film “The Descendants”
• Cultural Assimilation in the “Spanglish” Movie
• Techniques in “The Graduate” Film by Mike Nichols
• “True Grit”: Book and Films Comparison
• Race Identity Evaluation in the Film “Malcolm X”
• Movie “Legally Blonde” by Robert Luketic
• “Thank You For Smoking” by Jason Reitman Film Analysis
• Stereotyping Heroes in Cinema
• Stylistic Analysis of Film Script
• Enron Scandal in “The Crooked E” Film by Spheeris
• “Black Swan” by Darren Aronofsky: Film Analysis
• Ethical Theories in “The Social Dilemma” Film
• “Amadeus” Film Analysis and Interpretation
• Ethical Research in the Erin Brockovich Film
• Ethical Dilemmas of the Movie “The Reader”
• “The Breakfast Club” by John Hughes Film Analysis
• “Faat Kiné” (2001): Depicting Africa and Its Realities
• Ancient World: Wolfgang Petersen’s “Troy”
• “Mad Max: Fury Road” as a High-Concept Piece
• The Movie “Spring of the Korean Peninsula”
• Racial and Ethnic Inequality in the Movie “Race”
• Western Films Influence on Youth
• “Wolf of Wall Street” a Film by Martin Scorsese
• The Film “Pocahontas” by Walt Disney Pictures
• The Movie “Jackie Brown”
• “Midaq Alley”: The Novel’s and the Film’s Ending
• Andy’s Hope in “The Shawshank Redemption”
• Ethical Situations in the “Bonnie and Clyde” and “Breathless”
• Manhood Imagery in “Jarhead” by Sam Mendes
• The Movie Troy by Warner Brothers
• “Titanic” by James Cameron: The Design of the American Epic Romance Film
• “The Chronicle of Disappearance” Film Analysis
• The “Children of Men” Film by Alfonso Cuarón
• “Race the Power of an Illusion”: A Film Response
• The Film “Higher Learning” by John Singleton
• Requiem for a Dream: Analysis of Film
• Analysis of Mise-En-Scene in Films
• A Case Study of “Bus 174 Film” by Felipe Lacerda
• Fight Club Film and Brecht’s Distancing Effect
• The Concepts and Techniques of Film Editing
• The Film ‘Monster’: Criminological Theory
• Financial Crisis of 2007-2008 in ‘The Big Short’ Movie
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• Mise-En-Scene of “Monsoon Wedding” Indian Film
• Adult Learning Through Character in “My Fair Lady” Film
• Music in “Mrs. Doubtfire” the Film by Chris Columbus
• Group Conformity in the Movie “Fight Club”
• “As Good As It Gets” a Film by James Brooks
• The Female Role Analysis in the Film “Rear Window”
• Animation and Live Action’ Relationship in Cinema
• The Movie and the Book “Slam” Comparisin Film Analysis
• Artistic Analysis of The Film “Farewell My Concubine” by Chen Kaige
• “War Horse” (2011) by Steven Spielberg
• Film Analysis-Danton
• The Film “Battle of the Sexes” by Jonathan Dayton and Valerie Faris
• “The National Treasure” Film by Walt Disney
• “The Host” Directed by Rob Savage: A Film Analysis
• A Context Analysis of the Coraline Movie
• Akutagawa’s “In a Grove” Story and Its Film Adaptation
• Love Conquers Everything: ‘The Notebook’ Movie by Cassavetes
• “Thank You for Smoking” by Christopher Buckley: Movie Analysis
• “Negotiator” by F. Gray: The Film Study
• Small Group Communication in the Italian Job Film
• ‘McFarland, USA’: Recounting the Real Story
• Cinematography in the Avatar Film
• “300” the Movie by Zack Snyder
• The True Historical Incidence: “Chariots of Fire” (1981)
• “The Fly” (1986): Exploring the Concept of Terminal Disease
• Race in Popular Culture: “Get Out” (2017)
• “Ordinary People” as a Psychiatric Movie
• “American Beauty” Film Critique and Scene Analysis
• “Meet Joe Black” Film by Martin Brest
• Femme Fatales in Mulvey’s “Visual Pleasure and Narrative Cinema”
• Whales’ Help to Humanity in the “Whale Rider” Film
• Schizophrenia in ‘A Beautiful Mind’ Film
• Economic Aspects in “A Christmas Carol” Movie
• Film Studies: “The Mark of Zorro” by Fred Niblo
• “The Intouchables” a Film by Olivier Nakache
• Throne of Blood by Akira Kurosawa – Film Analysis
• Film Studies: “Out in the Night” by Blair Doroshwalther
• Nowhere in Africa. Movie Analysis
• Analysis of Inherit the Wind Film
• Inside North Korea: Michael Wood’s Documentary
• Impact of Modern Digital Technologies on Film Industry
• Fall From Power in ”The Last Emperor” Movie
• Sexuality and Gender in the Film “Provoked: A True Story”
• Mean Girls: The Appeal of Teen Movies
• How the Walt Disney Movie “Dumbo” Is Bad for Children?
• Human Rights in the Movie Escape From Sobibor
• The Movie Mr. Bones Produced by Anant Singh
• Explain, Analyze and Critique Critical Aspect of Film: Writing in “Amadeus”
• The Role of Smells in the Movie Parasite
• Aspects of the Film “Bonnie and Clyde” by Penn
• “All Quiet on the Western Front” Film Review
• Women Studies: “If These Walls Could Talk 2” Film
• Diverse Culture in the “Ongka’s Big Moka” Film
• The Film “Breathless” by Jean-Luc Godard
• The “Lincoln” Movie by Steven Spielberg
• Technologies in the Film “2001: A Space Odyssey”
• Leadership in “The Hunger Game” Movie
• Conflict Management in “The Avengers” Movie
• Environmental Influences on Child Development in “Mulan” Movie
• Incendies’ Film Analysis
• Movies: It Is Better to Go Out or Stay at Home
• “What’s Eating Gilbert Grape” Movie
• The Curious Case of Benjamin Button (2008)
• Motion Picture Industry and Movie Theaters: Trends and Challenges
• The Theme of Friendship in the “Arranged” Film
• 8 Trial Steps in the “My Cousin Vinny” Film
• Costumes in “A Streetcar Named Desire” (1951) Film
• The Play “Macbeth” by Shakespeare and the Film “Maqbool” by Bhardwaj
• Conflict of Cultures in “The One Who Dances With the Wolves” Film
• The “Hidden Figures” Movie Review
• The “Hacksaw Ridge” Movie Analysis
• “The Joy Luck Club”: Film Analysis
• The Film “(Dis)Honesty: The Truth About Lies”
• A Horror Film as a Form of Modern Public Lynching
• A Feminist Approach in the Film “Thelma and Louise”
• Plot and Main Idea of “The Joy Luck Club” Film
• Sigmund Freud and Psychoanalysis of “Saw II”Movie
• The Movie “Finding Nemo” by Andrew Stanton
• Symbolism in Film “The Wizard of Oz”
• The Before Sunrise Film: A Story of Utopian Love
• “The Great White Hope”: Film Analysis
• Biocultural Diversity in Charlie’s Country Film
• The Impact of Gender, Race, and Sexuality in Children’s Films
• The Movie “Norma Rae” by Martin Ritt
• The Character of Judah Ben-Hur in the Film “Ben-Hur” by William Wyler
• Tim Burton’s Iconic Movies Style Evaluation
• The Value of a Single Human Life in Battle, Based on Movies
• “Avatar” Movie by James Cameron
• Would 1997 Movie Titanic Be Considered a Great Epic?
• Big Data Analytics Impact on the Film Industry
• Justice in Errol Morris’s The Thin Blue Line Film
• “Vertigo” the Film by Alfred Hitchcock
• Sexual Abuse in the “Fifty Shades of Grey”
• “Taxi Driver” Film by Martin Scorsese
• Human Sexuality in Film
• Music in Films: Composers, Soundtracks and Themes
• Econometrics: Film Revenues and Their Factors
• Foster Care System in the “Antwone Fisher” Film
• Marianismo and Maternity in the Film “Baby Shower”
• Oldboy: A Global Hit and a Cult Movie
• South Korean Movie Industry
• Films Studies: The Spirit of the Beehive and Cinema Paradiso
• Black Masculinity in the Film “Boyz N the Hood”
• Narrative and Framing in the “M” Film by Fritz Lang
• Music in the “Pearl Harbor” Film by Michael Bay
• Conflicts in the “Finding Forrester” Movie
• Film Marketing Portfolio: “Sex and the City”
• Kramer vs. Kramer by Robert Benton Film Analsysi
• “Godzilla” by Roland Emmerich Film Analysis
• Ali Zaoua. Prince of the Streets Film Analysis
• A Perfect World – Film Analysis
• Corruption Imagery in R.W. Fassbinder’s “Lola” (1981)
• Evaluation of the Movie “A Beautiful Mind”
• Ajyal Film Festival and Youth Empowerment
• Ethics and Faith in the Movie “Crimes and Misdemeanors”
• “Taken” a Film by Pierre Morel
• Ethical Concept in “Blood Diamonds” Film by Edward Zwick
• American Cultural Imperialism in the Film Industry Is Beneficial to the Canadian Society
• The Movie “Batman Begins” – the Story About Hero
• Exploring Autism in the Drama Film Rain Man
• Analyzing and Interpreting Movies
• How the Movie Crash Presents the African Americans
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2024, March 2). 588 Cinema Essay Topic Ideas & Examples. https://ivypanda.com/essays/topic/cinema-essay-topics/

"588 Cinema Essay Topic Ideas & Examples." IvyPanda , 2 Mar. 2024, ivypanda.com/essays/topic/cinema-essay-topics/.

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IvyPanda . 2024. "588 Cinema Essay Topic Ideas & Examples." March 2, 2024. https://ivypanda.com/essays/topic/cinema-essay-topics/.

1. IvyPanda . "588 Cinema Essay Topic Ideas & Examples." March 2, 2024. https://ivypanda.com/essays/topic/cinema-essay-topics/.

Bibliography

IvyPanda . "588 Cinema Essay Topic Ideas & Examples." March 2, 2024. https://ivypanda.com/essays/topic/cinema-essay-topics/.

• Hollywood Questions
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Movies, we love ’em. Film School Rejects covers a wide range of movie-related topics, from reviews of new releases to retrospectives on classic films. We also love making lists, writing essays about how our favorites were made, and talking about the most interesting projects in development.

For your consideration — our favorite movies from the last few years:

• The 50 Best of 2020
• The 50 Best of 2019
• The 50 Best of 2018
• The 100 Best of the 2010s

You can also browse our archives by genre — everything from Horror to Action to Comedy .

24 Things We Learned from the Commentary for Steve Wang’s ‘Drive’

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“Here’s my John Woo ripoff.”

‘Infested’ Might Just Be the New Queen of Spider Horror Cinema

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A Sassy Tearjerker Arrives in 4K as Our Pick of the Week

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‘Sting’ Sends an Extraterrestrial Arachnid Into Your Nightmares

Go ahead, google “Australian spider,” and then never sleep again.

30 Things We Learned from Renny Harlin’s ‘Cutthroat Island’ Commentary

“It is not something I recommend for people who like a comfortable life.”

A Simple Tragedy Is the Focus of Our Home Video Pick of the Week

Plus 2 more new releases to watch at home this week on 4K UHD, Blu-ray, and DVD!

‘Challengers’ Is the Year’s Most Electrifying, Thrilling, and Sexy Experience

Great movies for adults are back, baby!

‘Monkey Man’ Takes Big Swings Even If It Sometimes Misses the Mark

Dev Patel’s ambition is evident even if it doesn’t always reach its target.

‘Death Squad’ Makes for a Viciously Entertaining Pick of the Week

Plus 6 more new releases to watch at home this week on 4K UHD, Blu-ray, and DVD!

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Musicbed Podcast #013 with Elle Brooks-Tao On Why Real Creativity Requires Conflict

Musicbed Podcast #012 with Drea Clark On the Art of Capturing Festival Attention

Musicbed Podcast #011 with Young Replicant On High Concepts and Visual Poetry

Musicbed Podcast #010 with Leo Aguirre On Selling Out vs. Buying Time

Musicbed Podcast #009 with Rayka Zehtabchi & Sam Davis on Choosing Story Over Script

Musicbed Podcast #008 with Calmatic on Crafting Your Creative Rhythm

Musicbed Podcast #007 with Ricky Staub and Dan Walser on the Thrill of High Risk, High Reward Filmmaking

Cultivating Originality With Jodeb

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MAKE | A Feature-Length Documentary

Getting Outside Yourself with Tony Anderson

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The Great Abyss with Salomon Ligthelm

Drew Holcomb

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Selected Takes: Three Editing Lessons from Tom Rolf

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Keep Moving: A Conversation with Mikey Rossiter from The Mill

4 Reasons to Compete in the 2017 Filmsupply Challenge

Revealing the Artistry of Ryan Connolly, Visionary Filmmaker and Co-Creator of Film Riot

Cory Martin’s Cinematic Voyage Across 70 Countries

Motocross Films and Cinematic Storytelling: Director Dylan Wineland Shares His Journey

Filmmaker Mohammad Gorjestani on Authentic Brand Storytelling

How Director Goh Iromoto and The Farmer’s Dog Crafted a Message That Resonated With the Nation

How Director Quentin Tarantino Uses Music to Elevate His Films

Symmetry and Color: The Power of Cinematography in The Green Knight

David F. Sandberg On Creativity in Filmmaking

Falling Forward: Writer/Director Dionne Edwards on Screenwriting with Honesty

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Carry Bolt Cutters: Werner Herzog on Filmmaking

Pretty Much Everything We Know About Interviewing

Lessons from Hollywood: Fixing Story Problems

Matthew Porterfield on the Power of Unconventional Narratives

Three Feature-Film Production Principles You Should Apply to Every Project

Worth the Risk: Facing the Challenges of Porsche’s ‘Drive2Extremes’

Behind the Scenes of Lacoste’s ‘Crocodile Inside’ Spot with Iconoclast Producer Charlotte Marmion

Director Kevin Foley and Producer Simon Dragland Discuss the Unique Challenges Behind Filming An Olympic Campaign

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Blue Ox Films on Expanding Project Scope and Building Rapport for a Docu-Series

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Carlo Stigliano’s Cinematic Journey and the Creative Forces that Drive Him

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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

Still have some extra time on your hands? Check out our recommendations on 10 Movies Directed by Women You Should Watch .

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Home — Essay Samples — Entertainment — Movies — Movie Review

Essays on Movie Review

Once in a while, you’ll be asked to do a movie review essay. This task is a great training tool for enhancing critical thinking skills. Essays on movie review aim at presenting a film from the most important scenes, special effects, to exciting moments and may be accompanied by criticism. From an advertising perspective, such a paper is aimed at convincing readers to watch the movie in question. Your writing should let a reader draw a conclusion, i.e, whether the film is worth their time or if they should try something else. Most importantly, your opinion must be independent and accurate. But how can you create a perfect introduction if you don’t have the experience in this type of writing? Relax. A good online writer can do it for you. If you have an idea but need some guidance, simply ask for a professional outline or use evaluation essay examples for students for more insights.

Hook Examples for Movie Review Essays

"a cinematic masterpiece" hook.

"Prepare to be captivated by the sheer brilliance of this cinematic masterpiece. Explore how every frame, performance, and detail contributes to a visual and emotional spectacle."

"Beyond the Screen: Themes and Messages" Hook

"This film transcends entertainment, offering profound themes and powerful messages. Dive into the underlying ideas and social commentary that make it a thought-provoking experience."

"The Journey of Character Development" Hook

"Follow the compelling journey of characters who evolve throughout the film. Analyze their growth, conflicts, and relationships, making this movie a character-driven narrative."

"Visual Delights: Cinematography and Special Effects" Hook

"Be prepared to be visually stunned by the breathtaking cinematography and cutting-edge special effects. Explore how these elements enhance the storytelling and immerse the audience."

"Unforgettable Performances" Hook

"The cast delivers unforgettable performances that breathe life into the characters. Discuss standout acting moments, character dynamics, and the emotional impact of their roles."

"The Soundtrack: Music That Moves" Hook

"The film's soundtrack is more than just music; it's an integral part of the storytelling. Explore how the score enhances emotions, sets the tone, and complements the visuals."

"Cinematic Analysis: Directing and Editing" Hook

"Delve into the meticulous craftsmanship of the director and editor. Analyze their choices in pacing, sequencing, and storytelling techniques that make this film a cinematic triumph."

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• Archive Blog

Essays on the Essay Film

About the author.

In addition to his long career in film archiving and curating, Jan-Christopher Horak has taught at universities around the world. His recent book, Saul Bass: Anatomy of Film Design (2014) was published by University Press of Kentucky.

"Archival Spaces" Blog - Ithaca College

Sans soleil   (1983)

For decades, I’ve been interested in the essay film, ever since I fell in love with Jean-Luc Godard’s work from the 1960s, like Pierrot le fou (1965), Two or Three Things I Know About Her (1967), but especially since the 1990s, when I wrote about Godard’s colleague Chris Marker, whose Sans soleil (1983) is a masterpiece of the genre.  Recently, I discussed Saul Bass’ Why Man Creates (1968) as an essay film.  But is it a genre?  Straddling documentary and fiction, the subjectivity of the author and the objectivity of the filmed image, vacillating between image and sound, visuality and the word, essay films in many ways defy definition.  Jean-Pierre Gorin, himself a film essayist, writes in Essays on the Essay Film (ed. Nora M. Alter and Timothy Corrigan, Columbia University Press, 2017): “They come in all sizes, shapes, and hues – and they will continue to do so... How can one even attempt to draw its floor plan, sketch its history and catalog the idiosyncratic products that appear in its inventory?” (p. 270).

Such semantic nebulousness already held true for the literary essay, as this anthology documents.  Max Bense notes that essays always imply a level of experimentation, because they are exploring various forms of subjectivity.  Similarly, the essays in this volume experiment with possible definitions of film essays.  Essays on the Essay Film is accordingly divided into four sections:  1. Theoretical essays on the essay as a literary form by Georg Lukács, Robert Musil, Max Bense, Theodor W. Adorno and Aldous Huxley.  2. Previously published essays on the essay film by Hans Richter, Alexandre Astruc and André Bazin.  3. Analytical essays by Phillip Lopate, Paul Arthur, Michael Renov, Timothy Corrigan and Raymond Bellour.  4. Essays by filmmakers of the form, including Gorin, Hito Steyerl, Ross McElwee, Laura Mulvey and Isaac Julien.

Pierrot le fou (1965)

The editors make a wise decision to include writings on the literary essay, since many of its characteristics can be applied to essay films.  Georg Lukács, for example, supposes that the essay is not an act of creating the new, but rather only of reconfiguring previously known information.  Max Bense defines essays as a form of experimental writing that eschews absolute statements in the interest of exploring parameters and possibilities.  Theodor Adorno takes Bense a step further by connecting the essay to anti-Platonic values, such as the ephemeral, the transitory, and the fragmentary.  Given the ambiguity of the image, the push and pull between the filmmaker’s subjectivity and the objectivity of the image, are not such values integral to the cinema experience?

The earliest theoretical statements about the essay film come from experimental filmmaker and artist Hans Richter, who in his 1939 tract, Struggle for the Film: Towards a Socially Responsible Cinema , foresees a new form of documentary that has the ability to visualize thought.  Alexander Astruc, an early member of the French New Wave , theorized the future of cinema in neither documentary nor fiction films, but rather in filmmakers who use the camera as a pen— le camera au stylo— for the expression of authorial subjectivity.  Phillip Lopate, on the other hand, defines five characteristics for the essay film:  1. It has to communicate through language, whether spoken or written.  2. It must be the work of a single author.  3. It must set itself the task of solving a specific problem or problems.  4. It must be a wholly personal point of view.  5. It must be eloquent and interesting.  Like Lopate, the late film critic and essayist Paul Arthur focuses on the film auteur, insisting that the essay film must give evidence a critical, self-reflexive author who is able to communicate through word and image.

Timothy Corrigan contributes a historical analysis of the essay film, from Dziga Vertov to Agnès Varda, agreeing with Lukács’ thesis that the essay film indeed creates no new forms, but remixes and recontextualizes ideas that are already in circulation.  The final part of his essay focuses on a close reading of Varda’s The Gleaners and I (2000).

Again and again the authors of the volume emphasize the essay film’s openness of form and always-tentative contours that defy any absolute definitions.  Thus, the authors of Essays , as well as the even more subjective contributions of the filmmakers, discuss definitions and characteristics of a genre that isn’t one, unable or unwilling to draw definite conclusions.  They are consciously circling around an indefinable object.  The pleasure here is not to be found in the end goal, but rather in the intellectual journey.  Nevertheless, it would have been nice if there had at least been agreement about when the essay film first appeared in film history, whether with Dziga Vertov’s Man with a Movie Camera (1929), Georges Franju’s Le sang des bêtes (1949) or Chris Marker’s Lettre de Sibérie (1958).  A filmography of the essay film would have helped readers visualize the parameters of what films are considered essay films, a common ground for further discussion.  Personally, I would have also liked to have read more about the aesthetics of the essay film, its visual and emotional appeal, not just intellectual pull.  In retrospect, I remember the tactile sensuality of images in many of the films discussed, scenes that evoke emotion.  I also question whether the essay or essay film is mainly a remix, and not in some way an independent creation of aesthetic value.  Despite these slight reservations, this volume is eminently readable and a contribution to understanding a form of cinema that continues to morph and grow.

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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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In This Article Expand or collapse the "in this article" section Essay Film

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Essay Film by Yelizaveta Moss LAST REVIEWED: 24 March 2021 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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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 , Katy McGahan , Olaf Möller , Sergio Wolf , Nina Power 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,...

More from this issue

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

The world at sea: The Forgotten Space

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

John Akomfrah’s Hauntologies

Laura Allsop

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Welcome to a new era of trans-authored cinema

3 breakthrough movies are ushering in a new age of trans film

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Queer cinema has always been in a state of continual evolution, but the evolution of trans depiction has come slower, even during agreed-upon golden eras of queer cinema. But in 2024, we are in the midst of a potentially new movement in which three trans-authored films are reshaping the possibilities of what a trans film looks like, and how transness can be expressed in cinema.

In the 21st century, Hollywood saw the potential money in telling more “authentic” mainstream queer stories due to the advent of the New Queer Cinema of the 1990s. This movement saw radical directors like Todd Haynes, Marlon Riggs, Gus Van Sant, Cheryl Dunye, and Gregg Araki reshape the concept of how queer cinema could function, and they made a name for themselves alongside the booming popularity of the Sundance Film Festival.

At the conclusion of the decade, Hilary Swank took home an Oscar for playing Brandon Teena in Boys Don’t Cry in a moment of misguided cross-gender casting. Boys Don’t Cry was considered an instant classic at the time, and its prominence as an image of the New Queer Cinema meant its Academy Award victory was a pivotal moment for queer cinema and trans depiction alike. While this film was not perceived to be conformist at the time of its release, it has since become a model of upholding the transgressive, negative concepts of trans film images of the past, obfuscating the reality of the trans masculine body, and consigning stories of transness to familiar modes of biological underpinning: mirrors, outings, reveals, and tragedy.

For queer cinema to be viable and artistically revolutionary, it must upend the status quo of form and depiction. In the case of transness, this means a reinvention of how trans films are conceived at a visual level. Many of the trans-authored films of 2024 are promising an exciting new way forward for the concept of trans cinema, which refutes those trends of the past or renegotiates their status in a modern context. This burgeoning period feels like the trans equivalent of the reshaping of queer cinema that took place in the ’90s.

The modern trans mise-en-scène is directly inspired by the circumstances of the past, but the major difference between these films and something like The Matrix is these filmmakers are not forced to smuggle their ideas into the film through secretive metaphor. Jane Schoenbrun’s I Saw the TV Glow is an ambient nightmare of hissing, flashing, crackling liminal analog spaces reminiscent of David Lynch, conveying trans experiences through visual language rather than direct representation.

Where to watch the movies mentioned in this piece

• I Saw the TV Glow : In theaters May 3
• The People’s Joker : Now playing in theaters
• T-Blockers : Digital rental or purchase on Amazon, Apple TV, and Vudu

The directness of Schoenbrun’s usage of thematic and personal metaphors through the guise of horror is a classic storytelling device, but the way these ideas are communicated is startling, singular, and new territory for a mainstream horror picture. Their mise-en-scène embodies the specific experience of gender dysphoria and bodily disassociation through the character of Owen (Justice Smith) over a period of decades. Schoenbrun keys into beautiful liminal images and uses the in-between spaces of static on television sets, or a close-up of saliva fizzing through a bushel of cotton candy, to evince the indecipherable physical state of knowing something is amiss but being unable to find the words to describe what’s wrong. Through this idea, they illuminate a nature of transness as a true visualized bodily experience.

I Saw the TV Glow chronicles the relationship between Owen and Maddy (Brigette Lundy-Paine) as they bond over a horror-tinged television series called The Pink Opaque in the mid-to-late ’90s. Things become strange when they are no longer sure if the characters they are watching are fictional, or versions of themselves. The Pink Opaque is deliberately crafted to look like ’90s TV shows such as Buffy the Vampire Slayer and Are You Afraid of the Dark? and follows heroines Isabel (Helena Howard) and Tara (Lindsey Jordan) as they try to defeat the “big bad” Mr. Melancholy.

Schoenbrun taps into the complex nature of trans viewership and nostalgia, which is typically built upon images of fantasy as placeholders until the trans person in question can fully embody their own identity. The film wonders if this type of idealized pursuit can ever truly be a healthy relationship, which acts as an enticing metaphor that questions the value of the queer gaze and the desire to have our stories reflected on screen — and whether or not that want is just another form of prolonged closeting. TV Glow subtly interrogates how trans viewers watch things — how fantasy can be formed, and how it can curdle under the tragic weight of time. When you’ve grown up without images of yourself, you’re liable to find yourself in unexpected places. Schoenbrun, importantly, never opts for classic signifiers of transness on screen (such as cracked mirrors), but indulges in what they find beautiful and where they found their voice, such as analog horror, void spaces, and modern gothic interpretations.

In The People’s Joker, director, star, and co-writer Vera Drew found her voice through a trans coming-of-age tale encased in the phenomenon of the superhero picture. Her film is a trans memoir that also functions as a satire. It directly addresses images of fantasy in relation to the trans viewing experience , and begins with protagonist Vera watching Joel Schumacher’s Batman Forever and becoming intoxicated with the image of Nicole Kidman as Dr. Chase Meridian.

Vera wishes she could look like her someday, which makes her ’90s pre-adolescent mind wonder if there’s something wrong with her. She asks her mom if she was born in the wrong body, and is then whisked away into a montage of psychiatrists unable to fix her problems. She is prescribed “Smylex” — a drug that stretches the user’s face into an artificial grin, like Joker’s laughing gas. Years later, in this fascist, dystopian Gotham City, Vera, now an adult, performs at an illegal comedy club as “Joker the Harlequin.’’ In her avant-garde act, she intentionally bombs with material about her mother and being a trans woman before using Smylex as a crescendo, sending her into a laughing fit.

Vera initially conceived of The People’s Joker as a found footage exercise, which would have used existing footage from other sources to create a new Joker film. That impulse of remixing is still felt in what The People’s Joker eventually became, but now those images have been repurposed to illuminate Vera’s own lived experience as a trans comedian through the absurdist imagery of superhero IP.

With its bursting, tacky green screens and vibrant, animated sequences built on brash, contrasting color elements, its primary visual influence is the queer-coded Schumacher Batman films. The People’s Joker tells viewers exactly what it will be with the desire to evoke the glamour of Kidman in Batman Forever, but the experience of being trans never results in the fantasy ending of what a body will become through hormone therapy and socialized transition.

There is beauty in seeing those fragments of fantasy filter through regardless, and how the trans body is its own impossibly restless, ever-changing monument to desire and fulfillment. The fantasy is only the start, and it’s later you discover who you’ll eventually become. The People’s Joker is a monument to that very idea, because it is at once all the elements of Joker (2019), Kidman’s Chase Meridian, Harley Quinn, and Selina Kyle’s transformative moment in Batman Returns all rolled into one being. Vera’s Joker falls into a vat of estradiol at one point, and the concept of the Batman film falls with her, forcing a transition upon its frame, giving it a new trans feminine body.

Film history undergoes a similar trans-feminization in Alice Maio Mackay’s self-aware T-Blockers . The movie begins with an Elvira-like drag midnight movie hostess talking about the virtues of shot-on-video horror films made by trans people in the 1990s that didn’t actually exist, but were fabricated for the sake of this narrative. One of the defining factors of these three trans-authored films is the impulse to fill in the blanks of what was missing from trans film history. It is resulting in works that are self-reflexive, and prone to basking in camp alongside topics and scenes that are deadly serious. Fellow trans critic Juan Barquin astutely described the Australian trans wunderkind director Mackay as “the self aware gen z ed wood we deserve.”

Ed Wood has a broader reputation as a notoriously awful filmmaker, but in truth, he was groundbreaking, and one of the first architects of how trans cinema would operate going forward, and his films also lived in that space of camp and serious personal issues. His riotous Glen or Glenda (1953) is a multifaceted combination of medical drama, documentary, and horror film, and whose structural influences are felt across the generations of trans film image-making, ranging from Doris Wishman’s Let Me Die a Woman (1977) up through the recent Orlando, My Political Biography (2023) . Mackay lives with the spirit of Ed Wood, because she is making pictures with her friends about whatever she wants with meager budgets, and with the ingenuity to argue for broader political acceptance of a minority class while also indulging in the direct pleasures of genre cinema.

Mackay’s T-Blockers begins, like all of her films, with a title card that reads “A Transgender Film By,” an ode to Gregg Araki’s tendency to announce the latent queerness of his projects with a title card championing their queerness. T-Blockers is a film about art imitating life imitating art in the vein of Cheryl Dunye’s New Queer Cinema classic The Watermelon Woman (1996), and follows a young trans filmmaker named Sophie (Lauren Last) as she tries to make it in the film industry and learn more about a trans film from the past that doesn’t actually exist.

One evening, she watches a late-night internet streaming picture show that showcases an unknown, rediscovered short film from a trans filmmaker from the ’90s. The film-within-the-film was shot on video and chronicles a trans lead in the process of killing a transphobic man who was leaking parasites out of his mouth. Sophie is shocked by the short film due to its mere existence, but also because she and her friends encountered a man infested with those same parasites outside of their local gay bar not too long ago. The parasite takes the image of bodily disintegration and dysphoria prevalent in body horror films from David Cronenberg , reinterpreting it through the lens of transphobia as an infection that spreads among a population.

It’s a film communicating directly to the moment at hand, where transphobia has spread like wildfire among legislative bodies as various conservative governments across the globe have latched onto it as an agreeable fear-mongering tactic. Diegetic radio broadcasts are heard throughout the film discussing this very topic, and the climax hinges on Sophie and her friends contending with a flock of protesters looking for a return to the values of the past. This is where the parasite breeds.

T-Blockers is also a salient picture that prioritizes the importance of available images to trans viewers, so that we may learn from our history and see ourselves in film. Sophie learns how to fight the parasites through her discovery of this short film from the ’90s, and through this link to the past, she also finally believes in the possibility of making films as a trans person.

The trans film archive is one that is largely closed to trans viewers, because there is not a mainstream precedent for our inclusion in motion pictures, and the independent and forgotten films of disreputable genres have long been neglected in cinephile spaces. Due to the nature of the hidden archive, trans filmmakers are taking an oblong route in telling their own stories by finding beauty in other images, such as horror shows from the ’90s, or comic book movies, or Gregg Araki films, and introducing their own spin on preexisting modes of expression. It is a dynamic way of moving transness on screen forward and transcending limiting concepts of good or bad representation in favor of an expressionistic take on gender identity.

With I Saw the TV Glow , The People’s Joker , and T-Blockers , we are potentially witnessing the beginning of a new era of trans image-making where transness is more clearly defining itself without the imposition of cisgender assumptions about what it means to be a trans person. With these three films, and other recent pictures made by trans filmmakers such as Angelo Madsen Minax, Isabel Sandoval, Tourmaline, Jessica Rovinelli, and Louise Weard, we are seeing the formulation of a new trans cinema movement in North America that has hopefully only just begun.

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The 20 biggest new films to see in spring 2024

Io capitano.

A gripping, gently magic-realist odyssey from Italy’s Matteo Garrone, in which two Senegalese teens make a perilous cross-Sahara trek to Europe. Read the full review . Cinemas, April 5

Behind the worst PR move of the century – Prince Andrew (Rufus Sewell) agreeing to his grilling by Emily Maitlis (Gillian Anderson). An astute script by Peter Moffat teaches The Crown who’s boss. Netflix, April 5

The Teachers’ Lounge

The fallout from a staff room pickpocketing incident threatens to tear an entire school apart in this nerve-snapping German Oscar nominee. Read the full review . Cinemas, April 12

Close Your Eyes

83-year-old Spanish legend Victor Erice (The Spirit of the Beehive) has fashioned a late masterpiece: an essay on cinema and memory, about the unsolved disappearance of an actor in the 1990s. Cinemas, April 12

Back to Black

We’ve had Freddie Mercury, Whitney Houston and Bob Marley: now it’s the turn of Amy Winehouse, as played by Industry’s Marisa Abela, to get her very own rise-and-fall biopic, with Sam Taylor-Johnson calling the shots. Cinemas, April 23

Alex Garland brings us a mid-budget dystopian action flick, with Kirsten Dunst heading a team of journalists who must document the ravages of a guns-blazing meltdown across America. Cinemas, April 12

Challengers

Anyone for mixed doubles? Josh O’Connor and Mike Faist both vie for centre court supremacy – and shared lover Zendaya – in this heady romantic thriller set in the world of professional tennis. Cinemas, April 26

The Fall Guy

Paired amusingly on Oscar night, Ryan Gosling and Emily Blunt have this pell-mell comedy on the way, about the action choreographer and director of a high-octane caper who must track down its missing star. Cinemas, May 2

Love Lies Bleeding

Four years after Saint Maud, Rose Glass returns with an outrageous 1980s scuzzball noir set on the US amateur bodybuilding circuit. Kristen Stewart and The Mandalorian’s Katy O’Brian star. Read the full review . Cinemas, May 3

The spirit of Nic Roeg crackles through Luna Carmoon’s sparklingly odd debut, in which a schoolgirl raised by a compulsive hoarder falls for a wrong ‘un, and finds weird buried impulses unleashed. Read the full review . Cinemas, May 10

Kingdom of the Planet of the Apes

Fourth in the rebooted series, this is set 300 years after the last one ended. A young chimp called Noa (Owen Teague) is the hero, paired with a feral human (Freya Allan) on a search for civilisation. Cinemas, May 10

John Krasinski writes and directs a blend of live action and animation, about a young girl called Bea who, like her upstairs neighbour (Ryan Reynolds), has the power to see people’s abandoned imaginary friends. Cinemas, May 17

The Garfield Movie

Bill Murray out, Chris Pratt in: the famous malingering, Monday-phobic moggy has a new celebrity voice in this fully animated take on Jim Davis’s durable cartoon strip. Cinemas, May 24

Furiosa: A Mad Max Saga

Nine years after the hellzapoppin’ spree of Max Mad: Fury Road, George Miller returns with a prequel about the fall of the world, and the snatching of Furiosa (Anya Taylor-Joy) by the crew of an evil warlord. Cinemas, May 24

Léa Seydoux and George MacKay star in this Lynchian head-spinner from Bertrand Bonello, about a young woman who encounters versions of the same strange man in the present, future and past. Read the full review . Cinemas, May 31

Young Woman and the Sea

Daisy Ridley stars in this Jerry-Bruckheimer-produced biopic as the American Olympic swimmer Gertrude Ederle, who became the first woman to swim the English Channel in 1926. Cinemas, May 31

Bad Boys Ride or Die

Despite both Boys now approaching pensionable age, Will Smith and Martin Lawrence have cranked out a fourth of these buddy cop capers, with the same creative team as the surprisingly watchable third. Cinemas, June 7

Inside Out 2

Yes, the untouchable 2015 Pixar one-off is getting a sequel: we’re nervous too, though teenage Riley’s new batch of live-in emotions (Anxiety, Embarrassment, Envy and Ennui) sound a comedically promising crop. Cinemas, June 14

The Bikeriders

The spirit of vintage Scorsese crackles through Jeff Nichols’s rollicking crime thriller, about the rise and fall of a 1960s Chicago biker gang. With Austin Butler, Jodie Comer and Tom Hardy. Cinemas, June 21

A Quiet Place: Day One

“Hear how it all began”: the apocalypse that’s ancient history in the previous horror thrillers is explored in the present tense, with Michael (Pig) Sarnoski directing, and Lupita Nyong’o as our protagonist. Cinemas, June 28

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ReFocus: The Films of Rituparno Ghosh

Call For Papers

Rituparno Ghosh (1963-2013) remains a towering figure in Indian cinema, celebrated for his profound exploration of human relationships, engagement with complex societal issues, and his distinctive artistic sensibilities. While he is acclaimed for his directorial venture Hirer Angti (1992), along with other feature films, such as Unishe April (1994) and Chokher Bali (2003), he is widely known for his trilogy Chitrangada: The Crowning Wish (2012), Memories in March (2010), and Arekti Premer Golpo ( Just Another Love Story, 2010) - all of which explores the human emotions amidst the prevalent societal norms.  

This edited volume endeavours to delve comprehensively into the multifaceted dimensions of Ghosh's cinematic repertoire, aiming to illuminate underexplored themes and trace his personal evolution as an artist. By inviting scholarly contributions across various disciplines, this volume seeks to offer fresh insights into Ghosh's cinematic legacy and its enduring relevance in contemporary discourse. One focal point of inquiry in this volume revolves around tracing the evolution of Rituparno Ghosh as an auteur. Contributors are encouraged to analyse Ghosh's trajectory as a filmmaker, spanning from his early works to his later masterpieces. By examining shifts in his stylistic choices, thematic concerns, and narrative techniques, scholars can elucidate the nuanced progression of Ghosh's artistic vision and its impact on Indian cinema. Another significant theme for exploration pertains to queer representation and sexuality in Ghosh's films. Ghosh, an openly gay filmmaker, has been lauded for his sensitive portrayal of LGBTQ+ characters and themes.

Scholars and researchers are invited to submit well-researched articles on the following list of topics (but not limited to):

• Evolution of Rituparno Ghosh as an Auteur
• Queer Representation and Sexuality in Ghosh's Films
• Intersectionality and Identity Politics
• Bengali Literature and Cinematic Adaptation
• Ghosh's Legacy and Influence
• Gender Dynamics and Feminist Discourse
• Global Reception and Transnational Contexts
• YOUR SUGGESTED TOPIC

This edited volume seeks to offer a comprehensive exploration of Rituparno Ghosh's cinematic legacy, encompassing a diverse array of themes and methodologies. By inviting scholarly contributions from various disciplines, this volume aims to shed new light on Ghosh's profound engagement with human experience, societal dynamics, and artistic expression. Through interdisciplinary dialogue and critical inquiry, this volume endeavours to deepen our understanding of Ghosh's enduring significance as a visionary filmmaker and cultural icon in Indian cinema.

Submission Guidelines:

•           Abstracts should be submitted, along with a brief bio and 4-5 keywords by July 20, 2024, and should not exceed 300-350 words.

•           Full papers should be between 6,000 to 8,000 words (including references and should be in Chicago endnote style) and should adhere to academic standards and conventions.

•           All submissions must be original and not under consideration for publication elsewhere.

Submission Process:

The Films of Rituparno Ghosh will be one among the series of scholarly editions for the Edinburgh University Press series of ReFocus volumes dedicated to international directors. The ReFocus series is edited by Robert Singer, Gary D. Rhodes, and Stefanie Van de Peer.

Please submit your abstracts and inquiries to Srija Sanyal at [email protected] and Dr. Nizara Hazarika at [email protected] (Please share your respective submission to both the email ids).

More From Forbes

3 psychologist-approved films that depict mental illness realistically.

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Modern cinema can be hard to relate to, but these three films offer a genuine and accurate glimpse ... [+] into mental health.

Have you ever started watching a film hoping it would capture the reality of mental health struggles, only to feel let down by Hollywood’s glossed-over portrayals? Far too often, movies sensationalize, trivialize or outright misrepresent the complex realities of living with psychological issues. However, if you know where to look, there are some cinematic gems that break away from stereotypes to authentically depict the human experience.

While we hope for a day when such realistic portrayals become the industry standard, these three films offer a glimpse into what it’s truly like to live with mental health issues. Beyond their brilliant production and narratives, these movies also showcase something refreshing: the raw, bitter-sweet and gut-wrenching reality of everyday problems.

1. The Father (2020)

The Father is a poignant drama that delves into the complexities of dementia and its impact on relationships. The story is told through the perspective of a father with dementia, creating a disorienting and immersive experience for the audience. As his memory deteriorates, the film navigates his shifting perceptions of time, place and people—gloomily blurring the lines between reality and imagination.

Trivialized portrayals of Alzheimer’s and dementia often resort to stereotypes and oversimplifications that misrepresent the true nature of the condition. These depictions typically present dementia as a simple case of memory loss or confusion, and reduces its complex behavioral patterns to mere forgetfulness. Patients are frequently portrayed as absent-minded elderly individuals who become the subject of light-hearted humor or plot devices.

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In contrast, real research on dementia and Alzheimer’s showcases the awful and dynamic nature of the condition—characterized by progressive cognitive decline, impaired reasoning, disorientation and personality changes. Such studies highlight the profound emotional and psychological impact on patients and their caregivers, with implications for long-term care, legal decisions and end-of-life planning.

The Father stands out as a film that accurately portrays these realities of dementia—one of the leading causes of death in the US—without reducing it to a single trope. It is lauded for its sensitive and honest portrayal of the impact of dementia on both individuals and their families, offering a gritty and realistic depiction of the condition’s challenges. This authenticity is why it is a must-watch; it transcends trivialization to offer a realistic portrayal that educates and evokes empathy.

2. Beautiful Boy (2018)

Beautiful Boy is a biographical drama that portrays the devastating impact of drug addiction on a family. The story follows a father as he navigates the challenges of parenting his teenage son, who becomes addicted to methamphetamine. As he cycles through periods of sobriety and relapse, the film illustrates the tension between a father’s hope and despair—as well as the profound love and heartbreak that arise from watching a loved one battle addiction.

Portrayals of addiction in film often present an exaggerated and distorted view of substance abuse and recovery. Addiction is frequently depicted as extreme and sensational, with dramatic scenes of overdose, criminal activity and violent behavior. These kinds of films tend to focus on the most extreme aspects of addiction, often ignoring the underlying factors that lead to substance abuse. Recovery is also often depicted as a simple, linear process, which egregiously downplays the complex and long-term nature of overcoming addiction.

In reality, research on addiction reveals that it is a chronic and relapsing condition influenced by a variety of factors. It involves not only the physiological dependence on a substance, but also the psychological and behavioral patterns that reinforce addictive behavior. Recovery from addiction is almost always a long journey with setbacks and relapses, and requires ongoing support, therapy and commitment.

What makes Beautiful Boy stand out is its focus on the human aspect of addiction—the struggles and setbacks without glorification or sensationalism. It’s a realistic and compassionate depiction of addiction and its impact on family dynamics that resonates with many. Through its unrefined and heartfelt storytelling, it manages to depict what recovery truly looks like, the support systems that are vital for healing and the enduring bond between father and son.

3. Manchester By The Sea (2016)

Manchester by the Sea is a compelling drama that explores themes of grief, loss and family dynamics. The film follows a man grappling with an inexplicable personal tragedy and the burden of unresolved grief. Through an additional unexpected tragedy, responsibility forces him to confront his painful past and the events that led to his self-imposed isolation.

Dramatized portrayals of grief present the experience through series of exaggerated emotions and dramatic scenes, emphasizing heightened expressions of sadness, anger or catharsis. These depictions tend to follow a linear progression through the “stages of grief,” suggesting that grief has a clear timeline and that individuals eventually find closure or resolution in a tidy fashion. This severely minimizes the complexity and unpredictability of grief, and reduces it to a narrative device that ultimately serves the story’s emotional arc.

However, research on grief proves it to be a deeply personal and non-linear experience. It’s not just a progression of stages, but a complicated mix of emotions and reactions that vary from person to person. It encompasses ebbs and flows of shock, disbelief, sadness, anger, guilt, longing and isolation. Many studies indicate that grief can persist for years, with individuals experiencing periods of intense emotion followed by moments of calm, only for the grief to resurface unexpectedly.

What sets Manchester by the Sea apart is its raw and realistic depiction of grief. It does not shy away from the darker, challenging and unexpected aspects of mourning. It is acclaimed for its honest depiction of grief and the complex emotions that accompany profound loss. The gut-wrenching performances and delicate storytelling illustrate the diverse impacts of trauma, the enduring ties of family and the journey toward acceptance and forgiveness.

Are your favorite movies on mental illness not on this list? Take the Psychological Misconception Questionnaire to know you fall for psychological misinformation too often.

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Ray chan, art director and production designer for marvel films, dies at 56.

He worked on the ‘Avengers’ movies, ‘Guardians of the Galaxy’ and the upcoming ‘Deadpool & Wolverine.’ There was “nobody on Earth like him,” says Ryan Reynolds.

By Mike Barnes

Mike Barnes

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Ray Chan, the art director and production designer for Marvel Studios who contributed to Guardians of the Galaxy , three Avengers movies, the upcoming Deadpool & Wolverine and more, has died. He was 56.

Chan died Tuesday near his home in Wales, his family announced. No cause of death was divulged.

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Chan served as supervising art director on Thor: The Dark World (2013), Guardians of the Galaxy (2014), Doctor Strange (2016) and the Avengers films Age of Ultron (2015), Infinity War (2018) and Endgame (2019).

He also was an art director on Spider-Man: Far From Home (2019) and production designer on the 2021 miniseries The Falcon and the Winter Soldier , Dungeons & Dragons: Honor Among Thieves (2023) and Shawn Levy ’s Deadpool & Wolverine , which stars Ryan Reynolds and Hugh Jackman and hits theaters in July.

“He was as valuable a creative force on Deadpool & Wolverine as the writers, director and stars,” Reynolds said on social media.

“I don’t pretend to know every chapter of Ray’s heart, but I know it’s unusual to encounter someone with that level of artistry who simultaneously moved through the world with such indelible humanity.

“He built worlds from scratch — and did so in the most collaborative and inclusive ways. Ray was peerless. He’ll be missed by so many, but most of all by his family. 

“The last time I saw Ray was exactly two weeks ago. One of [the] last things I said to him was that he makes magic, and there’s nobody on Earth like him. He and I would also give each other a lot of good-natured shit. So … of all the last things you could say to someone you adore, that’s a little scrap of consolation I’ll hang onto forever.”

The oldest of three children of Hong Kong immigrants, Raymond Chan was born on Dec. 1, 1967, in Oldham, Greater Manchester. His mother was a machinist and his father a bus driver. He graduated with a graphic design degree from the Liverpool School of Art, then moved to London to join the new film and television M.A. postgraduate program at Kingston Art College.

After graduation and work as a butcher, Chan served as an art department assistant on The Secret Rapture (1993), then was a senior draughtsman on Hackers (1995). He went on to work on other films including Johnny English (2003), National Treasure (2004), Alien vs. Predator (2004), Children of Men (2006), Flyboys (2006), Knight and Day (2010) and Robin Hood (2010).

Chan collaborated with production designer Charles Wood on six Marvel films and 10 movies in all.

“Each film that Marvel [puts out], it’s always a very involved process, for myself and Charlie, each one is unique and a challenge,” Chan said in a 2018 interview with The Credits . “ Guardians of the Galaxy is different to Ultron , which is different to Dr. Strange .

“ Infinity Wars was probably the biggest challenge. It comes off as a collaboration, working with a great studio like Marvel. There are great scriptwriters, directors, they bring a lot to the table. They’d come up with ideas, first, and we’d bounce off that.”

“From Xandar to the Sanctum Sanctorum, Ray brought distinct, lived-in worlds to the screen, spanning the far reaches of space to a Louisiana fishing boat,” Marvel said . “He was also a wonderful friend and colleague.”

Chan shared excellence in production design awards from the Art Directors Guild in 2015 and 2020 for Guardians of the Galaxy and Endgame , respectively.

Survivors include his wife, Lindsay; his sons, Caspar and Sebastian; and his daughter-in-law, Danielle.

“If not occupied with family or film,” they said, “Ray would most likely have his mind set on one of the three things, each of which, in another life, Ray would have excelled in: food, for Ray dearly loved to cook for family and friends and was a first-rate chef and benevolent host; cars, be it his beloved Range Rover P38, the mechanics of a Jeep’s engine or Formula One; his garden, at his house in Cowbridge, Wales, which he planned with his usual design flair. A lover of classic film, Ray also, perhaps surprisingly, loved musicals, with The Sound of Music being a firm favorite.”

Any stories or memories of Chan can be left here . Donations in his memory can be made to the Stroke Association .

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The death of Participant Media is ‘grim news for serious movies’

For 20 years, participant pursued a dual path of making good films and having a social impact.

The film world was shaken up recently by the news that Participant Media is dissolving . If the name doesn’t ring a bell, a few familiar titles should: Participant co-produced such Oscar winners as “An Inconvenient Truth,” “Roma,” “American Factory” and “Green Book.”

Founded by former eBay executive Jeff Skoll in 2004, the company was established to produce and distribute films addressing such pressing concerns as climate change, civil rights, democracy and a free press. Skoll coined the term “double bottom line” for his business model, which strove to make commercial entertainment but also movies that moved the needle toward (mostly) progressive social change.

Puck’s Matthew Belloni has convincingly suggested that the double bottom line had increasingly been skewing in an unprofitable direction for Participant, which couldn’t find a buyer when Skoll embarked on selling the company last year. Still, for two decades, that model produced exceptionally smart, engrossing and influential films. The real-life protagonist of Participant’s Oscar-winning “Spotlight,” Martin Baron — who led the Boston Globe when the paper investigated sexual abuse within the Catholic Church — reached out to me the day after the news broke about the production company’s demise. “Grim news for serious movies,” he wrote.

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At its best, Participant made films that have become more and more precarious in an ecosystem dominated by superheroes and escapist spectacle. There was a time when audiences were entertained and enlightened in equal measure by such straightforward dramas as “All the President’s Men,” “Network,” “The China Syndrome” and “Silkwood.” Today, if filmmakers want to make a statement, they’re more likely to couch it in genre exercises like the elevated horror of “Get Out” or the satirical comedy of “Don’t Look Up” than traditional dramas. The most-talked-about movie of 2024 thus far, Alex Garland’s speculative action picture “Civil War,” is set in a vaguely recognizable America riven by tribal division and deep distrust. As a reality-adjacent allegory, it doesn’t play as sharp-eyed critique as much as a conventional — albeit queasily close-to-home — war film, with the form’s requisite battle scenes, car chases and Grand Guignol of a climax.

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It’s not that Participant was all Big Issues, all the time: Although its slate was dominated by righteous outrage and earnest uplift, the company was known to put its imprimatur on old-fashioned crowd-pleasers like “The Best Exotic Marigold Hotel” and “Begin Again.” And not every Participant movie was a home run, as was evident in one of its most recent releases, the well-meaning but plodding Shirley Chisholm biopic “Shirley.”

Still, the much longer list of Participant successes points to a company whose core competency was marrying classical style with relevant substance, resulting in the kind of films that have only become rarer in the past 20 years: “Good Night, and Good Luck,” “Bridge of Spies,” “The Post,” “Contagion,” “A Most Violent Year,” “Charlie Wilson’s War,” “Syriana,” “Judas and the Black Messiah .” (The covid-era shift from theaters to streaming surely hasn’t helped, when you consider such top Netflix and Prime Video performers as “Rebel Moon,” “Woody Woodpecker Goes to Camp,” “Road House” and “Ricky Stanicky.”)

It’s particularly poignant to lose Participant in a high-stakes election year, when the timeliest movie on screens is a plea for moderation and whose politics are safely and fuzzily uncontroversial. It wasn’t that long ago — 2018, to be exact — when Participant didn’t just confront but also eagerly embraced the political realities of the era by providing free screenings of the Ruth Bader Ginsburg documentary “RBG” just days before the midterm elections.

That kind of moxie demonstrates the gap that Participant is leaving in the cinematic landscape, even as similarly minded companies, such as the Obamas’ Higher Ground Productions , and philanthropists , such as Melinda French Gates and Laurene Powell Jobs, have followed its arts-plus-activism lead. (As has Angel Studios , from a different end of the ideological spectrum.) Participant’s disappearance from an already too-timid film industry is grim news, indeed — not just for serious movies, but also for necessary ones.

We now have one less company taking the right lessons from “All the President’s Men” from nearly half a century ago: For maximum impact, make good movies. Then — politics be damned — let them speak for themselves.

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Anne Hathaway Said It Used To Be Considered “Normal” To Have Actors Make Out With Multiple People “To Test For Chemistry” When Casting For Films As She Recalled Her Own “Gross” Experience

“I thought it sounded gross. And I was so young and terribly aware how easy it was to lose everything by being labeled ‘difficult,’ so I just pretended I was excited and got on with it.”

BuzzFeed Staff

We only have a week left until Anne Hathaway’s new film, The Idea of You , is released.

As well as playing protagonist Solène alongside Nicholas Galitzine , who plays her love interest, Hayes, Anne helped produce the Michael Showalter film, which will be released on Prime Video on May 2.

And in a brand-new interview, Anne, 41, has opened up about how she and the casting team went about finding the perfect actor to portray Hayes.

Speaking with V magazine this week, Anne recalled, “We asked each of the actors coming in to choose a song that they felt their character would love, that they would put on to get my character to dance, and then we’d do a short little improv. I was sitting in a chair like we had come in from dinner or a walk or something, we pressed play, and we just started dancing together.”

Noting that Nicholas picked American rock band Alabama Shakes, Anne said, “It was just easy… I just started smiling. And he saw me smile, so he relaxed, and we just started dancing. Nobody was showing off. Nobody was trying to get the gig. We were just in a space dancing. I looked over, and Michael Showalter, our director, was beaming. Spark!”

Anne went on to compare this method of assessing chemistry with the way things were done in the 2000s, stating that it used to be considered “normal” to have an actor make out with multiple people in order to find a spark.

Anne starred in a bunch of fan-favorite movies throughout the early '00s, including  The Princess Diaries   and  The Devil Wears Prada .

Without referring to any specific film in particular, Anne recalled: “Back in the 2000s — and this did happen to me — it was considered normal to ask an actor to make out with other actors to test for chemistry. Which is actually the worst way to do it.”

“I was told, ‘We have 10 guys coming today and you’re cast. Aren’t you excited to make out with all of them?’ And I thought, ‘Is there something wrong with me?’ because I wasn’t excited. I thought it sounded gross,” she said.

Despite finding the idea of kissing multiple actors “gross,” Anne admitted that she bit her tongue and went along with it out of fear of being labeled “difficult.”

“I was so young and terribly aware how easy it was to lose everything by being labeled ‘difficult,’ so I just pretended I was excited and got on with it. It wasn’t a power play, no one was trying to be awful or hurt me. It was just a very different time, and now we know better,” she said.

You can read Anne’s full interview with V magazine here .

Topics in this article.

• Anne Hathaway
• Nicholas Galitzine