Another cut and we notice yet another enforcer, with a suitcase in a hotel room. The way the characters have been presented, easily give the viewers who are the main boss, the main head, the main character. IvyPanda. One of the scenes that makes it so great, is the famous climatic scene, “The Baptism”. But let us return to the hotel. The overhead lighting is used in the beginning of the movie to light Brando’s office and bring out dimensions that gives the scene clear visualization of both the character and the surrounding. We then see another enforcer entering the massage parlour, Moe Green is then seen putting on his glasses in wonder of who it is, but unfortunately for Green he has now payed dearly for his disrespect towards Michael and is then shot in the eye through one of the lenses of his glasses with the loud organs as it crescendos within this shot. We follow her from the kitchen, to the dining room, to the parlor, back to the kitchen and into the hallway with the knife—and all without any cut. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account.
Don Corleone, a man of such certainty that he created his own laws and took them into his own hands, appealed to a lot of people.
North Chelmsford: Courier Dover Publications. Jazz trumpeter Miles Davis has suggested, famously, that “[m]usic is the space between the notes. Get the best of Smithsonian magazine by email. (2019, February 17).
This alienation accounts for why she appears dependent and vulnerable: we sense too that, since Michael will always subordinate Kay to the family business, her alienation will persist. In addition these two techniques consider the key factor of separating the foreground and the background by effective color choice of the two grounds. Brown, B. They play to the worst stereotypes of Italian-American culture. The Godfather is simply more than just a mafia film in my opinion.
More than an abstract concept, the “abject” evokes the repressed elements of the body, with fluids like blood, vomit, and feces being the best example. This shot lasts only twelve seconds but establishes a sequence and tone. In his new book, The Godfather Effect, Santopietro looks at how the film saga portrays Italian-Americans and what that has meant for him, the film industry and the country. This can suggest that the fast cutting on the characters signifies the wellbeing of the Corleone Family because we notice an stern facial expression on Michael meaning that he is showing the early signs of becoming a ruthless leader. Lighting is a key element in film to create not only a visual affect to a scene, but in many cases an emotional response to a scene. American Film Institute. would not fall “[t]oo much into the Corman Horror film tradition.” (Coppola, Navigating Coppola’s Maze: Editing in The Godfather, The Murder of Luca Brasi: The Curiously Moving Death of a Henchman, “Leave the Gun, Take the Cannoli”: The Hit Man as Family Man, A Bitter-Suite Romance: Michael and Kay’s Hotel Scene, Hemmed In: Kay Adams and Her Changing Fashions, The Sound of Nostalgia: Nino Rota’s “Godfather Waltz”, Ripeness Is All: The Death of Vito Corleone, Coppola’s Reluctant Voyeurism: Gendered Violence in The Godfather, “I’m With You Now”: Michael Corleone’s Journey to Become His Father’s Son, Inhale, Exhale: Cigarettes and the Power of Michael Corleone, Mixing Business with Pleasure: Alcohol in The Godfather, Men of the House: Modes of Masculinity in The Godfather, A Family in Celebration, and in Transition: The Godfather’s Opening Wedding Scene, “Till Death Do Us Part”: Michael’s Marriage to Apollonia and the “Corleone” Way, Pop, Flash, Bang: Color Accents in The Godfather, Never Let Your Body Show What You’re Thinking: Gesture and Masculinity in The Godfather, A Son’s Devotion to His Father: Michael and Vito’s Garden Scene, Office Space: Don Vito’s Home Office, and Michael’s. This essay on Technical aspects of cinematography the Godfather (Francis Ford Coppola, 1972) was written and submitted by your fellow student. The Godfather - Single Camera Techniques 24 March, 1972 Figure 1 - Lighting Figure 2 - Lighting Again, the light is majorly shining onto Brando, showing his importance and radiating his power. Francis Ford Coppola’s film, The Godfather, is truly a tour de force. Through this technique, cinematographer brings out a scene with a clue of what the scene ought to appear. I would like to add on to your second filming technique. Two scenes that further underscore the potential of a long take without edit are Bonasera’s opening monologue and Connie’s confrontation with her husband Carlo. Lastly, the images of Japanese women in kimonos that hang over her bed reinforce this impression: not only do they signify an obvious fragility and femininity, but also these images have been fetishized in the West, and falsely and unjustly associated with submissiveness.
Change ), You are commenting using your Google account. Micro- Analysis of a film extract: 'The Godfather' (Editing and Sound) Scene: “The Baptism.” From the novel adaptation, created by Mario Puzo, Francis Ford Coppala’s: The Godfather is one of cinema's greatest films and also apart of one of cinemas greatest sagas. Do you think anything has changed in the way audiences today react to the movie? Italian-Americans are very sensitive about their image in movies because it has traditionally been so negative, as either mobsters or rather simple-minded peasants who talk-a like-a this-a. We now experience some signs of parallel action used by Coppola, between the baptism and the murders.
In her landmark essay “Visual Pleasures and Narrative Cinema,” Mulvey identifies some of these harmful techniques—prominent among them the scopophilia of the male-directed camera and the sadistic punishment of women—while citing Alfred Hitchcock’s films as prime examples. It opens inside the dark office of the family patriarch, Don Vito Corleone (also known as the Godfather and played by Brando), on the wedding day of his daughter, Connie (Talia Shire). I thought, if I can be interviewed by a Gambino about my book about The Godfather, I am very happy. In this technique, the image is filmed on the background which constitutes of just one color, and other parts of the video matching this preselected color are added on the background to replace the images posted. But the display of gavonne-like behavior on the two shows you mention results in both shows playing like 21st century versions of the organ grinder with his monkey—the Uncle Tom figure of Italian-Americans. We open in the church, far away and cutting closer and closer in to Connie’s baby (played by Coppola’s now director-daughter Sofia). The first technique used makes the audience feel as they apart of this scene of the movie. Two unidentified men drive Michael into the city to meet Kay at the hotel. According to Harlan Lebo in The Godfather Legacy, “By the time principal photography was completed, Coppola had shot 500,000 feet of potentially usable footage, or more than ninety hours of material.” Coppola repeatedly removed and replaced scenes, often to “appease the studio,” resulting in the edit becoming a “maze,” with multiple scenes sliced and abandoned on the cutting room floor. As the camera alternates between Kay and Michael, the montage produces two effects. IvyPanda. Here the camera captures their disengagement.
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