AunNie

Introduction Bicycle Thieves is a 1928 Italian film directed by Vittorio De Sica. This movie is talk about a real life of a father after post World War II. This film had adopted the theory of Italian Neorealism. According to the David Bordwell, Cesare Zavattini was the theoretical founder of neorealism in 1942. He had suggested a new form of Italian Cinema that abolishes contrived and planned plots, use real people and locations so that direct contact is established with contemporary social reality. For Zavattini view, the plot means as a fake structure of “everyday life”, professionals actors complimented the falsehood, and contemporary social realism means that unconditional emphasis on the ordinariness of Today. Next, neorealism was known as a cinema of poverty and pessimism. It declines began in the fifties when the times were changing for the better. It is revolutionary and happened during a time of non-revolutionary transition towards prosperity and affluence. Not econom

Introduction The film that we had watched on last Friday is The Maltese Falcon (1941). This film is directed by John Huston. The Maltese Falcon is a film noir when 1941. I will be discussing what is the film noir in this journal. Film noir is a term coined by French critics in 1946. The period of film noir emerged was 1941 – 1958. In film noir, it features a world of criminals, of darkness and violence with characters’ central motives are usually greed, lust, and ambition, drenched in fear. In film noir, most of these films are the film in black and white. T heory Discussion – Semantic and Syntactic Approach Semantic = Visual ·          Mise-en-scene -           -  Locations / settings -           -  Makeup and costume -           -  Lighting -           -  Actors’ behaviors & movement Syntactic = Themes -          - Types of characters -          -  Heroes vs Antiheroes -          -  Ideologies and Structure – theme and convention find in the

Introduction  Sleepy Horror can be considered as a Gothic horror film. It is directed by Tim Burton. The theory that had been applied in Sleepy Horror is German Expressionism. This filmic style that emerged in Germany from 1919 to 1926. There have several themes are involved which are revolt, self-analysis, madness and primitive, sexual savagery. In this film, the style includes like distorted bodies and shape, bizarre and incongruous settings, high contrast lighting and lightning, and gothic content, about unnatural acts. The semantic and syntactic approach is used complimentary in this film. The filmmakers use these two approaches to classify the genre of the movie. The semantic approach can bring visual aspects such as characters, shows, locations, and sets in term of mise-en-scene. However, the syntactic approach can bring thematic aspect. It can be derived from the narrative of the film such as the type of characters, heroes, and antiheroes, etc. Synopsis

Introduction In the Mood for Love is not the normal romantic love movie that we usually expect. It certainly is not a simple love to each other and stays with each other happily. The audiences cannot miss every scene in this film because every scene of this film had expressed a great meaning. The meaning of the film is not about whatever we had watched but the meaning is behind their action and interaction with each other. This film is directed and produced by Wong Kar Wai (2000). It adapts French Impressionism, Surrealism and German Expressionism. French Impressionism triggered off due to lack of interests by mass, rising production costs. The characteristic of French Impressionism is it explores psychological causes and it gives narration considerable psychological depth, revealing play of the character’s consciousness, concerns mental states, dreams or fantasies. It also Manipulates plot time and subjectivity or showing flashbacks/memories. Surrealism start