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Christopher Nolan is infamous for assembling his complex and intricately layered plots like a puzzle, presenting them in such a way that respects the audience’s intelligence while simultaneously indulging their desire for exhilarating escapist entertainment. He tells stories on a tremendously large scale, and it is all too easy to be swept away by theContinue reading “Christopher Nolan, non classical storyteller, non transient auteur”

One of the important and rather interesting aspects of Joker is Arthur’s position of an unreliable narrator. He invents an entire relationship with a female character in the film, which makes the question of his paternity that arises later even more interesting, with questions around whether his mother did the same, based on the reactionContinue reading “The Joker: heinous villain or unreliable narrator ; or both!”

In the early 1970s, French, American and British movie theorists began applying psychoanalysis to film in an attempt to discuss the spectator-screen relationship. It’s important because “Look” is a term that is criticised with identification about characteristics, space and what we see on screen; and at the end it is nearly everything about effectiveness ofContinue reading “Scopophilic Narratives and Complicit Acts of Voyeurism -in Blue Velvet film-“

Postmodernism is defined as defiance and as a form of refusal to conform to the ideas and theories of the modernist approach in films. It stands to revolt against the traditions and views and cultures offered by modernist theories and aims to replace the existent innovation with a fresh new one that is more revolutionaryContinue reading “Postmodernism – in Blade Runner film –”

This report will comment on the explicit or implicit ideological and moral basis for the film Apocalypse Now, and on how its stance is conveyed through narrative, characterisation and, or mise-en-scene. To many Americans, the Vietnam war was an American extravaganza, staged in Vietnam. To concede that it was a civil war is to relegateContinue reading “Ideological Representation in ‘Apocalypse Now’”

Avant-garde is a movement that seeks to break the tradition and politicise the issues. The theoretical approach to cinema addressed the issues like realist versus naturalist films, spectator-screen relationship, editing styles, subjectivity, and psychoanalytical potential of a film, auteur cinema and the semiotics of the film. With this, filmmakers turned to making film with experimentationContinue reading “The Avant-Garde and “cinematic experimentation””

The audience receives the creative work done and perceives its content in either similar or different. The meaning of the message can change in the way they see it fit according to their social context. The encoded messages usually contain shared rules and symbols common with other people. So the encoder, sender, has to thinkContinue reading “Audience Theories /Passive, Active and Reception/”

Repeatedly, women activists in Film industry have pointed out that a perception of gender equity contradicts the statistics, which demonstrate traditional as well as ‘new’ forms of sexism. In this post-feminist context inequality is typically invisible and unspoken, and there is a thriving narrative of meritocracy based on talent and determination, where ‘you’re only asContinue reading “Females in the Film Industry”

– Christopher Nolan – According to Bazin “… Directors are the authors of the film and should create their own signature style and not be totally influenced by the script given.” Even though there are no specific definitions for Auteur Theory it can be said that – the films reflect the personal ideas and stylesContinue reading “Auteur Theory and “challenges to the auteur canon””