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From the very inception of film visual effects have been employed by numerous photographers and film makers to enhance, to realise and create new meaning. The very early days of film took great advantage of ‘visual magic’ to create illusions and trickery which have impressed countless audiences. Over a century ago when photography was emerging as an art form some unscrupulous commercial photographers would capture portrait shots using an ordinary exposure but then as soon as the subject was removed from the studio a collaborator would be positioned within the same setting, a quick exposure would be taken so as to leave a faint image trace on the film. The unsuspecting customer would then be handed a positive copy of their image with what appeared to be a ghostly figure in shot. A more subtle variation involved the customer being placed with numerous props around him or her, the props would be removed for the second exposure of the ghost character, so as they wouldn’t appear too deliberately double exposed.
European film movements are most clearly understood as part of the cinema of periphery in relation to popular Hollywood productions. In consideration of examples from one European country, to what extent is this an accurate view?
War movies have stand the test of time and gain critical and commercial success because it is important that it should be about the real war. War movies, particularly movies depicting World War II have a trend in being one sided (Feroze, 2008). The topics explored in war movies are combat, survivor, getaway stories, tales of fearless sacrifice and struggle, submarine warfare, studies of the inefficiency and brutality of the battle, the effects of war on society, and intelligent and reflective explorations of the moral and human issues.
The distinctive elements in an action-oriented war plots consist of submarine warfare, surveillance, camp experiences and escapes, personal heroism, brutalities, air fights, hard infantry experiences, and male bonding adventures during the battle.
Federico Fellini's 8 1/2 is one of the early landmarks of postmodernism. (Bondanella, 93-116) If the myth is to be believed, Fellini had signed with producer Angelo Rizzoli to direct something like a sequel to his enormously successful La Dolce Vita. Actors were hired. The crew was ready. And a large set had been built: a rocket launching pad.
But where was the story? In early drafts of the scenario, Guido Anselmi (Marcello Mastroianni) had been a writer. Only when Fellini turned the character into a film director did the elements fall into place. This would be a film about director's block: about not being able to make a film.
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