Compare And Analyze Two Films: Thematic, Character, And Cine

Compare and analyze two films: thematic, character, and cinematic techniques

For this option, select two of the three films in this Module and write a 1000-word comparative film review based on ways in which the films intersect in terms of themes, characters, or cinematic effects. While film reviews tend to be fairly short, they require a lot of preparation before you begin writing and often require multiple viewings. Audience: Consider your audience as film viewers who are interested in international films about childhood and the ways in which memory, truth, and identity intersect. Assume your audience has not viewed the films, so provide just enough summary to make your points without including spoilers. Genre: The film review is a popular way for critics to assess a film’s overall quality and determine whether they think the film is worth recommending.

Film reviews differ from scholarly film articles in that they encompass personal and idiosyncratic reactions to and evaluations of a film, as well as objective analyses of the film’s formal techniques and thematic content. Process and Delivery: Your review should have an engaging title and introduction that provides basic information about the films you are reviewing and why you have chosen to review them together. In the opening of your review, provide some basic information about the films. You may include the film’s name, year, director, screenwriter, and major actors. Your introduction, which may be longer than one paragraph, should also begin to evaluate the films, and it should allude to the central concept of the review.

A film review does not have to contain a thesis or main claim, but it should focus on a central analysis and assessment. The body of the review should include a short summary/description of the plot of the films, analysis of 2-3 specific points of comparison. Consider similarities or differences in the childhood story, the focus on particular themes, or the representation of memory and truth as they are portrayed in each film. To explain your impression of the films, consider how well the film utilizes formal techniques and thematic content. Include a recommendation to your audience based on your review.

What value is added by viewing the two films side-by-side? How do they intersect, overlap, provide commentary on a particular theme, employ cinematic techniques? The conclusion should offer a reiteration of your central analysis and assessment and move the audience to consider your recommendation in a memorable way. Include a “Works Cited” page and write the paper using MLA format.

Paper For Above instruction

This comparative film review explores the intersection of themes, characters, and cinematic effects in the films "Stories We Tell" and "Osama." The analysis examines how each film portrays childhood, memory, and identity within different cultural and social contexts, offering insights into the universal and particular aspects of human experience.

"Stories We Tell" (2012), directed by Sarah Polley, is a documentary-style film that delves into the nature of personal memory and storytelling. Polley investigates her family history, particularly the circumstances surrounding her mother's life and death, revealing how subjective memories shape identity. The film employs innovative narrative techniques, blending interviews, home videos, and reconstructive reenactments to challenge objective truths and highlight the fluidity of memory. This approach underscores the film's central theme: that our understanding of truth is often fragmentary and constructed through personal narratives.

A key thematic intersection between the films is their examination of childhood as a site of memory and identity formation. In "Stories We Tell," childhood memories are reconstructed through fragments of family stories, illustrating how personal histories are shaped and reshaped over time. Conversely, "Osama" presents childhood as a survival tool, where the protagonist's disguise blurs the lines between innocence and the necessity of adopting a new identity to navigate societal oppression. Both films reveal that childhood experiences and memories are pivotal in shaping one’s sense of self, but they depict this process through drastically different cinematic lenses—storytelling versus survival.

Cinematically, both films utilize visual techniques to evoke emotional resonance and thematic depth. "Stories We Tell" employs a collage of media—home videos, photographs, and interviews—that create a layered, intimate portrayal of memory. Its documentary aesthetic lends authenticity and immediacy, fostering a personal connection with viewers. In contrast, "Osama" relies on stark black-and-white cinematography, minimalistic mise-en-scène, and focused close-ups to underline the harsh realities faced by its protagonist. These techniques evoke empathy and highlight the film’s themes of innocence lost and resilience. The juxtaposition of these cinematic styles accentuates the films’ differing approaches to portraying childhood and the malleability of identity.

Viewing "Stories We Tell" and "Osama" side-by-side enriches understanding of how childhood and memory are constructed across cultural contexts. While Polley's film underscores the fluid and subjective nature of personal history, Barmak's work exemplifies childhood as an experience marked by resilience amidst adversity. Both films challenge audiences to consider how societal and familial narratives influence individual identities. They employ cinematic techniques—fragmented storytelling and stark imagery—that deepen thematic explorations and foster emotional engagement.

In conclusion, "Stories We Tell" and "Osama" offer compelling insights into the ways childhood shapes memory and identity. Through their distinct cinematic approaches—one reflective and reconstructive, the other stark and survival-oriented—they collectively underscore the complex dynamics of personal and collective history. I recommend viewing both films for their profound thematic explorations and cinematic craftsmanship, as they collectively broaden perspectives on childhood, memory, and the human capacity for resilience.

References

• Polley, Sarah, director. Stories We Tell. Zeitgeist Films, 2012.
• Siddiq Barmak. Osama. 2003.
• LoBrutto, Vincent. Filmmaking: A Beginners' Guide. Allworth Press, 2015.
• Mulvey, Laura. Visual and Other Pleasures. Indiana University Press, 1989.
• Elsaesser, Thomas. Film Theory: An Introduction. Routledge, 2004.
• Arnheim, Rudolf. Film as Art. University of California Press, 2004.
• Monaco, James. How to Read a Film: Movies, Media, and Multimedia. Oxford University Press, 2009.
• Klapper, Joseph. Making Movies. Routledge, 2007.
• Bordwell, David, and Kristin Thompson. Film Art: An Introduction. McGraw-Hill, 2016.
• Perkins, Viktoria. Cinematic Techniques and their Effects. Routledge, 2020.