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In Expressionism, the medium itself is expressive. An expressionist painting shows emotion in the quality of its brushstrokes, in the amount of paint used, in the colors, in the size, in the texture. Expressionism is generally not realistic in its imagery. It seeks to create a visceral response in its presentation. Expressionistic photography or ...


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I just want to add a note about "day for night", which to me usually looks fake. The three factors that I think are most important for a convincing "night" scene are: The sky has to be black. If its lit up at all, which happens in every day-for-night scene, the shot looks terrible. The shadows have to be BLACK. During daytime, shadows aren't black; they ...


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On the screenshot you posted, we can see that it's actually filmed at night (dark sky, visible street lights). But as it's not enough for a film, a few additionnal lights are put on the set. Additionnaly, the blue filter is added in order to make it feel a bit more "like a real night".


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In some cheap movies (fairy tales) they clearly used aquarium, either standing in front of the actors, or overlaid over the actors in postproduction.


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The scenes which we see in the movie as night scenes might not be filmed at night. Day for Night is a set of techniques is used to simulate a night scene while filming in daylight. These include tungsten-balanced rather than daylight-balanced film stock or special blue filters, under-exposing the shot (usually in post-production) to create the illusion of ...


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I'll add that it may also be used since in the US there are many TV commercial "interrupting" the TV shows (at least on cable). For example, in France, usually, there is only one interruption for TV shows. Taking the time for this kind of view allows to reintroduce softly the viewer into the show. So, for me, it'a way to answer: When? Where? And take a ...


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If you stop you car and keep the engine on, it means that you want to go away as soon as possible. So if you pick up a person this is unkind since it means that you don't want to have a conversation with the person before starting the vehicle (for example to know if that person has some need which would require you to wait longer).


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To establish a time / place To establish that is it is now day / night To give weight to the scene based on the area... city / rural / ghetto / etc. To break up a light / dark scene The simplest answer could also be that they wanted to have an easy transition between scenes. You can't always just cut sce


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It is so that you can hear the actors voices, which are usually being recorded without a car idling sound anyway. I tend to cut my car off like this when waiting / talking, so it seems pretty natural to me - but the short answer is so you can hear the dialogue.


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No, not even remotely. Art style names like "Expressionism" are never to be taken literally they always mean something, usually the exact opposite the words original meaning. They also have a different meaning in any media, with very few common traits. Expressionism is one kind of opposite of realistic painting (that has nothing to do with realism), where ...


1

A distribution network will typically hold on to their prints for as long as possible (I.E they hold the rights to it): in the era of digital distribution that extends to exhibition itself, this is becoming easier and easier. Increasingly, edits are drawn from the original, 4K exhibition quality 'Copy' and are subjected to certain cuts. Sometimes, this ...


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Rear projection techniques came after filming in "the real world", as the filming of rear projection requires that the camera and projector be synchronised to avoid shutter flash. This technology did not exist in the silent era, so any motor vehicle filming would have been done live. Its probably worth noting, though, that the filming was usually done with ...


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I think, it is more difficult to put a camera in a automobile or on a truck then on a vehicle on rails. I found some examples of early shots, but I'm not sure if they fit your criteria of inside a car. The shots I found are from a car, not inside. I found some very early snipplet with a scene from a rail bases car: Algier 1896: ...


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Whilst it's understandable to proclaim that Montage Theory doesn't receive the amount of 'attention' it deserves from Hollywood, this is closer to the concept of Montage Theory (MT) not receiving overt 'credit' when it does appear; largely due to its indelible influence. Montage theory marked the beginning of a filmic language; the idea that film is ...


0

Montages were popular in American cinema in the 80's. Almost every movie had a montage, notably the Rocky series which would show the lead character training for an upcoming boxing match. The montage was used to show a passage of time, with quick cuts and fast-paced music. After a while, it fell out of favor, as all things do, and became passe. Now, ...


2

While watching the movie, especially during the parking lot scene, the shot gets switched from POV (which is unusual since most of the movie is shot in POV), I convinced myself that the shot is switched from the POV 'cause the victim (a lady) is out of sight from Frank and director wanted the audience to show where the victim is and how she's terrified of ...


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They didn't have the technology to do facial substitution with CGI in 1994. One of the first box office attempts at facial substitutions was in the surf movie, The Blue Crush, in 2002, to paste Kate Bosworth's face on a stuntwoman doing the surfing. The results were still quite poor in 2002. So, the special effects in The Shadow were done with ...


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Because they can. Movie post-production schedules usually have a finite window for editing; Non-Linear Editing allows for significantly more work to be carried out in that time window than the old physical splicing method. Thus those editors and/or directors who are inclined can edit more so do so.


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Rękopis znaleziony w Saragossie (English title: The Saragossa Manuscript) (1965) is the earliest example that comes to mind: The maximum depth of nesting of the story is Fraquita's tale, which begins in Q-2-j-(1)-(a). If we see Alfonso's experiences as all being at a single level, that makes The Saragossa Manuscript a story-within-a-story having seven ...



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