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The part-talkie musical, directed by Alan Crosland, was one of only a few films of the 1930s where Warner Bros.’ innovative film sound system, called sound on disc, was used to enhance the audience’s cinematic experience. The Jazz Singer (1927) is identified as the first feature-length film with synchronous sound that includes dialogue (Cook and Bernink, 1999). Its significance lies in a stylization of mise-en-scene including chiaroscuro lighting, surrealistic décor and mobile framing (Phillips, 2005). This German horror film influenced not only avant- garde but also film noir and future horror movies. The film, directed by Robert Wiene, is often pronounced as a groundbreaking film of “art cinema” with its visual fantasy set (Geiger and Rutsky, 2005: 99). Caligari (1920) is proclaimed as the first film that introduced Expressionism to German cinema and is one of the most significant motion pictures ever made (Geiger and Rutsky, 2005: 99 Bordwell and Thompson, 2010).
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The film’s use of narrative filmmaking including omniscient narration, climaxing or poetic epic is still paramount in film these days (Bordwell and Thompson 2010). The final shots of The Birth of Nation are among the most racist moments in American film history due to its negative portrayal of African-American men (performed by white actors)(Geiger, Rustsky, 2005: 91). This classic motion picture, constructed through parallel editing, engages the audience and offers a powerful melodrama and heightened suspense through decreasing and increasing pace of individual shots (Geiger and Rutsky, 2005: 89). Griffith, the father of American cinema, directed and co-wrote this controversial silent drama film, based on the novel and play The Clansman by Thomas Dixon, Jr. The Birth of Nation (1915) is one of the first feature-length films and is considered as the most important American film in history (Geiger and Rutsky, 2005: 83). Cinematic devices used by Méliès include the use of stop-motion and unique editing of repeated action cut to, for instance, portray the lunar landing (Geiger and Rutsky, 2005: 77). A Trip to the Moon (1902) articulates the human desire to walk on the moon and reflects the enthusiasm of innovation in early cinema (Geiger and Rutsky, 2005: 79). Georges Méliès, a caricaturist and magician, incorporated spectacle, burlesque and absurdity throughout his film. The 14-minute film is characterized by being a continuous fictional story, expanding over space and time, unseen in most films of this period (Geiger and Rutsky, 2005 Filmsite). The French black and white silent film, written and directed by Georges Méliès, is renowned for its complex, surrealistic visual/special effects and a simple storyline. The Lumière brothers’ screenings, available on a “big screen”, made visiting the cinema an attractive form of entertainment for which the audience was ready to pay regularly.įilm historians cite A Trip to the Moon (1902) as the first science-fiction film (Geiger and Rutsky, 2005: 69). The Lumière brothers created an illusion of a train coming at the audience by allowing the movement to exit into an off-screen space which is known as “decomposition” of space (Geiger and Rutsky, 2005: 50).
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The uniqueness of it lies in the presentation of movement. The French real life film features a train arriving at a railway station in La Ciotat. This unedited documentary film lasting 50 seconds, made by the Lumière brothers, showed for the first time the enormous potential of cinema in giving the audience “new, strong, unusual, burning and strange impressions” (Geiger and Rutsky, 2005: 53).