An analysis of the auteur theory in the films romeo and juliet and the great gatsby by baz luhrmann

Introduction The show will be a magnificent, opulent, tremendous, stupendous, gargantuan bedazzlement.

baz luhrmann the great gatsby analysis

One is the pleasure in looking, called scopophilia, and it requires a separation from the images on screen; the other is narcissism — the pleasure in being looked at — which relies on the identification of the ego with the characters on screen cf.

Consequently, men have two possible means of escaping this threat to their masculinity: They can either demystify the woman through devaluation, punishment or rescue of the woman in question, or they can turn her into a fetish object, disavowing her castration and overvaluing her physical beauty cf.

baz luhrmann great gatsby

A director should, and must, interpret and represent a text as they see fit, and as such, create their own unique vision. In addition, this effect is reinforced through the environment of the film experience: The cinema auditorium is characterized through the sharp contrast between the brightness on screen and the darkness in the room, which conveys an illusion of separation to its audience cf.

Luhrmann uses colour to highlight the affect that Gatsby has upon Carraway. RJ Films such as those directed by Luhrmann, which are self-reflexive and contain references to other media need to be considered in the context of the history of film and media. Moreover, these structures and devices are not limited to the three movies Luhrmann constitutes as a trilogy; rather, they are a common thread running through his entire oeuvre. Not that he is one to make his apologies. How did you structure the pacing of the film? This is like a shoot-out. However, as becomes evident during the analysis of these films, Red Curtain Cinema is a cinema of exaggeration, provocation and overcoming boundaries and Luhrmann is a director who wants to confront his viewers with something new and unexpected. This is exactly the kind of emotional reaction Luhrmann wants to elicit from his audience by both attracting and alienating them.

Moreover, she is deadly in two meanings of the term: fatally dangerous for men and dying due to her consumption.

Although he is best known for his visually and symbolically charged films, Luhrmann has also worked in theater and opera — both behind and on stage. There are indeed moments which suggest that women do return the gaze.

Everyone laughed and the next thing was there was a spectacular fight scene that went on for twenty minutes. The audience is constantly made aware that they are always watching a film, not reality. Filmography 1. What is it they say? So we did a fairly scientific job of creating a fantasy world, which was based on the Elizabethan world: a very small number of rich people, a huge percentage of poor people, a world where young people are armed, and the kind of gun you have, the kind of gun-fighting you do, says something about who you are. The latter option is fetishistic scopophilia, whereby the appearance of the woman becomes satisfying in itself and the woman is seen as reassuring rather than dangerous cf. No question about it. Baz Luhrmann and Catherine Martin One thing that really interests me about you and your collaborators is how you work together as a team. And I distinctly remember seeing Butch Cassidy and the Sundance Kid, which turned me on to Robert Redford and probably led to me the 70s version of Gatsby.
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Essay on Auteur Criticism for Moulin Rouge by Baz Luhrmann