Running head: ON THE WATERFRONT" 1954 FILM
OnThe Waterfront"1954 film
OnThe Waterfront"1954 film
Thefilm OnThe Waterfront wouldnot be the same in colour. The film would seem more realistic thanwhen in black and white. The audience would feel, quite attached toit given the fact that the images shown in it seem actual (Ebert np).Coloured visuals also have a psychological effect as they make thepresentation appealing and, therefore, one would develop a greatinterest to follow through and understand the story that the moviebears. People will, therefore, have a high likelihood of watching itagain because of the aestheticism that it contains.
Twoexamples of lines that are evident in the film include contour linesand dividing lines. A contour line is normally used to make edgesclear. A given individual is, therefore, able to identify thebeginning and end of a given image and estimate the amount of spacethat it covers. Such a line is quite useful in film context becauseit develops an element of emphasis that may motivate a person to payclose attention to visuals shown in it (Vanseodesign np). As aresult, the given person is bound to have a better understanding ofthe message shown in the film because of the concentration that hewould have shown throughout the presentation process.
Dividinglines, on the other hand, most help to divide spaces. They,therefore, ‘cut’ the screen into sections that may enable theviewer to take notice of some elements that could have escaped hissight. These lines also separate menu items. The audience normallyhas the reservation to choose the elements that he may want to focuson, as there will always be more than one feature shown on the screen(Vanseodesign np). Film-makers normally use this strategy to raisethe appeal of the movie and meet the needs of different types ofaudiences who are normally attracted to varying concepts that are ofequal importance.
Twoexamples of lighting that enhance the movie include hard lighting andsoft lighting. Hard lights normally lead to the display of clear anddistinct features as they are not associated with any elements thatmay draw the attention of audience away from the image cast on thescreen (Fimmakeriq np). Soft lights, on the other hand, areassociated with the presence of shadows as they fail to reach thesurface where they are cast clearly. They are quite important indrawing some effects on the film created which is essential for somethemes and scenes, such as those that are horrendous.
Thecostume and makeup design of cast in the production were quiterelevant to the theme that the film was based on. It represented theelement of crime quite evidently. The production design applied a‘back and forth’ approach that would enable one to understand themovie clearly (Spiegel np). Given the budget of that was set US$910,000 for the production of the film, it turned out to have anexcellent outlook.
Inconclusion, I hold the view that On the Waterfront is a greatrepresentation of film noir. It depicts crime in a way that is uniquewhile adding into it the concept of friendship and family that servesthe audience with more than a few additives to enjoy. Some of thecharacters in the film such as Johnny Friendly have portrayed theirrole in a manner that is not only realistic but also eccentric(Spiegel np). In spite of the film being in black and white, it stillleaves up to its billing and able to bring out some of the conceptsthat could be harder to emphasize in using the non-color feature. Inthe end, it is quite clear that the film is a good show ofexceptional artistry on the part of the producer.
Ebert,Roger. Onthe Waterfront Review.21 March 1999.http://www.rogerebert.com/reviews/great-movie-on-the-waterfront-1954
Fimmakeriq.Thebasics of lighting for film noir.2016http://filmmakeriq.com/lessons/the-basics-of-lighting-for-film-noir/
Spiegel,Sam. Onthe Waterfront. 1954.
Vanseodesign.Typesof lines.2016 http://vanseodesign.com/web-design/visual-grammar-lines/