Film

The structure of the film is straightforward

and symmetrical. the movie starts with an ill-

fated encounter between the Earps and the

Clantons and the movie ends with a firefight

and an unguaranteed promise to return. This article will focus on some of the key

movements in British cinema, looking at how

they relate to the world of Hollywood. Firstly!

shall look at how British films have found their

way into the American and world markets via

the London-based company Working Title

Films, and to what extent these films are

integrated into the Hollywood scene. Secondly,

There will be an assessment of the tradition of

social realism in British cinema,including the

New Wave and Brit Grit movements, and their

place in international cinema. Next, I shall look

at the documentary movement in British

cinema, and its impact on the wider world.

The central point of the documentary is the

examination of the difficult decisions made by

the families of transgender teens over

whether to medically intervene in their sexual

development plus it also focuses on the

intimate struggles and choices these

transgender kids have to personally face.

medication that was once administered to

kids starting at the age of 17, is now

accessible to kids. One area in which British cinema has perhaps

demonstrated greater independence from

Hollywood is in the field of so-called social

realism films. There have been many

movements over the different eras which fall

into this category, from the New Wave cinema

of the 1950s and 1960s, such as Room at the

Top, to the what have been called Brit

Grit films, and this

recurring idea of kitchen sink realism forms an

important part of the British cinema tradition.

Indeed,it has been suggested that all of these

movements are a tradition in

themselves. It is in this area that, for many critics,the real

essence of British cinema is found.

Indeed, its relationship to Hollywood is entirely

coloured by its status as an art film, and by

implication, its partly British origins. Some argue that any British film of this type would be viewed as art cinema in Hollywood, as art cinema is a term, used by the US film industry to describe imported films of interest the upper-middle class, educated audiences.

In this respect, British film is still marginalized in relation to Hollywood. Commercial success has been forthcoming, but the very fact that a

film is British in origin leads it to be viewed in different terms to those in which a Hollywood movie is viewed.

The Matrix is a science fiction movie about a

breed of artificially intelligent computers fight

to take over the world. The film starts with an

infamous hacker called Trinity, who is

cornered in an abandoned hotel by the police

that she easily overpowers and escapes from

them; however, a sinister black-suited agent

further pursues her with superhuman abilities

along the rooftops where she narrowly

escapes. "Thomas Anderson is a computer

programmer living a double life under the

hacker alias Neo; he believes something is

wrong with the world, and he's puzzled by

repeated online encounters with the cryptic

phrase The Matrix. Throughout the film, he uses lighting and

camera shots to portray the character's

emotional state in different occasions. For

example, in the shot above it was

underexposed and using a low angle shot on

purpose to illustrate Chihuahua's point of view.

In this case, chihuahua finished her procedure

and by covering most of Doc's face in order to

emphasise that she's half-conscious. The first wide shot of the town

couldn't appear darker, however, we can

determine the contours of the town and

therefore the superficial lighting from the

indoors creates a peculiar spectrum of

evanescence. It ought to be engulfed up by a

large pitch-black void. The opening sequences demonstrate the use

of philtres to take out Monument Valley sky

and clouds as the Earps drive their cattle

across the valley floor. The lighting through

most of this opening sequence evokes a film

that uses only natural sunlight as a source,

adding to the scene's authenticity and

contributing to the landscape's gritty and

rugged look. The West and its denizens are

not prettified by this Western. Instead, the

West here is approached by Ford as a hard

place to live and a place populated by hard

people. Those who seem to be belonging to

this environment will be contrasted with

Clementine, who does not belong, especially

in Wyatt Earp's eyes.

An aspiring actor from the outskirts of Kenya

wants to pursue a successful career in the

large city of Nairobi. The young Mwas believes

Nairobi will lead him to various opportunities

in order to achieve his acting dreams that

upcountry Kenya lacks. At the start of Mwas

journey in the city, he quickly encounters crime

and is robbed of all his belongings, which

leads him to being falsely imprisoned. At the beginning of the movie, Thomas

Anderson is questioning his search for truth.

Anderson believes that something is wrong

with the world, which causes him to continue

the hunt and dig for information to understand

what is flawing the system. Anderson is

searching for the impurities and trying to find

logical accuracy in the world he lives in.

Anderson's behavior can be identified as the

denial Freudian Defense mechanism because

it depicts him as being a skeptic. Thus,

Andersons "failure to admit the existence or

true nature of emotionally threatening

information" shows him as being a skeptic

because he wants more proof and information

about the world around him. The connection between nine/eleven and the

superhero film is of particular interest

because of the classic main protagonist. For

decades, iconic figures such as Superman,

Batman and Spiderman have been fighting evil

and criminality in fictional worlds that re-

imagine American society and offer clear and

unequivocal ideas of justice. Superhero

narratives alleged orizing nine/eleven possess the

power to create fictional spaces in which

reworked conceptions of terrorism, justice,

and the notion of good verSUs evil can be

examined and tested.

You don't need to be a film critic to understand

the patience, effort, and style put into the

production of the film, Moulin Rouge. What

makes a film good anyway? Everyone has

their own opinion about what makes a film

good, but it's undeniable how good Moulin

Rouge was written and performed. In essence,

it can easily be said that the use of

cinematography, sound, acting, and editing

was perfectly executed to make sure the film

was not only exceptionally well, but also

standing its purpose to tell a dramatic love

story. This wonderful romantic drama

depicting the new-found conflicting love

between a young French man and a beautiful

courtesan is a rollercoaster of emotions and

dramatic turmoil that will surely have you at

the edge of your seat with every scene. The film is structured on contrasts, and similar

Visual contrasts are created by the low-key

lighting: the theme of the film is the coming of

civilization to the West. Throughout Ford's

poetic movie, the western city of Tombstone

becomes the point where wild forces.

As a result of the lack of prior knowledge

about Nairobi, the film displays the city in a

negative manner. Mwas, being a naive tourist,

is immediately taken advantage of. The

bystanders of the thieves ignore the situation

by turning a blind eye or even worse,

undertakes in the crime in broad daylight. In

the film, committing acts of crime is viewed

as an acceptable behavior in Nairobi's

community.