Form and Culture in Way Down East, All Quiet on the Western Front, and The Philadelphia Story Form and Culture in Way Down East

Form and Culture in Way Down East, All Quiet on the Western Front, and The Philadelphia Story

Form and Culture in Way Down East

Way Down East Movie is a melodrama movie produced in 1920. D.W. Griffin produced the film. He uses techniques such as the silent screen melodrama in the development of the movie. The author and producer of the movie utilized broad gestures among the actors. As such, the film was based on grimacing close-ups and eyes fluttering as a standard ingredient in the performance. The technique was mainly used to evoke the satirical nature of the film. Griffin used a series of medium and close shots to allow the body language of the characters, such as the facial expressions, to be understood by the audience. The filmmaker, in his quest to develop the silent cinema in a precise way, used the close-up technique (Glick & Josh 187). Such shows the actors thought process. The silent method utilized was based on conveying ideas by the lifting of an eyebrow, an old technique of expressing love. The seduction scene revealed an innocent girl’s victimization and playboy’s cunning phoniness, a culture that was quite common in the early to the mid-20^th century. In the period of the production of Way Down East attributes to the epic sprawling across the generations. The form used in its production is transcended to societal standards. For instance, from the pictures and gestures, the transcending of monogamy beliefs to polygamy culture in the society is introduced through Anna. The use of Victorian storytelling and stylish visual in the movie also depict morality tale in the society

Form and culture in All Quiet on the Western Front

All Quiet on the Western Front movie was a personal reflection film based on the novel written by Erich Maria Remarque in 1928. The movie was based on both the silent and soundtrack movie production technique. As such, two cameras were used in shooting the film. One was mainly for the soundtrack while the other was for pictures.  The soundtrack was accommodated primarily on the film to demonstrate the war culture experienced in the battlefield during the world war in Germany. The silent form of the movie was replica to the international sound version, a product of “Western electric sound system” (Williams & David 174).  As such, the technique of the production of the film included the use of music in its soundtrack. Such was geared in demonstrating on the war culture which world war portrayed.  The film also was based on the silent version. As such, in All Quiet on the Western Front film, the form used to deliver the message to the audience was through visuals. The visual in a silent context was desired for thorough contemplation by the audience regarding the series of war, which had developed into a norm in the world. The situation was horrifying. This was mainly scened at the film beginning where the filmmaker depicts the students as innocent.  However, in their quest to defend their fatherland, they had to walk out to war where most of them died. Through the windows in the classroom, one realizes that the form was mainly used to redirect the war matters in the country, as symbolized by the village industry. Such was shown through a triptych scene effect.  The film was also based on the relentless scene. In that, the characters cower or push their heads equally as they die as a result of being bombed. Such a scene portrays the differences existing between the cultures depicted in the war with scenes. For example, the sounds of bombs and guns were present, but the brutal nature of survival in the war. The men in trenches do not have food, and thus, most grew up weary, thus expressing the silent form. Such depicts the true nature of the war cultures during the first and the second world wars.

Form and culture in The Philadelphia Story

The Philadelphia Story is based on various forms that have both contradictory and similarities to culture. The film uses dialogue in its theatricality. As such, dialogue in the video is important as compared to mise-en-scene in plot development, meaning, and nuisance establishment. The culture depicted in the film is comic, as portrayed by various actors. As such, the play was staged more like a play from the first scene. The use of dialogue, as seen in the film, leads to the culture of development of relationships from the male and female actors in the movie (Mildorf, Jarmila & Bronwen 184). The conversations between different characters have been at the center of change in society. Through the manipulative language used by Dexter, the situations in which the actors are in are changed. The form used has enhanced the changes in the patriarchal culture in the society. For example, through the use of dialogue in a manipulative way, Dexter eliminates Tracy’s brother and Sandy Lord, thus leading to the enhancement of the household. The film also utilized the use of medium-long shots in their scenes. Such helps in the enhancement of theatricality. The film is based on patriarchal culture. As such, long shots help in boosting a balanced tone in the film. The point of view of the camera depicts a contradictory nature of love in real sense. For instance, a close-up form could indicate the intimate feeling existing between Dexter and Tracy. However, the use of medium-long shorts contradicts between form and culture.