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1. Alter Ego Nollywood Movie
2. List Of Graffiti Movies

Gardner has pointed out that in war scenes, the king in his litter is commonly accompanied by a fierce “battle beast,” typically thought to represent the king’s animal spirit alter-ego. Graffiti at Tikal, however, etching what eye-witnesses actually saw during ritual, suggests that the beasts were more than just imaginary, and that they. The last fairy tale film produced by Walt Disney before his death; it is one of only two Disney animated films produced in a special 70mm widescreen process, the other one being The Black Cauldron. The film features heavily stylized art direction and music adapted from the Tchaikovsky ballet score.

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Lighting is one aspect of filmmaking that the audience doesn’t always think about. Yet lighting is incredibly important. Light and color (like sound) can be used in films to evoke a mood, indicate foreshadowing, and manipulate the viewer’s feelings about characters and scenes in a variety of ways. Auto shoot on phantom forces scriptblasterfasr.

Who controls the artistic lighting decisions in a film? Usually it’s the cinematographer, but sometimes directors have a specific color palette that defines their work, says Digital Cinematography Course Director William Kavan.

“Color is attached to the basic moods for everything,” says Kavan. “For instance, if we want it cold, we make things blue – if we want it warm, we make it orange.

I think not only [do] directors have their own color palettes that they enjoy, but I think it’s very dictated by the story itself.”

We talked to Kavan and two other course directors within our Digital Cinematography Bachelor of Arts degree program to find out what films, directors, and cinematographers wowed them in terms of color and lighting. All three have a background in lighting for film.

Here are a few of their top picks:

Drive - The color palette in this 2011 drama is ‘gorgeous,’ says Kavan. “They’re constantly utilizing cooler tones so that the main character has that feeling of being aloof, a little bit drawn away from the audience, while the supporting characters – they’re supposed to be closer to him – have a little bit warmer tones. There are several scenes where you can actually visually see a distinct line in the center of the screen where half of the screen has the bluer, cooler tones, and that’s where our main hero is. And the other side is where his love interest is, and it’s a lot warmer tones,” points out Kavan. “When you’re first watching the film, you don’t really pick up on it.”

Blade Runner – Ridley Scott, who directed the futuristic, cult classic Blade Runner, is an example of a director who adheres to a specific color palette in his work, says Course Director Danny Canton, a longtime New York cinematographer and cameraman. “You can look at all of Ridley Scott’s movies, and they all seem to have a similar sort of cool – by cool, I mean blue – lighting technique to a lot of the stuff that he does,” says Canton. Scott also favors shafts of light, enhanced by particles in the air. “You can [see this] in Blade Runner, which has been really his most famous visual film to date, with shafts of blue light, with smoke and all sorts of things,” says Canton. “He’s used that theme throughout.”

The Godfather – The first of an enduring film series, The Godfather was a groundbreaker in terms of lighting, says Canton. The films were shot by New York cameraman Gordon Willis, who “changed the way you lit stars,” says Canton. “He has a specific way of lighting Marlon Brando as the Godfather, and for the first time, you would have a light above that would make shadows so you couldn’t see the actor’s eyes. Everything up to that point was you always had to see the eyes. And their theory was to not see the eyes because then you wouldn’t be able to see what he was thinking,” says Canton, who added that the film made a huge impact on cinematographers. “It added to the story and it added to his character.”

Searching for Bobby Fischer – This 1993 film about a child chess prodigy is another example of a film that uses unusual lighting to interpret the main character’s perspective, says Dustin Lee, who teaches Storytelling for Film. “The light is often spilling onto portions of the [adult] characters’ bodies, but seldom on their faces,” says Lee. “It conveys more of a childlike, dramatic feeling at that moment, almost as if we're seeing what the main character – a boy – is seeing and feeling at that moment. It has the effect of drawing the viewer deeper into the story because not everything is clearly lit,” says Lee.

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The Dark Knight – Batman, a shadowy figure, is often literally in the shadows in films. Yet director Christopher Nolan turned this technique on its head in one scene in the 2008 film. “When they’re in the interrogation scene, the entire room is incredibly well-lit, and you have a character that is based in the shadow and is all about the shadow coupled with no shadow in the room,” says Kavan. The lighting enhances what is happening in the scene, in which both Batman and the Joker’s characters are exposed. “It very much opens up [Batman’s] character. The room itself is very white, and you get a lot of truth in it,” says Kavan, “a lot of truth to the character, truth in the situation.”

Fairy tales have provided a source of inspiration for the Disney studio. Sometimes, Walt Disney Pictures alters gruesome fairy tales in order to make them more appropriate for different age groups, specifically children and adults. The silent short cartoons produced at the Laugh-O-Gram Studio during Walt Disney's early career consisted of humorous, modern retellings of traditional stories. Later, Walt Disney and his studio turned to traditional fairy tales as the source for shorts in the Silly Symphony series, and later animated features such as Snow White and the Seven Dwarfs, his first full-length feature. After a hiatus from the fairy tale genre, the modern Disney company once more looked to classic fairy tales during the late 80s and 90s, resulting in popular films such as The Little Mermaid and Beauty and the Beast. The following list is of such fairy tale films produced by the Disney company, along with their sources of inspiration (some stories, including Cinderella and The Ugly Duckling, have been subject to multiple treatments). Excluded are television series (such as The Little Mermaid TV series) and sequels to previous fairy tale films (such as Cinderella II: Dreams Come True), unless explicitly incorporating elements of another traditional story.

Disney's animated shorts based on fairy tales[edit]

Disney feature films based on fairy tales[edit]

Disney feature films containing segments based on fairy tales[edit]

Alter Ego Nollywood Movie

List Of Graffiti Movies