By Paul Chang

Barry Jenkins’ Moonlight is a cinematic masterpiece in many critically acclaimed ways: it masterfully uses color and color motifs to drive the story; it uses music and silence at important junctions to convey the gravity of the situation; it looks at themes of identity and masculinity through viewpoints that are uncommon to Hollywood films, and so forth.  One aspect of Moonlight in particular stands out in its effectiveness and ability to convey messages and foster character development.  Jenkins purposefully includes multiple parallels that can be seen in the film, driven by both audio and visual components.  These parallels effectively nudge the viewer to call back to previous scenes which contain similar components.  At the same time, the differences between the parallels form strong contrasts and induce the viewer to consider what might have changed between the first and second scenes.  This drives development and character growth.  These parallels are both visual – expressed through framing, camera movement, and setting, and auditory – expressed through dialogue, silence, or musical components.  By invoking viewers’ callbacks to previous scenes, Jenkins induces comparisons between the scenes that help develop the characters over the course of the film.

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by Hasnat Ahmad

Rear Window is a 1954 film by Alfred Hitchcock which follows a globe-trekking photojournalist named Jefferies who’s been confined to his home due to a leg injury. While Jefferies is sitting in his wheelchair, he decides he has nothing better to do but spy in on the going-abouts of his neighbors, leading him to suspect a certain Mr. Thorwald of murdering his wife. But the film is not so much a murder mystery as it is a film about voyeurism and the pleasures of viewing other’s lives without their express knowledge or consent. Hitchcock uses multiple cinematic techniques, including camera movement, set design, editing, and zoom to create an effective presentation of the role of scopophilia in an increasingly modernized and urban society.

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by Tomi Kolapo

Spider-Man: Into the Spider-Verse is a landmark in the evolution of mainstream superhero releases. It is both a superhero movie and an animated movie. It exists in the era of live-action superhero films. It proved to be a success by grossing over $375 million worldwide. The unique animation style that mimics comic book drawings resulted in widespread critical acclaim for its visual originality along with its box office success. 

The film is centered around the main character of Miles Morales. He is infected by a radioactive spider. However, unlike other iterations of Spider-Man, Miles is not the only Spider-Man that exists. Instead, he is another one of the multiple dimensions in the world. Miles is the main protagonist of the multiple spider-man. In Miles’s situation, he is given a flash drive by an older Spider-Man as he witnesses the previous Spider-Man get murdered by Green Goblin. The flash drive has the function of deactivating an accelerator that could destroy the city. Green Goblin works for Kingpin. As a result, the rest of the film serves as an adventure to defeat Kingpin and his intentions with the use of the flash drive. This adventure reveals itself to be interdenominational as a result of encounters with different versions of the hero.

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by Eric Chang

Now that we have transitioned to studying Hollywood’s narrative tradition from the perspective of screenwriting guides, it is important that we understand that our analyses focus on just that: tradition. In the paradigms advanced by Syd Field and Kristin Thompson, both models of Hollywood-style narration are based on the then-historical body of work produced by Hollywood cinema. Thus, I view the following discussion as a matter of discerning which model is a more faithful representation of a fixed set of cinematic work rather than a matter of discussing the merits of non-tangible theories regarding ideal narration structure.

Syd Field’s book Screenplay, published in 1979, proposed the “three-act structure,” where the majority of Hollywood’s films could be divided into three distinct acts: the setup, confrontation, and resolution (see below). These acts are divided by major plot points and would take up 1/4, 1/2, and 1/4 of both the script and the film’s run time respectively. Since its publication in Screenplay, this model of the prototypical Hollywood narrative has become a staple in both film production and analysis.

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by Ben Ratchford

Punchdrunk is best described as an immersive theatrical experience. It is structured as follows: spectators enter an abandoned warehouse or office space or other such nondescript building, dressed all alike and wearing masks which obscure their whole faces – they are instructed not to speak. After the opening, spectators may find a number of different “scenes” throughout the building, where unmasked actors play out different moments in the story, which move, change, and interact with one another at all times throughout the show, and in which the audience members are, at times, encouraged to participate, either by interacting with the environment, or directly with characters themselves. Thus the audience members, although they must wear masks and cannot speak, have the opportunity to (or, more often, have no choice but to) get close up to developing scenes and engage with the world in front of them.

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