Dead Poet's Society
The most successful film directors are those who offer their audience thought provoking themes to contemplate throughout their film. This is achieved by using a large range of film techniques to enhance the portrayal of a theme or idea. In the film ‘Dead Poets Society’, the director Peter Weir has put forward several themes and ideas which are critical to the structure of the film. Fundamental aspects construct the basis of the film and they include themes such as tradition, conformity, and loyalty. Techniques such as low-key lighting, setting and quick cut edits contribute as factors to engross the audience during the course of the film.
The film 'Dead Poets Society' renders a classic example of tradition. This is achieved by the various film techniques utilised by the composer. Tradition is characterised as a theme in this film through the subjectiveness of its content into various components of a scene such as setting. The interior setting of the film in the assembly hall is similar to that of a whale bone structure, an architectural element derived from neo-gothic building design, which is depicted at the beginning of the film. The official party enters the assembly hall before walking towards the raised platform at the front of the large room, somewhat resembling a pulpit. The resemblance is an insight into the derivations of the academy and its' ancestry. The quick cut camera technique from the dolly-shot of the official party entrance to the long shot of the whole assembly hall gives the whole frame an intimidating ambience. The students and their parents are situated in a seating arrangement which bears a striking resemblance to the pews of a Christian church. The props placed in the frame also contribute to the depiction of tradition in the academy, in reference, the flags bound along the walls at intervals, each depicting a differing family crest. 'One-hundred years ago, in 1859…’ this reference to the past by Headmaster Nolan in the first words of
The film 'Dead Poets Society' renders a classic example of tradition. This is achieved by the various film techniques utilised by the composer. Tradition is characterised as a theme in this film through the subjectiveness of its content into various components of a scene such as setting. The interior setting of the film in the assembly hall is similar to that of a whale bone structure, an architectural element derived from neo-gothic building design, which is depicted at the beginning of the film. The official party enters the assembly hall before walking towards the raised platform at the front of the large room, somewhat resembling a pulpit. The resemblance is an insight into the derivations of the academy and its' ancestry. The quick cut camera technique from the dolly-shot of the official party entrance to the long shot of the whole assembly hall gives the whole frame an intimidating ambience. The students and their parents are situated in a seating arrangement which bears a striking resemblance to the pews of a Christian church. The props placed in the frame also contribute to the depiction of tradition in the academy, in reference, the flags bound along the walls at intervals, each depicting a differing family crest. 'One-hundred years ago, in 1859…’ this reference to the past by Headmaster Nolan in the first words of