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Moonlight film analysis

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Moonlight film analysis

Film analysis is a process an institution or an individual analyzes a film. It can be done in terms of different factors such as mise-en-scene, narrative structure, and cultural context. There are different types of film analyses, which include narrative structure analysis and semiotic analysis. The film Moonlight shows both lyrical and strong foundation in the articulation of its characters who are extraordinary in their dramatic scenes. It is a unique art that shows rare pieces of film making. The film demonstrates three distinct stages in life the protagonist that includes his early adult life, youth, and adolescence. In these three stages, the character faces some sexual, physical, and emotional torture. The book has extensively shown the use of cultural practices, articulation of cinematography displayed in the film’s storyline.

Cinematic Techniques

The use of color, heat, and light is incredibly reminiscent and evocative, an intoxicating architecture employed in the film. It is a cinematic representation of Miami city, which gives us the idea of Chiron’s isolation. The adult Chiron reunites with Kelvin with the main aim of wrecking its viewer’s emotions. There is an explanation of the measures taken to the tone in the scene and explained the details behind the scene. The gay character seen practiced by Chiron in the city of Miami was a complicated character to evade. This character implied that the community contributes a certain quality of a person, and therefore it plays a significant role in instilling a particular personality. The shots are very close as the cameras are placed as close as possible to the actors so that the viewer can easily listen to the conversation. Camera placement and eye line is also another cinematography technique used. Laxton declared the camera is placed behind the actor with the vigorous movement of the lenses. This aspect brings out the feeling that the movie character is speaking to the viewer, thereby bringing out emotions.  The tone of the shot is changed with the speed at which the camera follows the actor. The editor designs sound such that it forces the audience to empathize with little. The sound of the bullies in the film beating at the door is one of the scenes.

Genre

The film of the Moonlight belongs to a genre of Drama which explains the story of a lifetime. It demonstrates three distinct stages in life the protagonist, which includes early adult life, youth, and adolescence. In these three stages, the character faces some sexual, physical, and emotional torture. Chiron tries to his endeavors to gain his self-esteem with his skin color. The Drama incorporates both traditional methods and the current issues which are occurring in the community. For instance, the Drama gave more emphasis on family issues, sexuality, and the protagonist’s identity. Those characteristics give a characteristic feature of the dramatic genre identified in the film.

Further research done by Jenkins B (2017) shows that depicts that the story of a lifetime is explained by the characters to bring about the dramatic scene, which displays an excellent message to the viewers. Traditional tactics are applied in the Drama, which deliberately showed the decreased self-esteem of the protagonist. According to Vincent A (2017), there is an attribute of cohesion between all the characters in the dramatic scenes to address universal themes. The dramatic film at its climax in many episodes has exercised dialogue, which was highlighted to be the best strategy in a single action. At the point when Chiron reconnects with Kevin, he was still on parole, and the encounters of containments have vigorously influenced everybody – particularly Paula. She so broke her as she decides to remain in the recovery community when she could leave since she couldn’t make it outside.

 

Cultural Context

The Moonlight emphasizes a haunting musical score, which is restrained from increasing the understanding of the characters together with their undefined emotions. The tunes were grouped by utilizing the process known as “chopped and screwed.” A distinctive theme in the film was restrained by bending the audio and shifting it around, changing with Chiron’s growth and development. There is a repeated motif of Chiron which is placed at the back. It was used to signify a shield that was used to cover himself from enemies. It is a cultural sense that is displayed in the last scene of the film. The black color used in his clothes with a rugged physical appearance had an essential message to society. Chiron shows a sign of so that people can know who he was at that time. Black masculinity, which is mostly found in popular cultures, was one of the heartbreaking techniques used in the film. It was perceived as a full stereotypical image used in this Drama. The film was very unjust to the American culture about gay, which showed that Chiron’s boyhood was very important to learn to succeed. We additionally observe a kid, Chiron, transform into a youngster over numerous years. However, we watch him at three phases, each time played by an alternate entertainer. Jenkins and the entertainer who plays “Pretty much nothing” Chiron, Alex R Hibbert, are remarkably viable at making your day. We pull for Little Chiron and his vigilant gazes, regardless of whether he maintains a strategic distance from menaces or mildly looking at his companions as they think about penises. At the point when he emptied bubbling water into the tub, my heart was in my throat that he could be harmed.

Conclusion

The narration about affectionate and friendship made Chiron realize who he was. There is a developed idea that everybody strives to hide his/her real character to some extent to pass out a particular image in the society. This character can be developed by every individual who is changing in different stages of growth as well as someone who feels neglected or isolated in a given society. The film also gives a message to someone who builds up the courage to communicate and pursue their goals. Therefore, it is an essential and compassionate film with a lesson to all young generations who want to find out different explorations worldwide.

 

Reference

Boylorn, R.M., 2017. From boys to men: Hip-hop, hood films, and the performance of contemporary Black masculinity. Black camera, 8(2), pp.146-164.

 

Gates, R., 2017. The Last Shall Be First: Aesthetics and Politics in Black Film and Media. Film Quarterly, 71(2), pp.38-45.

 

Bordwell, D., 2017. Kristin Thompson en Jeff Smith. Film Art: An Introduction.

 

Mikkonen, K., Abbott, L.L., Abbott, P.H., Herman, D., Jahn, M., Ryan, M.L., Abbott, P.H., Altman, R., Ault, D., Badman, D.A. and Baetens, J., 2017. Narrative and Narrativity: A Narratological Reconceptualisation and Its Applicability to the Visual Arts. In The Narratology of Comic Art (Vol. 19, No. 2/3, pp. 1-29). London and New York: University of Nebraska Press.

 

FLORY, D., 2019. Moonlight, Film Noir, and Melodrama. Western Journal of Black Studies, 43.

 

Randolph, R., 2017. Moonlight. Queer Studies in Media & Pop Culture, 2(3), pp.383-388.

 

Di Mattia, J., 2019. The aesthetic of the ecstatic: Reimagining black masculinity in’moonlight’. Screen Education, (93), p.8.

 

 

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