The Proposition & Gomorrah Term Paper Example | Topics and Well Written Essays - 500 words

The Proposition & Gomorrah - Term Paper Example em miniature, and many filmmakers use aperature flare, an artifact of having a camera, to make CG sequences feel more â€Å"real.† Two films, â€Å"The Proposition† and â€Å"Gomorrah† use color and camera movement to create two vastly different visual styles, which leaves the audience with two very different impressions: â€Å"The Proposition† seems like a storey book, or a distant tableau, whereas â€Å"Gomorrah† creates a sense of immersion. The color palettes of these two films are one of the first thing one notices when comparing them. â€Å"The Proposition† has an incredibly warm color palette, almost seeming to have yellow or orange gels over the camera lens during every single shot. â€Å"Gomorrah,† on the other hand, has a somewhat cooler, grittier, and more realistic color palette. This creates very different impressions for the audience - the color palette in â€Å"The Proposition† reminds readers of the fact that they are watching a film, a story, and creates a tableau for them to enjoy in the distance. The color palette of â€Å"Gomorrah,† on the other hand, creates a sense of being there, of realism, and of immersion. The choice of camera movement has a similar effect in both films. The camera movement in â€Å"The Proposition† is long and careful – things like slow zooms, smooth movements and so on are incredibly common, as are dolly shots. â€Å"Gomorrah,† however, has a more documentary-style camera movement – many of the scenes are shot by hand-held camera or are given the effect of being shot on hand-held camera, with significant bouncing, jostling and so on. This creates the impression that the film maker is actually documenting real things that are happening, rather than painting a story for the viewer’s enjoyment. All of this serves to make â€Å"The Proposition† more like a storybook, and â€Å"Gomorrah† more like a brutal, real world documentary. The audience’s awareness of the artifice of film is a principle object of a director’s