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Essay / Research Paper Abstract
(5 pp.) There is no doubt about the power of
Martin Scorsese's 1980 film Raging Bull: The film
was named the year's best picture by Gene Siskel,
Roger Ebert, USA Today, the American Film
Institute and Premiere Magazine. Robert DeNiro's
performance as boxer Jake La Motta won De Niro his
second Oscar. However, what we will be examining
in this discussion is Michael Chapman's brilliant
black-and-white photography, Frank Warner's dense
sound design, and Thelma Schoonmaker's crisp
editing (another Oscar winner). The work of these
three professionals puts us in the boxing ring,
and in the life of middleweight contender La Motta.
Bibliography lists 4 sources.
Page Count:
5 pages (~225 words per page)
File: D0_BBrgbull.doc
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Unformatted sample text from the term paper:
However, what we will be examining in this discussion is Michael Chapmans brilliant black-and-white photography, Frank Warners dense sound design, and Thelma Schoonmakers crisp editing (another Oscar winner). The
work of these three professionals puts us in the boxing ring, and in the life of middleweight contender La Motta. Bibliography lists 4 sources. Bbrgbull.doc
THE INTIMATE CAMERA: Raging Bull 1980 Written by B. Bryan Babcock for the Paperstore, Inc., March 2001 Introduction There is no doubt about the power of Martin
Scorseses 1980 film Raging Bull: The film was named the years best picture by Gene Siskel, Roger Ebert, USA Today, the American Film Institute and Premiere Magazine. Robert DeNiros performance
as boxer Jake La Motta won De Niro his second Oscar. However, what we will be examining in this discussion is Michael Chapmans brilliant black-and-white photography, Frank
Warners dense sound design, and Thelma Schoonmakers crisp editing (another Oscar winner). The work of these three professionals puts us in the boxing ring, and in the life of
middleweight contender La Motta. Opening The opening scene under the credits is a ghost-like ring with only one boxer -robe-hood up, jabbing and feinting at the air. There
are moments when the action appears in slow motion, but it does not last long, and over all contributes to the dream quality of the opening. This according to
Brode (1998) is also called "overcranked" filming. There is music behind the slow-moving action, however it just is like something haunting, some piece of music that you have heard before,
know you should recognize and dont seem quit able to do so. Angles/Shots Once the film is over, and you think about it, it occurs to you that the cameramen
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