Critiquing James Cameron's Titanic

Critiquing James Cameron's Titanic

James Cameron's, Titanic begins 84 years later, with a 100 year old woman by the name of Rose DeWitt Bukater, who tells her granddaughter Lizzy Calvert, about her life on a ship named Titanic on April 10, 1912. Alongside Lizzy are Bobby Buell, Lewis Bodine, Anatoly Mikailavich and Brock Lovett. Along with the upper-class travelers, Rose embarks the Titanic along with her mother, Ruth DeWitt Butaker, and her fiancé, Caledon Hockley. In the meantime, during a game, an artist/drifter by the name of Jack Dawson and his best friend Fabrizio De Rossi end up winning third-class tickets to the Titanic. Rose Dewitt Bukater explains the entire story from departure until the demise of Titanic during its initial and final expedition on April 15, 1912 at approximately 2:20am.

James Cameron is the writer and the director of this movie. Cameron writes and can also play a major role in casting and editing. Rae Sanchini is the Executive Producer. He is the chief artistic mind behind the production. It is also up to him to decide if a scene needs to be redone. Generally, his job is to fund the most for the movie in order to get it started, hire the major people and get a distributor. Charles Dwight Lee, Martin Laing, Neil Lamont and Bob Lang are the Art Directors. Their jobs are to design and supervise the construction for the sets of the movie. They have to be experienced in a variety of art and design styles, including interior design and architecture. They also work with the cinematographer to accomplish the correct aspect for the production; Dominic Masters, Peter Francis and Marco Niro are the Set Designers. Their jobs are to take directions from the art director(s) to plan its technical construction.

During the high intensity settings, harsh lighting was utilized in James Cameron's Titanic. The direction, intensity, and superiority of lighting have a deep effect on the way a representation is distinguished. For the scenes that didn't necessitate distinction, medium lighting was used. A softer, gentler lighting was used and fixated on the character during the more gloomy scenes. The light played a very vital role throughout Titanic. Both shade and light can accentuate expanse, consistency, mood, form, appeal, season, and time of day or night; it modifies the way hues are solidified, in cooperation of complexity and tone, and can center awareness on specific foundations of the masterpiece.

Luxuriating specific designs or colors, costumes in storyline movies are worn to indicate personalities or to create clear individualities amongst characters. Anyone could tell that the story of the Titanic setting had taken place during the pre-WW1 years because of the costumes that the characters wore. These costumes were designed by Deborah L. Scott; in the beginning of the movie, when Rose stepped out of her car, she was boarding the ship wearing a hat made of milian straw, with a double bow of striped capeline. The suit that Rose was wearing was a white twill fabric striped with dark violet pin stripes; the jacked extended beyond the hips but the skirt was narrow. Rose's coat was designed for the Regency Era (Scott, 2011). Hair and makeup can tell a lot about a story because of the styles of them both; they sometimes tell the attitude and the mood of the character. During Titanic, a plain, low key person such as Rose's was wearing little or no makeup at all. A confident, yet sophisticated character such as Rose's mother was wearing a little more makeup than she really needed to wear, but she didn't mind because as long as she was satisfied with it, that was all that mattered. The major scene during this film was the dinner scene where Jack unifies with the upper class for a short time. To their recognition, everyone excluding Ruth and Cal consent his attendance, and intermingle with him courteously. Jack then impresses him with his knowledge of life in reaction to Ruth's assertive interrogation...."take life as it comes at you. To make each day count" A toast is recommended, and everyone at the table joins in by repeating, "To make each day count." Soon after, Jack passes Rose a secret note as he smooches her gloved hand. It says, "Make it count. Meet me at the clock." The clock symbolizes the reinforcement by the location of the request....the Grand Staircase clock." (Titanic, 1997). I loved the mise-en-scène and everything that it was about. The elements did appear to work in a harmonious way, even down to the very sad parts such as, when the frozen bodies just floated along the ocean. The scenes did not seem discordant to me, the all seemed agreeable. The design elements were very consistent with the vision of the filmmaker.

Hundreds of individuals worked innumerable months on Titanic. The visual effects crew utilized almost every technique known to man in order to generate such eccentric images to James Cameron's movie. Illogically, this movie is an advisory fable about support upon technology (Sewall, 1903). The visual effects crew utilized both advanced and conventional techniques in order to produce the film's mirages. While it seems to always be occurrences of irregularities, Titanic's visual effects are superb; it offers scenes of jaw-dropping magnificence; and gazes of fascination from others. Being able to carry out these tasks are genuine measures of achievement for any visual effects movie that even tries to refabricate reality. Though Hollywood cinematography is all about the interruption of skepticism, granting the viewers to become so engrossed with the movie's substance, they end up being totally oblivious to the methods involved. The visual effects, editing and cinematography are not the prodigies, but the devices to permit the narrative to advance, and Titanic accomplishes this nothing like few films ever have.

During the making of Titanic, the crew was forced to design a more modern kind of camera to be able to film the actual Titanic that was at the bottom of the ocean. Normal cameras could only support one roll of film; furthermore restocking it was apparently not an option. Because the body was only finished on the right-hand side, the setting had to be reversed while shooting port side. It was very common to witness individuals traipsing around with "White Star Line," inscribed on their hats backwards. In fact, the actual footage that we see at the beginning of Titanic was shot by Cameron, who went down to the actual shipwreck twelve times, at an average of sixteen hours each. A camera that could actually weather the strain was produced, but had only twelve minutes of film.

Because reloading the film was next to impossible, the crew did test shots using a small replica of the ship in smoke to ensure the exact movements. Researching