Produce a critical analysis of the completed video that involves Essay

Produce a critical analysis of the completed video that involves theorising the possible practices, i.e., setting the practice i - Essay Example The film accomplishes its goal in creating an unexpected ending, but some of the work in the beginning could better frame the intentions for the reactions of the viewer. Blindside is a film that provides a classic point of view with a cleanly performed twist at the end. The film genre that Blindside is most similar to is that of the film noir, although just as film noir does, it slips effortlessly into the many aspects of the thriller. One of the aspects of film noir is in the crisis of masculinity that is defined through alienation and despair (Silver, 5). The two male characters in Blindside create two sides of the criminal aspects of masculine crisis and alienation and despair. As the viewer first watches the film, the alienation and despair of seeking a criminal that commits horrific and bloody crimes is clear in the way in which the first character, named Michael, is framed as he works with seriousness and intensity at his desk, while the frailty of life and the vulnerability of the human existence is exampled in the way in which Neeson, the second character, is at the side of the road, shivering in the wind as he waits for Michael to appear at the crime scene. One of the most obvious ways in which the filmmakers recreate an example of the genre of film noir is through filming most of the short in black and white. However, the film does diverge from this type of film when scenes from the murder are revealed in short bursts of cinematic cuts. However, a film needs to exhibit more qualities other than the simple quality of being black and white in order to be a type of film noir. The film must build suspense and must have an essential number of basic characteristics in the building of its storyline. Silver frames these themes which are embodied in characters as follows: Alienated characters Existentialism Obsessed characters Freudianism Proletarian characters Marxism Femme fatales Feminism All of the above Structuralism While this short film does not ha ve the space in which to reflect all of these concepts, the two main characters have a duality that both reflects alienated and obsessed characters, thus providing for existentialist aspects and Freudian aspects of characterization. In addition, they appear to have the working class aspect of their character, reflected through the subterfuge which fools the audience into believing they are police, as well as through the type of clothes they wear, the cars they drive, and their working class nature as they move through their scenes. The primary aspect of this structure that is missing is the femme fatale, the woman who represents betrayal and masculine femininity. In the case of Blindside, the female character is purely the victim. She represents the impending release of the masculine build up of crisis, the According to Gates, the next evolution from film noir was to create the serial killer which moved away from the femme fatale and the victim-hero towards the relationship of the m ale-male connectivity of the investigator and the killer. The noir film was replaced with films that denied the masculine crisis through a â€Å"masquerade of masculinity† (123). In Blindside, the two male leads reflect the potential variations of the investigator, whether the victim-hero or the overtly masculine through displays of machismo, until they reveal themselves for the