analyzing a contemporary American film

10-14-2018

DC-222

The Whiplash

The Whiplash is a Damien Chazelle’s work of direction released in the year 2014. The film entails the main character, Neiman, a Shaffer Academy band freshman, in the institution of conservatory music. The development of this film sought to bring together the relationship between people who ought to be called tutors and their corresponding teachers Bong, S. F. (2014), by focusing on the main character in the film Damien brings out the different experiences that learners face during school life in order to become the most exceptional people they are in the present life. The depiction is realized through constant attempts of Fletcher to push Nieman past his normal performance limits. Brody, 2014 in his critique of the movie, argues that the performances on the film do not adequately rely on scripts developed following index-card psychology. The implication is brought by the notion that this particular film is skewed more to the theme of abuse of power by Fletcher other than focusing on the individual efforts put by Nieman to produce better performances under high pressure and distress. Comment by Microsoft Office User: I don’t know what this means. I think you should have explained this term and developed the idea further.

Although the film incorporates little character arc development, it fully succeeds in implementing the 3-act paradigms of film production structure. Comment by Microsoft Office User: This is not true. The film is very much about character development, specifically seeing how far Niemann is willing to go to pursue his ambitions.

The Thompson’s principles of film form describe the different models of systems that are deployed in a film to capture together with the expectations of the viewers, general feelings, knowledge and the prejudice of the expected viewers. Concerning this film, the function film is followed based on the fact that the director has experience with the kind of band involved in the plot of the story. In addition to this, the scheme also consists of a transition from school band to a professional Academy Band. In its own right, this transition provides a setting for the main character to encounter the harsh experiences of Fletcher. Comment by Microsoft Office User: I don’t see what any of this paragraph has to do with Thompson’s 4 Principles.

Incorporation of the second principle is done through the inclusion of the particular events that the main character attended while in the band. This includes the time when a newcomer took his place. During this time, Nieman was compelled to practice harder and tune to perfection the art of drum beating. The practice sessions repeatedly occur in different settings to bring out a pattern that on a broader view depicts development. These specific development events in the character’s life ensure satisfaction in issues outlined in the development principle.

The climax principle if not fully adhered to in this is the film. Indeed, there is a notable scene which qualifies to be regarded as a climax scene; this is the scene where Nieman expelled from the bad following a poor performance due to the accident he was involved in, prior the competition. This particular climax does not call for a solution of the incidents comparable magnitude. However, despite the fact the climax principle is inadequately taken care of, the epilogue principle is satisfied through the use of scenes that involve the main character reconciling with Fletcher, this, in turn, produces an interesting turn of events characterized by the realization of goals between the two characters, Fletcher and Nieman. The Editor reconnects all the conflicting parties and elements in the film towards its end in order to achieve the elements unity at long last. Comment by Microsoft Office User: I think you mean “director”

Character arcs in this movie follow an orthodox method of character development. The arc is dependent on the character’s drive and desire to achieve more. Both the main characters in this film have the primary goal of becoming the best in what they do. For instance, Nieman sees himself becoming an important person in Fletcher's band. This desire to become better than the person they are currently bringing about the concept of character development in this particular film. Nieman is not the only developing character in the movie, His brother back at home aims at becoming a better scholar in the coming days. The video mainly employs character defined goals to develop specific characters.

Throughout the entire plot and setting of the story. The evidence conflicts in the movie are three; the first one emerges between Nieman and his family when they mock about his perceived career choice. This development leads the viewer to scrap out entirely Niemans family out of the movie plot thus enhancing the central theme of the movie. The second noticeable conflict emerges between Nieman and his girlfriend, and this causes them to separate, a situation that leaves Nieman focused on his career goals. The most significant conflict in the entire plot occurs between the main character and Fletcher. This conflict provides the much-needed urge and pressure to drive Nieman into becoming one of the best drumming artists in the world. Through this conflict, the director manages to establish the connection between success and psychological pressure.

The film editor, Damien, strives to employ the 3-Act paradigm approach in structuring the entire film. In the first act, concerning the paradigm, Damien introduces the viewer to the world of both characters Fletcher and Nieman who happen to be the main characters in focus for this particular movie. The portrayal of the current situation in the character’s lives occurs while the editor directs the attention of the viewer to the ways of being in Shaffer academy. These scenes are followed by a series of acts that collectively build up to the major conflict in the movie. Comment by Microsoft Office User: I think you mean director

Following the completion of the set-up stage, the confrontation stage is characterized by a minor buildup of conflicts which finally result in a confrontation between Nieman and Fletcher. The final scenes hardly depict a set of resolution between the two characters. This is because the conflict encounter does not yield as much pressure as expected in the second last stage. Comment by Microsoft Office User: I’m not sure what this last sentence means. This paragraph doesn’t really tell me anything.

References Brody, R. (2014, October 13). Getting Jazz Right in the Movies. Retrieved from The New Yorker: https://www.newyorker.com/culture/richard-brody/whiplash-getting-jazz-right-movies

Bong S.F (2014, March 17). “Whiplash Movie Review”