This film depicts the frontal view of the first sky train car leaving Waterfront Station. It explores the idea of time and perspective. The camera itself is static, recording the constant tracks, following the movement of the train. Positioning the camera at the front provides a view most commuters do not see. We’re often looking out one side of the windows, unless we are catching up on sleep or reading, and depending on the time of day and the weather, despite most of the landscape remaining the same, our view varies slightly each time. Moreover, although the view from Waterfront to Burrard station stays constant given it is underground, it feels a bit unfamiliar due to the change in perspective. Often, we only catch glimpses of the train
In this poem, “On the Subway”, written by Sharon Olds brings two worlds into proximity. We will identify the contrast that develops both portraits in the poem and discuss the insights the narrator comes to because of the experience. The author refers to several literary techniques as tone, poetic devices, imagery, and organization. The poem talks about a historical view based on black and white skin. It positions the two worlds the point of view of a black skinned and a white skinned. The boy is described as having a casual cold look for a mugger and alert under the hooded lids. On the other hand, based on his appearance the white skinned person felt threatened by the black boy. She was frightened that he could take her coat, brief case, and
Sunset Boulevard is a hollywood classic film that digs into the aftermath of the sound era caused. Sunset blvd came out on August 10, 1950. The film was directed by Billy Wilder, produced by Charles Brackett, and starred William Holden and Gloria Swanson. Sunset blvd shows us the aftermath of Norma Desmond and how she is stuck in the past of silent hollywood. The darkness and bitterness that many silent movie experienced after they were kicked to the curb once sound came. The film is has a classic dark drama/comedy that is one of the most acclaimed films in film noir history. The film touches on the loneliness and narcissism that silent legends were enduring. The mood of the film is immediately established as decadent and decaying by the narrator of a dead man floating face down in a swimming pool in Beverly Hills.
The film Sunset Boulevard, presented in 1950 is a black and white film. The film is about Norma Desmond an old actress, who has issues accepting that she is becoming old. The main actor in the film is Gloria Swanson, who plays Norma Desmond, an older woman who believes she is still young. Desmond is not content with the fact that Hollywood has replaced her with younger actresses. The next actor Nancy Olson, plays Betty Schaffer who falls in love with Gillis despite being engaged to his friend. The third actor is William Holden who plays as Joe Gillis, who has financial problems and decides to turn himself into a gigolo to earn money. The dilemma with Joe is he does not want Betty to know about his job because he knows he might lose Betty as
In “On the Subway” by Sharon Olds, the author contrasts two divergent people. Olds come to many conclusions as a result of the experience. Sharon Olds utilizes tone, poetic devices such as metaphor, and finally imagery.
In “on the Subway” the author Sharon Olds talks about two characters on a subway, by using similes and imagery.
“I envied the people in the train because they seemed to be going somewhere” (Lesley,7).
After the flashing lights we see a train cross a bridge in the darkness, its illuminated windows loom blankly. Then on
Rear Window and the works of Hopper are both required with confinement. Disregarding its blended utilize land setting, Early Sunday Morning does not pass on a warm, fluffy feeling of group. In like manner, in Rear Window, the inhabitants of the lofts are confined from each other. Apartment Houses is additionally for the most part viewed as another antecedent to Rear Window. Large portions of Hopper's night settings portray scenes from New York City and Night Windows is no special case. The lady in this work of art is totally unconscious of the stage she is on and the front line situate its eyewitness involves. Its semi-sexual story is resounded in Rear Window, and it catches strikingly the experience of living in New York: the a large number
However, the 4 train resides with me because it gives me the chance to explore the subway thoroughly. It’s always a scary feeling as the 4 train approaches the train station because it sounds like a pack of Rhinos crashing into a halt. I enter the train and quickly gaze of a seat because I know people will be racing to any open seats available. Luckily I found two empty seats and that’s where my luck ended because right next to me sat a drunk who smelled like he had been drinking gallons of liquor. Everyone around him decided to get up and move somewhere else. I decided to move carts because I can’t stand the smell of liquor. That might have been a good thing because I walked right into someone signing “Barcelona by Bill Newman.” After he finished signing I was the only one who clapped and the man turned around and gave me a big smile that I still remember till today. Most people were far too busy listening to their earbuds and didn’t even acknowledge him singing. There were no chatter or laughter, everyone is minding their own business. The mood gradually became positive as more teenagers and kids entered the train. The train ride just became a news source because you can year the gossips or the latest
Released September 29, 1950, Sunset Boulevard is a film noir of a forgotten silent film star, Norma Desmond, that dreams of a comeback and an unsuccessful screenwriter, Joe Gillis, working together. Ultimately an uncomfortable relationship evolves between Norma and Joe that Joe does not want a part of. Sunset Boulevard starts off with an establishing shot from a high angle shot with a narrative leading to a crime scene from a long shot (a dead body is found floating in a pool), this narrative throughout the film establishes a formalist film.
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.
At the beginning of the industrial revolution in England during the mid-nineteenth century, the railroad was the most innovative mode of transportation known. The British Rail system was a forerunner in railroad technology, uses, and underground engineering. Though the rail system was extremely slow at first and prohibitively expensive to build and run, the British were not to be dissuaded in their pursuit of non-animal driven transportation. The most advanced mode of transportation prior to the introduction of the rail system was the horse drawn omnibus on a track, called a tram. This paper will examine the rail system from a cultural perspective, presenting the impact the railway had on everyday lives in Victorian London and its surrounding communities.
The children look smartly dressed as they stare outside the window. The fourth window has shown a black man dressed in a relatively fit shirt probably heading to work. And the last portrait has a black woman wearing glasses and equally staring outside the window. The picture is metaphorically named as the “Trolley” to mean the world. Several aspects of the picture bring out a deeper understanding of the social issues that exist in the world.
Once to be understood as a fellow passenger watching the rest of his companions, the speaker begins to shift into something more abstract. Almost like Emerson’s Transparent Eye-ball, this new voice is not something tangible but, somehow, sees all. (Emerson 217) This eye sees the ferry as less of a transportation from one physical location to the next but, instead, as a more figurative journey. Much like Charon, this crossing ferry takes its patrons from one life to the next. This passing is less of a literal journey, leaving from a life filled with work to a home filled with rest, but a metaphorical passing, leaving this life for another. This ferry exists in a limbo. A place where humanity is neither here nor there but only in between. Yet with ever beat forward, the ferry finds itself closer to its destination. This all-seeing eye that has “consider’d long and seriously of you before you were born” watches from the destination as this one soul made of many, finds its way across the water. (Whitman 88)
This essay will seek to outline my findings on movie and theatre by looking at still image and moving image. I will discuss the relationship between cinema and film, and also compare some works of artists in order to answer the question which how might photography be contextualized as image on the threshold of still and moving – as an object incorporating the temporal and the narrative, the writing of history, or the presentation of documentation as record.