In her essay on Satayajit Ray’s Pather Panchali (1955), Neepa Majumdar gives commentary on how “visual strategies” can act as a component for “indirect modes of narration” through using these visual techniques to tell stories through actions rather than speech. The significance of applying visual techniques forces the viewer to base their interpretation off what is being shown to them through mise-en-scène, allowing them to indirectly see the world from the director’s desired perspective. Majumdar then talks of “mobile framing of individual shots”, which in Pather Panchali is seen through characters speaking, but never being shown. In conclusion, the “analysis of the events” occurring is shown to viewers through a slightly skewed representation of an actual reality. Throughout Pather Panchali, Satyajit Ray employs these visual strategies and indirect modes of narration to convey his social analysis of India. In the scene where Abu and Durga first spot the train, Ray’s social analysis of India’s gender roles are best represented by his use of shot-reverse-shot of Abu and Durga. This technique presents a lack of the two characters being shown on screen together, highlighting on their own individual actions while still maintaining a relation between them. Abu is seen running out of puddles to blindly follow Durga, who is being very cautious of her surroundings; this signifying that women are seen as more analytical, while men are seen more willing to jump into situations. However, later in the film, the siblings encounter a rainstorm. Ray shows the weather effecting only nature in his initial shots of the scene to build suspense and leave the implication that while nature impacts itself immediately, the impacted on the children is e... ... middle of paper ... ...n though they are approached in different ways to make this much more of a Hollywood film, but a work of art nonetheless. This is also more of the kind of film an audience of my age is used to seeing, so approaching it in an analytical setting was very interesting and significant when it came to experiencing the film in a different way. The weaving in between dreams gave the film an essence of French New Wave with the film’s long shots within which ever dream the central group is in, but breaking continuity in order to maintain a connection between each group member stuck in a dream phase. Also, I noticed as the group progressed further into the dreams, each dream world got lighter, however, once the groups falls into to limbo, the lighting is dark and ominous, creating the mysterious vibe that makes the film linger with wonder to the viewer after the conclusion.
In all, the presentation of the multiple, different perceptions of the same reality by the participants of the film (eg, who has won Nadine's affection, one person, everyone, no one?) is a subtle version of Rashmon's explicit presentation of clashing multiple realities. This also fits in well with the different presentations of the Abidjah between Moi, un Noir and La Pyramide Humaine.
In cinema, lighting, blocking and panning drastically influence what an audience will notice and take away from a scene. Orson Welles’s 1941 Citizen Kane has numerous examples of effectively using these aspects within mise-en-scène, cinematography and editing to portray the importance of specific events and items in the film. The scene where Kane writes and then publishes his “Declaration of Principles” (37:42-39:42) in the New York Daily Inquirer after buying them focuses on important elements of the film, aiding the audience by combining lighting, blocking and panning to define significant roles and objects that further the movie as a whole.
In another budgetary adaptation, the film crew, lacking the funds for cranes and dollies to do moving and panning shots, quickly switched between multiple shots for dynamic dialog, giving a certain frenzied feel to the dialog interactions (Hervey 38). The style this lends to th...
Un Chien Andalou (1929)2 filmed by Salvador Dali and Luis Buñuel demonstrates one of the ideas for reading the subconscious: through dreams. Breton mentions the work of Sigmund Freud and the importance that he had realized to dreams. 1 Breton argues that dreams should be provided with the same confidence that reality is regarded with.1 The black and white film, with dim light and fading edges of view, give a romantic, dream-like essence, similarly to many of the paintings or other works from Surrealism, inspired by Freud’s studies.
... time line of events. Which also goes hand in hand with Jacks insomnia, which shatters the barriers between reality versus fantasy, and memory versus dream for the spectator. Lastly the vast and bizarre camera angles from which the film was shot in help maintain the uncertain feeling for the spectator.
Requiem for a Dream in my point of view was exceptional. It was depressing but to be honest that was the point of the movie. When beginning to watch this movie people should make sure their emotions are on neutral because if upset it can make things worse. I really enjoyed how it brought all the elements a film need to create a unique production. I definitely need to see a few more of Aronofsky's films. Overall, the film had a profound impact on me. I honestly learned a lot and even though drugs are not a part of my life I learned that deep within a drug addict there is a reason why they walk the road of self-destruction. I really enjoyed it even though it was depressing, and I would recommend this film to anyone who hasn't
	Books, more often than not, are better than the movies that are made from them. This is due to the immense power of our imaginations. Readers use their imaginations to fill the space that exists between him/herself and the book with such things as dreams, past experiences, and hopes. For this reason, there is much more depth and symbolic depictions in the novella, The Awakening, by Kate Chopin, compared with the movie version, Grand Isle. Due to this, the effect on the reader is much more potent than the effect on the viewer.
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
The film I chose to focus upon for the purposes of this reflection paper is titled What Dreams May Come. I have considered this piece to be my favorite since I first came upon it more than ten years ago, and was pleased to be assigned the responsibility of identifying conflict; as I had not realized that this content existed prior to the completion of this assignment. I had always highlighted the cinematography, emotional attachment of the characters, and progressive ideation of the afterlife when reflecting upon the film. I still value these attributes, though now I am more able to understand that the impetus for the characters’ closeness is often rooted in their ability to properly address conflict.
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
Meshes of the Afternoon by Maya Deren is one of the most intriguing and significant experimental films of the 1940’s. Maya Deren is a surrealist experimental filmmaker who explores themes like yearning, obsession, loss and mortality in her films. In Meshes of the Afternoon, Maya Deren is highly influenced by Sigmund Freud’s theory of expressing the realms of the subconscious mind through a dream. Meshes of the Afternoon, is a narration of her own experience with the subconscious mind that draws the viewers to experience the events being played out rather than just merely showing the film. I chose Maya Deren for my research because her intriguing sense gives viewers an enthralling experience by taking them to a different, semi-real world of the subconscious mind. Meshes of the Afternoon not only reveals Deren’s success in a male dominant arena, but also provides a sensational and escalating experience for the spectators.
The use of multiple images to propel a narrative allows the audience to learn something through the characters that are there. Bloomer (1990)’s study on visual perception also draws upon Newton (1998)’s concern, as he explores the multiple perspectives and views of the event. By using a series of images, the characters mood and tone can be established throughout different elements of what we see. This may be the people, the place itself or the items within the place. By having a narrative of photographs, the audience has an even deeper understanding of the reality of that moment or event as they see more than just the ‘big picture’ as
...movie that I fell in love with. But most of all I love how the story line is a great overlap into the cinematically engaging movie. There is a great use of camera, timing, shots and story line that are portrayed in this movie without being too overwhelming. This allows the audience to relax during the movie and just take in the scenes as a story from reality. To this day, and even still doing this paper I still come to find different aspects of the movie that I missed the previous times I have watched it.