Sometimes I think about what qualities make a film good. The film I talk about here is a general category, which includes not only different genres of films but also animation movies. A good and complete story? Well-designed characters? A deep and essential topic? Some people say they are all important. But not all the movies can reach all the single the quality. But I think the Story of Princess Kaguya reached.
This story was adapted from a traditional Japanese folktale, the Tale of the Bamboo Cutter. An old bamboo cutter lived in a poor mountain village. One day, he found a small cute girl in a bamboo flower during cutting bamboos. He thought this was the gift from the heaven and raised the girl with his wife. The girl grew up fast and gradually
…show more content…
The characters and background are painted in a traditional way. The lines and colors look like painted by ink brush, which is a traditional painting and writing tool in China and Japan. They are like brook water flooding smoothly on the screen. Not to mention that the most nervous scene that Kaguya ran fast back to the village in her dream. Moreover, the princess and the moon were drawn by bold lines. It shows the intensive emotion of Kaguya and how strongly she wanted to escape from the rich and prosperous cage. And the motif is also appealing. Even though we have to experience both happiness and sorrows while living in the world, it is all the experiences build what we …show more content…
2
Jackson (2015) argued that in Takahata’s 1999 film, My Neighbors the Yamadas, there is some evidence that anticipates both the style and content of the Tale of the Princess Kaguya.
First is the content. At Yamadas’ wedding, there was a speech:
“Treasure every moment, for they’ll not be children forever.”
This motif comes along the whole story of princess Kaguya. She came to the world because she wanted to experience. She escaped from the banquet in her dream (or in reality) because she hated the life that conflicted with her wish. She grew up at a super-fast speed. She finally went back to heaven with pity when she was not a child anymore.
Kaguya also builds on Yamadas’ unique visual style, an impressionistic one, which is called “sketch-style”. (Jackson, 2015, p. 89) This style matches the period characteristics of the story. It also supplies with an abstract way to describe and convey personalities. For example, the four rich men, who proposed to Kaguya, were painted with different funny faces. They convey the absurdity and lust of them. They did not love Kaguya’s real personality. They only love her beauty and
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
In terms of colours, the white colour dominates in this painting. It signifies purity, freedom and change. In the past the rulers have dominated over the people but now the prevailing power is in the hands of the peasants. The large green leaves, echoing the horse`s mane in the painting symbolise the revival of the human mind and notify of the arriving change in people`s lives.
If one came close to the figure’s stomach where there’s the seafoam green, one can see the strong mark makings of the paint brushes and knife strokes, making the paint come out of the canvas. Similarly, Brown also uses big paint strokes of different colors to direct viewer’s eyes around the artwork. For instance, on the left side of the figure, there is a big vertical downward motion of a brush stroke in maroon, that connects to a green streak that goes up and encompasses the figure’s head and then downward to the body of the figure, which outlines and pushes the figure to stand out. And to make our eyes go back to the figure, Brown paints a blue triangle on the chest, making it a focal point due to it’s dark color that stands out of the light colors. And if someone stood facing the side of the painting, one can see the thick globs of paint that would make the viewer take a double glance to see if it was either a painting or a sculpture, which reinforces the idea that the painting is coming alive and making one feel
Caleen Sinnette Jennings Queens Girl in the World is an bildungsroman, a coming of age story that takes place in a unique format. Queens Girl in the World is about Jacqueline Marie Butler a 12 year girl who lives on Erickson Street, Queens, New York. It’s summer 1962 and we watch her journey over the next year or so. She experiences love, conflict, ignorance, hatred, violence, and many of the experiences that can happen in the life of a preteen in the sixties as well as to any of us. The many characters depicted, the moments shared made myself and the audience experience laughter, sorrow and everything in between. Queens Girl in the World beautifully blends climatic and episodic structure by using climatic aspects such as a late plot, limited characters scenes and locales and episodic features such as multiple stories that follow a plot of theme.
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
Provenance: The Princess Bride was written in 1973 by William Goldman and later adapted into a film in 1987.
The dominant line in this piece of art would have to be a straight line. To be precise, the vertical straight line is a vivid piece to this art. Within the art, you can also see shapes such as squares and rectangles. These four sided shapes are found in many different aspects of the artwork. For example, the buildings in the background are rectangles, and the border is full of rectangles and squares. The form of this art is clearly 2D, considering it is on canvas. Although, Ringgold did an amazing job at portraying a sense of 3D degression. The texture of this art is considered to be rough and clothlike. This is due to the fact that “Ringgold’s vehicle is the story quilt” within this work of art. (Spector, Nancy.) The space of this art could be described as busy. There is something new in each square of the quilt. There is also a large value change if you compare the inner middle of the artwork to the surrounding edges of it. The core of this piece of art is dark while the outside is light. The type of balance would be considered asymmetrical. There is also not a distinct pattern in this piece. Another detail to this artwork is that everything is in proportion. The only rhythm and movement found is the young girl in the sky looks as if she is flying. A strong contrast found is, again, the bright floral border compared to the dark picture inside. The pieces of this piece are bold and do not work together because they highly
From climbing up 700 foot cliffs, fighting off unusually large rodents, and coming back from the dead, The Princess Bride is the story of an adventure that always keeps viewers on the edge of their seats. The journey is displayed through a Romance Narrative structure that is predictable, but engaging. The structure consists of aspects prominently displayed during the movie: innocence, initiation, challenges, the Underworld, and the Return. We follow the hero Westley as he makes his way through this mission fueled by his love for a woman named Buttercup and the lengths from which he will go to be with her.
The first thing to notice about this painting is how incredibly involved and realistic the brushwork is. The couple’s faces are so delicately rendered. Every wrinkle is visible and every hair strand is in it’s place. The soft folds and patterns of their clothing, and the grain of the vertical boards on the house, are highly developed and reveal Wood’s incredible attention to detail. The man, especially, appears to be nearly photorealistic.
...erfully to represent fate and how things will always turn out the way they are meant to in the end.
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
The story of Princess Huo’s daughter is a story about a man by the name of Li Yi. Li Yi was from a good family and showed brilliant promise. Even senior scholars admired him. At the age of twenty-one, he hoped for a beautiful and accomplished wife. In Chang’an Li asked a matchmaker by the name of Bao to find him a wife. Li gave her expensive gifts and she was very well inclined to him. One afternoon, some months after talking to Bao Li was sitting in the south pavilion of his lodgings when he heard continuous knocking. Bao entered and Li asked her “What brings you here so unexpectedly, madam”. Boa had found Li a perfect match for a wife, and with the good news Li was ecstatic and leaped for joy. Saying “I shall be your slave as long as I live!” Bao informed him that she was the youngest daughter of prince Huo. Her name is Jade, her mother was the prince’s favorite slave. When the prince died, his sons refused to keep the child, so they gave her a piece of wealth and made her leave. She changed her name, and the people do not know the prince was her father. She is the most beautiful...
People decided to rebel against the political and social rules of their time and started a new trend of art. It conveyed dramatic subjects perceived with strong feelings and imagination.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...