Analysis of The Opening Sequence of Pleasenantville The opening sequence starts as a montage of shots (representing various channels) with extreme close-ups rapid editing and a cacophony of sound and dialogue. The overall picture quality is poor and the sound is of fragmented speech, giving an unpleasant effect. As the channels are being flicked through, you begin to be able to see a clearer view; but it is still quite rapid editing. The words Pleasantville appear in white on a black background, as we come to settle on a 50s sitcom channel. The pace of editing slows and gives you a comforting feeling; in contrast to the bombardment of colour, the black and white picture quality is better. A picture of the 'nuclear' family appears, and the fact that there are old cars, clothes, and the black and white picture tells us we are dealing with a different era altogether. An important voice-over tells us that there is going to be a Pleasantville marathon. We are then presented with images of Pleasantville in the form of photographs in an album. It is idealised; it appeals to people's nostalgic longing for those times. A man comes into the house from work and calls, 'Honey, I'm home', showing again the fact that it's a different era (where the women stay at home and the men go to work). 'Flash back to a kinder gentler time' gives it a happy feel that makes people want to watch. 'Once upon a time' appears in white on a black background in romantic style font; it gives a feel of fantasy; like a fairy tale. The scene changes to the setting of a school playground. It's a noisy filled playground and quite different to the last scene, es... ... middle of paper ... ...d (we see him from a view which is looking up at him) slowly puts his finger over the 'on' button, and the music in the background builds up suspense. The TV is turned on, and David flicks through each channel one-by-one, until he settles on the 50's sitcom channel where it is showing Pleasantville. There is a parallel now between the real world and Pleasantville (colour and black & white). Whilst David and Jennifer fight over the transistor, Bud and Mary-Sue can be seen fighting over the remote. As they are fighting, Jennifer's hand slips and she presses the red button. The images of David and Jennifer start to become unclear, and start to crackle. Everything becomes slower, and the figures become digital almost, and then we see them on black and white on the TV screen, they have been transported into Pleasantville.
Beata Drozd’s piece, titled Lady in Blue, shows a figure, split in two, with one half black and one white. It was created in 2014 for the exhibit i found god in myself; the 40th anniversary of Ntozake Shange’s for colored girls. i found god in myself originally debuted at the Schomburg Center for Research in Black Culture, in Harlem, New York, but is currently at the African American Museum in Philadelphia. The piece, which is quite large, is a collage on canvas, and hangs on a wall; there are two sections of the piece, the top is a vertical rectangle, showing the figures from the hips up, and the bottom is a triangle showing clasped hands, one white and one black. Drozd creates visual contrast to symbolize
The opening credits continue to roll as the camera glides over a lush green, hilly landscape, accented by late afternoon silhouettes of the partial cloud cover, and perhaps best described by Carolyn James in her review as “picturesque in the manner of an Irish Spring soap commercial”. Gradually, what we assume to be a late 19th century Irish village comes into view, characterized by a handful of rudimentary stone buildings, narrow carriage roads, and stone walls. The camera view switches to brief shot of the street level in the village, the music replaced by the bustle of the everyday activities of the townspeople, before taking us into the local pub. It should be noted here that from street level, this village does not much resemble the romantic vision of the same village provided by the aerial shot. Even in such a short shot, the village appears more urban than it probably should, and if not for the natural light, would not differ greatly from the scenes of urban Boston later in the film.
At the St-Deborah which is Waterside town, Cole tried to find her friends and learned that they had gone to a "Museum of Civilizations" that was said to have retained the old ruins. In the theater, the appearance of a mad prophet forced the orchestra to flee the road, and the end of the journey is the Museum of civilization. And they found that only 12-year-old stowaway Eleanor, and let her join the Travel Symphony. On the road, the discussion turned to Kirsten's tattoo and "survival"-a famous quote from Star Trek. Dieters don't like tattoos because they see someone die from an infected tattoo. Other people in the symphony talk about what they do, not remembering Star Trek and nostalgic air conditioners. Kirsten began to recall Alexandra. She
Jimmy and Billy were walking down the street on the way to Reitz, then as they were walking by the bowl and they see a big,grey, saucer shaped,object in the middle of the field. At first, they don’t think anything crazy of it so they walk up and investigate. This object is bigger and much different than anything they’ve ever seen before. They kinda start to realize what it is when they see what looks to be a family photo outside the object ,but in the family are beings unknown to mankind. That’s when Jimmy freaked out and said they need to tell somebody, but Billy is saying that everybody must already know.
While they are out at the mill looking for evidence weird things start to happen. One investigator, Brad, set his lunch down and came back a few minutes later and it was gone and his lunch pail was moved somewhere else. Brad hears someone talking but they cannot understand what is being said or find who is talking. Brad follows the sound of the voices to the saw but when he gets close he hears the voices by bathroom screaming for help….Help me, Help me! Brad feels something tapping on his shoulder very lightly but cannot see anyone. Brad starts to freak out while Freddy and Bill start talking to him. Freddy and Bill tell Brad what happened with the fire and that they are now trapped as ghosts. Brad thinks he is loosing his mind and when he goes to tell his co-workers they don’t believe him either but looking out at the river they see a fishing pole in the water but no body holding
On Thursday, April 6, I attended the first show of the Neuqua Valley Monologue Show. The three shows I took notice on the most were Michael Vivo’s “Buddhism, Brainwaves… and Bill Murray”, Evan Morales’s “Junior year: The Video Game”, and Eleanor Giracalone’s “Lockdown.”
Having your life planned out for you is like being chained to a stone wall. The further you try to go, the more the chains pull you back. In the novel, Into The Wild, Jon Krakuer creates a magnificent story of a young man named Chris McCandless. Chris McCandless drops everything he has ever owned and begins to travel in disguise to get away from any expectations society has placed upon him. Into The Wild introduces the rites of passage through Chris McCandless’ journey in life; with every location Chris visited he gained his own independence. Krakuer creates rites of passage with the explanation why he isolated himself from society, and what he needed to go through to gain his supposed ‘independence’.
Family life was hard and time-consuming, during the 1930’s. Loretta Lynn, born the first child of her seven siblings in 1932. Her parents, Ted and Clara Webb, raised the family in Butcher Holler, Kentucky. During this time, Loretta and her family budgeted tightly, sharing the countries financial crisis. Centered around Butcher Holler, Kentucky, the movie depicted insights what coal mining families experienced do the little they had. The movie showed many houses made of wood and mud. This parallel Loretta states “it was a very nice and insolated house, but annual repairs were mandatory” (Loretta Lynn 34). This financial struggle pointed to the “coal mining operation; affected by the British companies invested coal in the Unites States companies” (European Union para. 1). Not receiving a higher pay due the massive production of coal mining, families were tight resource users. Even the film portrayed a scene shows the Webb family getting brand new pairs of shoes and the excitement they had. One song that Loretta wrote, she said they only got one pair of shoes a year. Kids went the summer without shoes, and getting new ones when winter approached. However, even though the Webb...
Where thinking and wondering about life is uncommon. While Montag is on his way to go find Faber, a quiet man who asked him about books years ago. He is on a train and a commercial keeps blaring, keeping him from thinking. “The train radio vomited upon Montag, in retaliation, a great ton load of music made out tin, copper, silver, chromium, and brass. the people were pounded into submission; they did not run, there was no place to run.”(79) Montag is trying to read the bible and memorize it so it will never be forgotten, but the commercial is so loud and disrupting that he cannot think for himself. This is purposely put in place by the government so that the citizens will not be able to think or wonder about life. This enforces that the controlling leaders will have absolute power and no retaliation. This is also shown with the “families” that each house has. At the front room of houses is a parlor where all four walls are television screens. Much like t.v. today there are programs that come on, but for Millie, Montags wife, and the other citizens, the virtual families are real to them. “‘My ‘family’ is real people. They tell me things: i laugh, they laugh! And the colors!’”(73) The technology runs their lives and they care about the virtual families more than their own. Millie will sit in the parlor with the volume turned all the way up thinking about nothing but what is happening currently in her life. Such as
A shrill scream is heard on the other side of the apartment. Jun almost ignores the sound, but thuds against the wall and bottles falling into a tub follows the scream. Jun pauses the movie he’s watching, grabs his bat next to his bedroom door, and heads into the hallway. Another scream is heard, causing Jun to jump and almost knock pictures off the wall. Jun walks to the other side of the apartment, where Tao and Kris lives, holding the bat close to his chest. A shriek is heard from the bathroom and Jun cautiously makes his way to Tao and Kris’ bathroom. Jun sees light under the bathroom door and hears music playing. Once he’s outside the bathroom, he takes a deep breath and steady’s the bat in his left hand. Jun slams the door open, completely
A noticeable difference in the way movies have changed over the years is evident when comparing and contrasting two films of different eras which belong to the same genre and contain the same subject matter. Two vampire movies, Dracula and Bram Stoker's Dracula, present an interesting example of this type of study.
This is a song released in late 1980’s, written and produced by Giorgio Moroder and performed by Donna summers. It is an all time disco classic which used futuristic production in an era where the industry standard was orchestra.
The first scene in the film is a montage of grainy black and white scenes of Polish life before the Nazi invasion on Poland. The footage shows a dated world with old English style building and technology, people are shown walking about the town in aged clothing. The grainy dated look of the film also makes the scenes appear gloomy but relaxed at the same time. These images are used to drive the notion that it is set in a time long ago, in a different era. This scene is a critical part in the film as it refines the time and emotion, in which the film is set, so the audience can relate better to the characters and what is happening to them.
To ignore the Emperor concerto and its heroic sublimity when discussing the early developments of the Romantic era and the ending of classicism, would be to altogether ignore a fundamental transitive step in the passage of classicism to romanticism
The novel Alice 's Adventures in Wonderland written by Lewis Carroll was originally published for the first time in 1898, and illustrated by John Tenniel, however there are multiple versions of this fantastically bizarre story that leads a young girl through a series of adventures and encounters with some unique fantasy creatures and beings; with many artists completing their interpretation of this literary masterpiece available. Two of those versions will be looked at in this paper; Salvador Dali illuminated in 1969, and Bessie Pease in 1931. The images that will be compared and contrasted are an accompaniment for chapter five: Advice from a Caterpillar. The images are created in two very different time periods, yet they both have the same