In the episode “The Entire History of You” from the television show Black Mirror, an emotionally loaded scene comes on at the end of the episode. The main character, Liam, is walking through his house after his wife has left him. As we walks through the empty rooms, he replays memories of his wife and him together in each room. Through this scene, the starch difference between the two versions is portrayed through various means. The lighting through the scene contrasts the current reality versus the memory. In the current reality, the house is dark and gloomy and casts cool colors on the room, while the memory is brightly illuminated and enveloped in warm colors. In the dream, all the light seems to come from sunlight through the glass doors
As the endless progression of time into the future continues, moments from the past live on with us in the form of memories, and regardless of how vague and fragmented they may be, they are constantly molding our existence; our very individuality. In Jeannette C. Armstrong’s “Blue against White,” the protagonist, Lena, who is a native girl, experiences this phenomena as her memories of the past shape her and allow her to persevere through the struggles of life on the reserve, and in the city. Throughout the story, Armstrong uses symbolism, imagery, and a flashback of Lena’s past to signify the importance of memories. Her idea of the past is mainly represented by the use of the blue door of Lena’s house as a symbol, which creates a comparison
In this image, a sewage worker is seen cleaning the drainage system, with his bear hands, without the use of either any equipment’s or protection. On the first glace, the image depicts the idea of health risk, because the man is exposed to such contaminants, which for him is work. He is looking up from a dirty drain, covered in filth, which shows that he is clearly used as the subject of this image, whom we are engaged to more as he is making eye contact with its viewers. This picture only includes one person into the frame, as the other man’s face isn’t available to see in this picture, which is man that is holding the bucket. Holding a bucket either emphasise the idea that he is helping the sewage worker, either to get the dirt out or to put the dirt in the drainage system.
Higher Learning - Film Analysis Exposition: The Establishing Shot of the film is a full screen American Flag, the camera zooms out and points down, revealing a large crowd of people in a rally, being very patriotic. As the camera zooms off the flag we come across a statue of Columbus- indicating it to be Columbus University. The speaker on the stage gives us another indication of the setting by Shouting'Columbus University'. They are in front of a stage with Band music playing and chants rising out. Whilst this continues in the background three characters are established:
I chose this passage because it reminds me of a time when I was sick and I had eaten hardly anything and had gotten very little sleep because I was vomiting all the night through. I was lying in my bed and I looked over at my closet doors, which where sliding mirrors, and I saw myself. I looked like I had died. My face was pale, my eyes were black, and I was unusually skinny.
In the beginning of A Raisin in the Sun, Lorraine Hansberry describes the living space of the Younger family and how there is only “sole natural light” (Hansberry 24) that the family can enjoy throughout the day, which can
If I were to direct Woyzeck, and could arrange the scenes in any particular order I would start with Act One Scene 14. In this scene little girls ask Marie to sing with them but she declines. Then the Grandmother tells a story; "Once upon a time there was a poor child with no father and no mother, everything was dead (105)." The classic phrase "Once upon time" serves as nice introduction to the piece, and begins the play from a point of innocence. Having said that there is also an inherent darkness present in the Grandmother's story. The lonely child mirrors Woyzeck and his fight for existence in a lifeless world. Following this scene, I would go to Act Four Scene One: Woyzeck tells Andres about a vision. Woyzeck says that a "fire's raging around the sky, and a noise is coming like trumpets( 94)." This vision clues the audience into the uneasiness that is present in Woyeck's inner thoughts. Additionally this scene establishes the importance of the Woyzeck and his psyche at the beginning of the play. There is a sense of danger and mystery present in the scene which provides a build for the rest of the scenes to jump off of ( in other words this scene serves as inciting incident). Next, I would have Act Four Scene 8 where Woyzeck describes his vision to the doctor. The doctor ends up ridiculing Woyzeck for peeing in the street, questioning his vision, and asking him if he has been eating his daily dose of peas. This scene would logically come next because it acts as twisted diagnosis of Woyzeck. This scene exemplifies the hostile relationship that exists between the doctor and Woyzeck, and eludes to the theme of dehumanization present throughout the play. After this scene, I would put in Act Four Scene Two and Three. In Act Four Sc...
Ralph heard the night watchman call lights out. The moon gleaming in the window was the only source of light within Ralph’s room now. Even in the dim light he could make out the sink and toilet. The room was padded, and the door had a glass window that reflected fluorescent light into the room. The combination of the artificial and natural light created a faint glimmer upon the mirror that hung above the sink.
The poem ‘High windows’ symbolises the transparency of life but there is still a physical and psychological barrier to life outside the ‘windows’ that we are unable to comprehend. As the windows creates a mood of reflection, that in fact the glass can be interpret as a mirror, rather than barrier but a reflection of our understanding of what life lies ahead. As it starts within us, as the thought of looking through the ‘high windows’ for meaning is impossible as the ‘sun-comprehending glass’, the sun sends a beam of light
The use of color inside the house is symbolic to the mood. The almost yellow fluorescent lighting is ironic when compared to the first image of the painting since the painting had set the expectations of an enthusiastic film. The yellow tint throughout the house is also conflicting since yellow is known to be a luminous color. Yellow usually represents happiness and warmth which are emotions that lacks in the Bishop household. The dim lighting also mirrors the gloomy and dark weather outside. An extreme long shot of the outside house captures the darkness of the sky which prompts unhappy emotions. When Susy proceeds outside to check the mailbox the change in weather is instantly noticeable since the sky transitioned from gray to blue and the
In Beetlejuice we are given the Mise-en-scene in many ways. First is the setting and location, Beetlejuice takes place in a small town called Peaceful Pines this creates a scenic atmosphere for a peaceful small town. Later, we are shown that’s just what this town is. We get this image when Adam goes to his hardware store and the barber calls him by name we also get this because Jane is constantly bothering the Maitland’s about selling their house to a family with children. Another example that is given is the image when the Deetz move in and try to make a buck off ghost in their house. Mr. Deetz calls his boss to try to sell this idea about turning this small town into a ghost amusement park. The main location is the Maitland’s house which is a fictional setting in other words the audience, can’t tell its computer generated that the house isn’t actually there but for the movie it gives us a scenic realism image that it is there. Once they go outside of the house we are shown a creation in space for what the “after life” might look like. We are also shown a huge gap in time between the living and the dead this was shown by when Adam
In the early years of narrative cinema there was little pressure on filmmakers for the ‘evolution of film forms before nickelodeons’ (Salt, 1990, pp31) as cinema neither became a mass nor high cultural product and was still a novelty but ‘Production companies’ profits were based principally on the sales of longer fiction films’ in the later years (Musser, 1990, pp256) so focus was made for the production of popular narratives so I will show how the early development of narrative evolved from trick films to complex narrative. I will analyse the short film Mary Jane’s Mishap (1903, Smith) and an extract from the seminal The Birth of a Nation (1915, D.W.Griffith).
During the sessions, the camera is set in the middle of the room, showing enough distance between the therapist and Joshua for the viewer to understand the setting without it being said. But, the intimacy is conveyed through close-up shots and this very distance by alluding to the fact that they may being sitting apart, but they both share tears over Joshua's tale. This brings the viewer right into their heads. It inserts them into the room and creates a sense of realism that's able to suspend the viewer from reality and drop them into the reality of White Awake instead. The film knows how to engender emotion and this is done partly by letting the viewer into the film and making them part of the session. The flashbacks are seamless because of this, lessening the oh so glaring jumping through time that's often done poorly in film. The viewers here won't be viewers but rather part of the
There was once a time when there were more simplistic views on life; where truth and justice prevailed above all and the main concerns of society were much more primitive. However, those times have long vanished and have now been strategically replaced by the commodity that celebrity culture fully encompasses. Guy Debord writes in The Society of the Spectacle, that the “spectacle is not a collection of images, but a social relation amongst people, mediated by images” (Debord, 4). By this, he simply means that the spectacle is constructed by the daily images devised by celebrities, reality television, and pseudo-events. And those images have altered and strongly influenced the way people perceive themselves and others, as well as the social
Spike Lee’s film Do The Right Thing is a film that explores race relations within the United States. Some of my favorite shots of the film are part of the scene at Sal’s when Buggin Out returns with Radio Raheem and Smiley, demanding that black people be added to the wall. This scene begins with a medium shot of Buggin Out, Raheem and Smiley as they enter Sal’s. The camera then pulls out into a medium long shot of the group. Once they advance, the camera tilts upwards into a medium shot of Raheem and a medium close-up of Buggin Out. The medium shot remains throughout the beginning of the scene. The shots change as the group and Sal exchange words. The use of the dutch angle is what makes this scene so visually striking for me. The camera is
A.I.: Artificial Intelligence is a Steven Spielberg science fiction drama film, which conveys the story of a younger generation robot, David, who yearns for his human mother’s love. David’s character stimulates the mind-body question. What is the connection between our “minds” and our bodies?