Once revolution takes place, the tail members that were previously caged in the last car are abruptly released into the rest of Snowpiercer. As the revolution makes its way through successive compartments of the train, the train itself begins to reflect a live-action flowchart of the class system in a hierarchal society. The middle cars of the train are treated with extensive time in this section of the film, reflecting the actual density of the middle class in the social hierarchy. Bong Joon-ho’s concentration on the middle to upper class allows him to convey his message to what he sees as the bulk of a stratified class system. Again, Joon-ho plays with similar areas of film technique: setting, props, and color, to reveal the truth behind …show more content…
The setting of the train provides a closed confinement that induces a sense of claustrophobia and emphasizes on how tensions innately within a hierarchical class system can lead to resentment, and eventually, revolution. Just in terms of the physical space, the action sequences take place in the restricted area of a moving train, and characters are therefore forced to have head-on collisions with each other. By pushing all train inhabitants to interact with each other in close proximity, there is a heightened sense of the societal and class hostility as the revolutionary tail members clash with everyone else in front of them. The use of the train 's narrow capacity is effective at inciting brutal fights that become core to showing the accumulation of social tensions; these tensions manifest themselves in butcher car, inciting the most dramatic and intense battle of the film. …show more content…
Although Snowpiercer takes the role of an oppressively gray film in the beginning, more diverse color palettes accompany the progression of the revolution itself. In fact, as the revolution travels towards the front of the train, the colors brighten up significantly, which is most obviously exemplified in the classroom car. The classroom 's sunshiny colors and childish decorations clash with the rest of the train 's dour grayness (Snowpiercer), and with these changes, Joon-ho opens the color palette up to drive home the class discrepancy that fuels the story. When the tail rebels finally encounter the colorful sections, their dark clothing stands out from the hyper-saturated environments, allowing the audience to appreciate how filthy they look because of the extreme color contrasts. Because the tail sectioners appear so out of place with the more vivid colors schemes in the middle and front sections of the train, Joon-ho is specifically bringing attention to the existence of an extreme disparity between the lower class and everyone else in the hierarchical social ladder. This use of color is in fact, very similar to Claude 's bright yellow attire ability to stand out against the background of gray in the tail section; only this time, the roles have been reversed, further developing how inescapable the harsh
During the train trip from Washington D.C. to Savannah, Georgia, it was difficult for Marian Anderson and her mother because they had to put up with racism, discrimination, and segregation while on that single train ride. Since they were segregated from the whites and the "white folk" had the more luxurious train car, the colored people were expected to ride inside the more dilapidated train car. The car that they were riding in was "dirty inside and out" and had "windows [that] were badly in need of washing, and the ventilation and lighting were poor." This means that the conditions that the colored people were expected to reside in were of extremely low quality. Not only that, but it can be inferred that people can get sick while on the train ride. The line, "...the air became stuffy and the windows were raised, smoke and soot from the engine directly ahead poured into the car." shows that people were unable to breathe properly while in the train car. The people riding the "lower class and colored car" would have to make a choice of either feeling cramped inside the "stuffy car" or feel less cramped but not be able to breathe properly.
The phrase “history repeats itself is quite evident in this film. Currently, China’s economy is in a massive industrial revolution, similar to the American industrial revolution of the early 19th century. After three years of following the Zhang family, first time director Lixin Fan released The Last Train Home, attempting to raise awareness to the down side of China’s powerful economy. While the film The Last Train Home seems to just depict the lives of factory workers, it is also making a political statement about how western capitalism exploits factory workers to produce cheap goods. The film makes this exploitation evident by depicting the fracturing of the Zhang family and the harsh working conditions they must endure.
Moreover, the trip in the train gives an example of the loss of the humanity. In the train, a
The picture Crash, produced by Robert Haggis, features the several battles confronted with the current racial stereotypes, in to a collection of numerous connected, social predicaments fall upon by the picture's multi ethnic forged. Robert Haggis uses the dialogue and physical actions of his characters to illustrate the various racial stereotypes that are pre-assigned to each race by every individual. This movie is an enchanting bodily melodrama that reaches the feelings of spirits and its crowd's minds. Several of the components given by Haggis in this movie are impersonated in intense sets. This design of reversing is communicated opposed figures and by his character, the picture's possibly nighttime or daytime environment, and additionally in the hearth and snowfall moments. In this movie, the varied functions performed by the several contests of contemporary America are revealed to the globe by Haggis. Through coldly racial difficulties confronted by his figures, an intentionally affecting movie that drives his crowd to challenge their own ethical principles is created by Haggis. Each contest is signified through the picture and coldly exhibits ethnocentrism and racialism. Paul Haggis incorporates the use of identification, parallel plots, reaction shots, point-of-view shots, shot/reverse shots, diegetic music, and post-modern film in the film. Through his character development, editing and special effects we are drawn into.
The men in the subway cars make no effort to break through the barriers. They take no initiative to interact and stop the boys from the risky situation the put themselves in. The men seem to excuse themselves and the boys' actions by reminiscing their boyhood and all the brave adventures they had in their lives. Instead of ...
The world of Model Train Building has grown greatly with the aid of computers and technology to enhance the fun of building. Technology has long been a part of Model Train building with the adding of lights, bells, and whistles to capture your interest and imagination. But with the latest generation of building comes the influx of technology and the computer. The computer brings along a new breed of builders who plan track layout, buy parts on the Internet, receive updated news, and chat with other enthusiast.
The Orphan Trains were trains that took orphaned children from New York, a lot of whom were immigrants, and transported them to foster families all around rural America so that they would be off the streets and could live better lives. Some of the children that were brought onto the trains were not orphans, but were children who lived in extreme poverty as their parents were not able to properly care and provide for them.
Through the use of complementary colors, she achieves great contrast. Contrasting hues develop a theme of light vs. dark, or in Liu’s case, expectations vs. reality. Dark colors are used to suggest the harsh, chaotic conditions experienced by the workers; while light, less saturated colors illustrate the calm passivity of traditional Chinese customs and ideas. The sky surrounding the stylized women contrasts greatly with the surroundings of the exhausted men. The dark hues establish heavy visual weight below the figures and the light tones of the sky create a sensation of weightlessness and help to further distinguish the fantasy like qualities. Liu also includes the application of analogous colors, primarily to make the traditional figures less dramatic and to help unify the surrounding
The struggle between classes is highlighted when the mechanic takes the narrator to steal body fat. The narrator was at work when the mechanic picked him and other people driving them to a medical waste dump to steal fat, which w...
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
The Underground Railroad despite occurring centuries ago continues to be an “enduring and popular thread in the fabric of America’s national historical memory” as Bright puts it. Throughout history, thousands of slaves managed to escape the clutches of slavery by using a system meant to liberate. In Colson Whitehead’s novel, The Underground Railroad, he manages to blend slave narrative and history creating a book that goes beyond literary or historical fiction. Whitehead based his book off a question, “what if the Underground Railroad was a real railroad?” The story follows two runaway slaves, Cora and Caesar, who are pursued by the relentless slave catcher Ridgeway. Their journey on the railroad takes them to new and unfamiliar locations,
Throughout the commencement of the story, the main character perceives the situation as negative. When he first thinks of the situation, he envisions being confronted with anger: “Walking to the car, which you have ruined, it occurs to you that if the three teenagers are angry teenagers, this encounter could be very unpleasant” (Par. 2). As he approaches the Camaro, he sees the three teena...
This story takes place in the south during the civil rights movement when people were trying to eliminate poverty and racism from the society that they lived in. There are four important characters in this story, and the two main ones are Julian and his mother. Julian is a recent college graduate who lives with his mother but knows “some day [he’ll] start making money” (Mays 448). Julian sees the world as ever changing during the civil rights movement and does not like or condone racism. Although this is true he subconsciously is small minded and petty just like his mother. His mother often makes racist remarks and will not find herself sitting next to a black African American adult. She often would bring up the topic of race to Julian “every few days like a train on an open track” (Mays 449). She also makes her son ride the bus with her to the YMCA because of the new changes due to the civil rights movement and in some ways this makes Julian mad. As they begin to board the bus Julian and his mother argue but quickly board. Shortly later a black woman and her son named Carver board. Carver sits next to Julian’s mother, she does not mind, and Carver’s mother sits next to Julian. Carver’s mother is an impatient woman who ironically wears the same hat as Julian’s mother. The hat in many ways is a symbol of the ever changing south during the civil rights movement. It symbolizes the social equality between
The colors in the hat are extremely significant. Its purple velvet flap creates the image of royalty, and the rest of it, green, represents money. This is the only time that green is mentioned in the story, for money is not something that they have, which even the mother cannot dispute. In addition to the hat, the sky of their once “fashionable” neighborhood is the color of “a dying violet,” and the house...
The train in "The South" is presented as a sleek, mystical, and evil entity. Before Dahlmann leaves for his ranch, he visits a café where there is a black cat, sleeping. It is almost as if it is lying in waiting for something. The cat is described as "the magical animal"(1). Immediately following is a description of the train, which is described as being lying waiting. A connection between the mystical animal and the mechanical train has been established. The train has become a mystical beast. It begins to move when Dahlmann gets on, it stops to let him off, it takes him where it feels. The beast decides Dahlmann's fate. Cats are often seen as beasts of evil omen. The linking of cat and train brings an evil aspect to the train.