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about movie smoke signals
about movie smoke signals
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Cinematography and Lighting
• The smoky greys shown in the street as the Tramp is taken away in the paddy wagon reflects the people’s uncertain futures due to the economic struggle of the Great Depression.
• The depth of field indicates what is significant in the street shot outside the cigar stand, having the Tramp, policeman and stand owner in focus. As the Tramp is escorted to the paddy wagon several observers walk into the frame and into focus, enhancing the narrative.
• The composition of the shots in the paddy wagon refers to whom the significant characters are, in the way that the Tramp and the Gamin are positioned in the very foreground of the frame.
• The close face-to-face proximity between the two main characters in comparison to the other people in the paddy wagon, suggests their future friendship.
• The close-up on the Gamin’s face in the paddy wagon displays the nature of her feelings clearly, and increases the audience’s involvement in the action. When she looks directly at the camera she portrays her youth and evokes great sympathy from the audience.
• The highlighting on the Gamin’s face when she is looking up at the Tramp and the stark difference in lighting on the man’s face sitting next to her enforces the significance the Gamin has as a character and her shining innocence.
• As the paddy wagon crashes the shot is reframed in a canted frame with the whole scene tilted, showing the extent of the crash and the sudden change in circumstances for both the Gamin and the Tramp.
• The movement of the Gamin and the Tramp from the darkness of the paddy wagon into the bright sunlight of the street, signals their sudden freedom and oncoming companionship.
• The diagonal lines in the shot in which the Gamin ...
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...s his hat in front of his nose when the man next to her burps, communicating his disdain.
• The shabby costume and makeup of the Gamin makes her look unkempt and dirty, which asserts her poverty and suffering due to the Great Depression, and supports scenic realism.
• After falling out of the paddy wagon the Tramp replaces his hat back on his head and picks his cane up. This refers to his soon to be made decision to run away with the Gamin, in that he is picking his dignity back up and deciding to fend for himself despite the harsh conditions.
• The way that the Gamin and the Tramp fall from the enclosed paddy wagon out into the open street reflects the way in which they strive to overcome poverty together and don’t allow poverty to hinder them from this point onwards. The open space allows for other options available for them to survive the Great Depression.
The Great Depression was one of the hardest eras America has ever had to face. It tore families apart, leaving them with nothing but despair. Wood and Shahn use their pictures, American Gothic and Rural Rehabilitation Client, to depict this feeling of anguish. American Gothic displays the anxiety of those who experienced the first ripples of the Depression and Rural Rehabilitation Client shows the sheer desperation of those who lived during the worst days of the Depression. Through these two works of art, the feelings of hope and hopelessness are powerfully represented.
The Great Depression is a time in the history of the United States that people have learned and gained knowledge from. Its harsh times and conflicts have been written about in books, seen in movies, talked about on radios, and told to families throughout the generations. Seeing how life was during the 1930s in the movie, The Cinderella Man, was a great eye opener to how the people of this time truly survived and kept their true humanity in times of havoc. The time of the 1930s should be an inspiration to the nation and cause many to do well and live life smart and prosperous.
The expressions of the people in Hot Rhythm are those of carefree people enjoying life. However, Motley’s grandmother’s expression is very serious depicting the struggle of a former slave (Brown, 2014). The lines on the face of Motley’s grandmother define depth. The features and volume of her face are defined with deep lines above the brow. The lines around the nose and below the mouth show signs of age using shading to help create the shape of the face. The faces in Hot Rhythm are less defined using circular shapes for fullness. Most of the eyes in Hot Rhythm are closed. In Portrait of My Grandmother the eyes are open and glimmer with the use of light hues of brown. Even though the eyes are open, the lines in the face of Portrait of My Grandmother highlight the features and give character to the eyes. The contour lines around the eyes suggest volume by using dark shades around the eyes.
characters felt the need to settle down in life and both saw the image of
The wagon expressed how the family relationship was in the story. In the story the wagon on moving day was broken and hard to use when they moved from the country and also wants to connected the broken wagon to the broken relationships between the family. “The boy could remember-the battered stove, the broken beds and chairs, the clock inlaid with mother-of-pearl, which would not run, stopped at some fourteen minutes past two o 'clock of a dead and forgotten day and time, which had been his mother 's dowry (Faulkner 227)” explains the condition of the wagon and with the condition of the wagon creates some conflict during the beginning of the text. In the story, “The wagon went on, the store with its quiet crowd of grimly watching men dropped behind; a curve in the road hid it. Forever he thought. Maybe he 's done satisfied now, now that he has ... stopping himself, not to say it aloud even to himself. His mother 's hand touched his shoulder (Faulkner 228) explains the conflict that happen with the wagon and the effect it had on the family. According to Hans H. Skei ‘s Article “The description of the wagon, loaded with the family’s belongings, with two hulking sisters and a crying mother, is indicative of what sort of life Ab Snopes has created for the family from which he expects total loyalty
During this time period women did not encompass the same rights as their male counterparts, nor where they encouraged to participate in the same activities as they. Gillman describes the yellow wallpaper to the readers as a rationalization of what it means to be a woman during this time period. Women were expected to be child-like and fragile as noted, within the text, “What is it child(Gilman, 1998)?” The color yellow is often associated with sickness; in Gilman’s case her sudden illness refers to oppression. She notes as the story, progresses the wallpaper makes her feel sick. Gilman notes, “I never saw a worse paper in my life,” as a symbol in which refers to the restrictions and norms society places on women. Within her literature she addresses restrictions placed on women. Gilman states, “The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.” Meaning, she believed men denying women the right to equality was absurd, and when they did grant women’s freedom it was not equivalent rather a “slap in the face [it knocks] you down and tramples you (Gilman, 1998).” Through her essay she consistently refers to a figure behind the wallpaper. “The faint figure behind seemed to shake the pattern, just as if she wanted to get out (Gilman, 1998).” Meaning, women during this time period seek to feel free from oppression. The women behind the wallpaper represents the need to speak out, “you have to creep on the ground, and everything is green instead of yellow (Gilman,1998).” Creeping placed significance on the experience of being a woman in regards to, how they should think, feel, act, dress, and express themselves. Gilman notes, “And I 've pulled off most of the paper, so you can 't put me back! " The author used this quote to signify, the woman realized she was
The police and car owner follow close behind him, trying to get the husband to pull over. The use of the single frame displays the husband’s dark silhouette as the camera focuses on the rearview mirror where the police can be seen gaining on him. It allows the viewer to take in both storylines simultaneously. The husband is still racing home to help his wife, but the police in the mirror also show the duality of his worries as they literally and figuratively hang over his shoulder. Meanwhile, in the mirror, the police are seen trying to grasp the husband in order to get him to stop. The two spaces for the characters gives the chance for the film to focus on the overall plot progression versus the time cut between the husband and the police separately. It decreases the amount of time that audiences spend on one character and their storyline instead it forces them to understand the dynamics of every storyline and how they interact with one
the scene with a long-shot of the city. He has chosen to use this in
In this movie, much emphasis is placed on simplicity, spontaneity and directness, so we can focus on the true story without being distracted from the normal every day routines these characters have. A degree of realism is achieved in this movie, because the fact remains that Ben is an alcoholic, although he does drink in extremes where the normal human being would be unconscious, and Sera is a prostitute, so the intense situations and decisions in this movie are reasonably depicted. One of the first scenes is an extreme long shot of the city of Las Vegas, because this sinful city was very carefully chosen as the setting of the story to preserve realism. Full shots are often used to show the protagonists on their daily routine, such as when Ben goes shopping at the supermarket for liquor. Figgis mainly used multiple shots to emphasize the two protagonist’s interactions with each other. The two shot and the over-the-shoulder shot were used often to build a sit...
Many critics question whether this story is meant as a personal documentation about Gilman or a reflection of women’s position in society in 1892. However, due to her creation of this unreliable narrator, it creates the allusion that this story has many meanings. The narrator generates the way we see John and the ironic theme of entrapment, through many different angles. The subject of the story changes from reality, to her obsession with the wallpaper and consumes the narrator’s tone and thoughts. The way Gilman used narration to manipulate the reader’s interpretation John and to convey the theme of entrapment makes this an effective piece of literature.
As she studies the incoherent pattern in the wallpaper she becomes determined to make sense of it and begins to see a pattern “like a broken neck and two bulbous eyes stare at you upside down” (219), and begins to distinguish a woman creeping secretively behind the pattern. Here, through symbolism, Gilman is able to portray the wallpaper pattern as a metaphoric prison, and the protagonist’s mind as this new mysterious figure in the pattern, trapped and having to covertly move around. Although the protagonist studies the pattern in the wallpaper, it never makes any sense to her and likewise, no matter how hard she tries to recover, the terms established by John for her recovery never make any sense to her, either. Further, the protagonist view’s John’s sister, Jennie, more as a prison guard than a beloved in-law, so when she hears Jennie coming up the stairs to check on her, she quickly puts away her writing and adopts a more restful position in order to not alert them to what she is
Gilman the symbolism shown is to show how women felt and how they overcame these feelings and accepted their role in society and marriage. The journal represents her freedom to say what she means with no consequences and to relieve her mind. The yellow wallpaper represents herself trying to escape the control of her husband John and finding herself through abstract characters. The nervous breakdowns illustrated how to overcome restraints so that she can feel accepted within a society and okay with her role. Gilman used all of these symbols to show what happens of a person when people expect too much from another and try and control them in restrictive
This "chaos" is also created through the use of frame- a story within a story. Towards the conclusion of the novel, the corners of the story are pulled together and readers are able to close the frame that encapsulated the inner story. The car ride is the result of Ondaatje's ability to transcend time and space- the story ends at the beginning of the novel and begins at the end, as if Patrick has told his story not only to the young girl Hana, but ultimately, to readers.
The third symbol is the most important symbol of all and that is the ugly yellow wallpaper the narrator has to spend her time staring at and in the end g...
This film was written and produced in the middle of the Great Depression, and the depiction of the poverty and unemployment is very evident throughout the entire film.