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
“I envied the people in the train because they seemed to be going somewhere” (Lesley,7).
Rear Window and the works of Hopper are both required with confinement. Disregarding its blended utilize land setting, Early Sunday Morning does not pass on a warm, fluffy feeling of group. In like manner, in Rear Window, the inhabitants of the lofts are confined from each other. Apartment Houses is additionally for the most part viewed as another antecedent to Rear Window. Large portions of Hopper's night settings portray scenes from New York City and Night Windows is no special case. The lady in this work of art is totally unconscious of the stage she is on and the front line situate its eyewitness involves. Its semi-sexual story is resounded in Rear Window, and it catches strikingly the experience of living in New York: the a large number
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.
Released September 29, 1950, Sunset Boulevard is a film noir of a forgotten silent film star, Norma Desmond, that dreams of a comeback and an unsuccessful screenwriter, Joe Gillis, working together. Ultimately an uncomfortable relationship evolves between Norma and Joe that Joe does not want a part of. Sunset Boulevard starts off with an establishing shot from a high angle shot with a narrative leading to a crime scene from a long shot (a dead body is found floating in a pool), this narrative throughout the film establishes a formalist film.
The children look smartly dressed as they stare outside the window. The fourth window has shown a black man dressed in a relatively fit shirt probably heading to work. And the last portrait has a black woman wearing glasses and equally staring outside the window. The picture is metaphorically named as the “Trolley” to mean the world. Several aspects of the picture bring out a deeper understanding of the social issues that exist in the world.
After the flashing lights we see a train cross a bridge in the darkness, its illuminated windows loom blankly. Then on
sense of mystery of the man and the place. The railway line is set in
The film Sunset Boulevard, presented in 1950 is a black and white film. The film is about Norma Desmond an old actress, who has issues accepting that she is becoming old. The main actor in the film is Gloria Swanson, who plays Norma Desmond, an older woman who believes she is still young. Desmond is not content with the fact that Hollywood has replaced her with younger actresses. The next actor Nancy Olson, plays Betty Schaffer who falls in love with Gillis despite being engaged to his friend. The third actor is William Holden who plays as Joe Gillis, who has financial problems and decides to turn himself into a gigolo to earn money. The dilemma with Joe is he does not want Betty to know about his job because he knows he might lose Betty as
Sunset Boulevard is a hollywood classic film that digs into the aftermath of the sound era caused. Sunset blvd came out on August 10, 1950. The film was directed by Billy Wilder, produced by Charles Brackett, and starred William Holden and Gloria Swanson. Sunset blvd shows us the aftermath of Norma Desmond and how she is stuck in the past of silent hollywood. The darkness and bitterness that many silent movie experienced after they were kicked to the curb once sound came. The film is has a classic dark drama/comedy that is one of the most acclaimed films in film noir history. The film touches on the loneliness and narcissism that silent legends were enduring. The mood of the film is immediately established as decadent and decaying by the narrator of a dead man floating face down in a swimming pool in Beverly Hills.
In “On the Subway” by Sharon Olds, the author contrasts two divergent people. Olds come to many conclusions as a result of the experience. Sharon Olds utilizes tone, poetic devices such as metaphor, and finally imagery.
This essay will seek to outline my findings on movie and theatre by looking at still image and moving image. I will discuss the relationship between cinema and film, and also compare some works of artists in order to answer the question which how might photography be contextualized as image on the threshold of still and moving – as an object incorporating the temporal and the narrative, the writing of history, or the presentation of documentation as record.
However, the 4 train resides with me because it gives me the chance to explore the subway thoroughly. It’s always a scary feeling as the 4 train approaches the train station because it sounds like a pack of Rhinos crashing into a halt. I enter the train and quickly gaze of a seat because I know people will be racing to any open seats available. Luckily I found two empty seats and that’s where my luck ended because right next to me sat a drunk who smelled like he had been drinking gallons of liquor. Everyone around him decided to get up and move somewhere else. I decided to move carts because I can’t stand the smell of liquor. That might have been a good thing because I walked right into someone signing “Barcelona by Bill Newman.” After he finished signing I was the only one who clapped and the man turned around and gave me a big smile that I still remember till today. Most people were far too busy listening to their earbuds and didn’t even acknowledge him singing. There were no chatter or laughter, everyone is minding their own business. The mood gradually became positive as more teenagers and kids entered the train. The train ride just became a news source because you can year the gossips or the latest
In “on the Subway” the author Sharon Olds talks about two characters on a subway, by using similes and imagery.
Once to be understood as a fellow passenger watching the rest of his companions, the speaker begins to shift into something more abstract. Almost like Emerson’s Transparent Eye-ball, this new voice is not something tangible but, somehow, sees all. (Emerson 217) This eye sees the ferry as less of a transportation from one physical location to the next but, instead, as a more figurative journey. Much like Charon, this crossing ferry takes its patrons from one life to the next. This passing is less of a literal journey, leaving from a life filled with work to a home filled with rest, but a metaphorical passing, leaving this life for another. This ferry exists in a limbo. A place where humanity is neither here nor there but only in between. Yet with ever beat forward, the ferry finds itself closer to its destination. This all-seeing eye that has “consider’d long and seriously of you before you were born” watches from the destination as this one soul made of many, finds its way across the water. (Whitman 88)
Palace on wheels : The royal journey to explore the must watch places to visit. The duration is 7 nights and 8 days covering the west and north of India. Here, you can enjoy the luxury life and relish the moments in a different way. Place on Wheels is the first luxury train traveling in India. The journey of this luxury train concept was not known till the launch of this joint collaboration of RTDC (Rajasthan Tourism and Development Corporation) and Indian Railways. It was launched on the occasion of 33rd Republic Day i.e 26th Jan 1982. During this journey of 34 years Palace on Wheels has emerged as one of the world’s most royal train and well known for its concept of “Athithi Devo Bhaw”- ie. Guest is God. Train embarked new symbol and acclaimed to be of international standards. This train was made by the ceased coaches from the Rajputanas rulers of Rajasthan. Coaches were redesigned by ICF (Integral Coach Factor). Nizam of Hyderabad and Viceroy of India were responsible for the construction of the structure of the train. It is surely the matter of pride for the visitors on board this train to stroll in the carriages reminiscent to the