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The concept of dualism
The concept of dualism
The concept of dualism
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Duality is an instance of opposition or contrast between two concepts or two aspects of something. Duality can also be represented by two separate entities, or people for that matter, who provide contrast for one another. “Duality in people exists as qualities that seemingly in opposition of each other.” (Dualism in Film) The definition of duality can be seen in many ways, in modern cinema however, the meaning of duality is more specific, although its definition does not vary too much from what the common definition is. In film, duality is the contrast of two people or entities. These two entities however, can be portrayed in several ways. The duality can be a conflict within one’s self, as seen in Darren Aronofsky’s Black Swan (2010) and David Fincher’s Fight Club (1999), a dual personality or change in character, as seen in the Christopher Nolan’s Dark Knight Trilogy and George Lucas’s Star Wars saga, or duality can be portrayed as one character and his or her personality versus another character and his or her personality, as seen in Black Swan, The Dark Knight Trilogy, and The Star Wars Saga. Since a director cannot bluntly say in the film, without ruining the illusion of the world they have created, that one character represents another, or that these two entities represent one another and are dual, there are various techniques a filmmaker can use in order to plant this idea or theme of dualism into the viewers mind. My goal is to find out how the theme of duality is portrayed through the principal characters in The Star Wars Saga, The Dark Knight Trilogy, Fight Club, and Black Swan.
Duality in characters is expressed it many ways and when in pre-production, production and post-production, the director must see to it that ev...
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...Narrator’s confusion and internal struggle within himself to try to understand what’s going on inside his head, why he has a dual personality, and how to destroy it. Depending on what the director wants to convey through the visuals of the movie and how he wants to portray the theme of duality through these visuals, the film will convey this message to the audience in this way. “These films show us that dualism is an inherent part of human existence. They illustrate that the good and the bad exist together, often times in one person or one place. People are complicated. It is not necessary to flatten one’s character into a single dimension in order to understand them. Rather, one needs only to understand that seemingly disparate qualities, be it good and bad or male and female, can exist together to create a complex dynamic in people’s psychology.” (Dualism in Film)
several projects. The contradiction of Double consciousness, leaves him feeling unfulfilled. He struggles to cope with the two identities, husband and employee. However he works to defeat this double conscious feeling by working with his service officer. He negotiates flexible working hours so he is able to fulfill his role in the company and his role as a husband without the two conflicting.
...ther they express the realistic conflict there is between the two. Outwardly, the characters conform, but, inwardly, they long to be free. In real life, most people do not sway to a definite side or another on the issue of conformity and rebellion, but rather, as these characters do, experience a complex inward struggle and conflict with the ideas.
The entire movie is bursting with counter narratives, when the audience believes they hold an accurate grasp on what is truly happening, there is a misguiding event, as the storyline is continually challenged. The viewer’s beginning formations about what is going on are learned to be always questionable because what is repeatedly steered to trust and is revealed not be the truth in the conclusion of the film. This neo-noir film had multiple scenarios that make the previous actions untrustworthy to the actual message. This proves that all the observations and thoughts the viewer possesses are only relevant to what they are exposed to and shown and not to what is, in fact, happening.
In all, the presentation of the multiple, different perceptions of the same reality by the participants of the film (eg, who has won Nadine's affection, one person, everyone, no one?) is a subtle version of Rashmon's explicit presentation of clashing multiple realities. This also fits in well with the different presentations of the Abidjah between Moi, un Noir and La Pyramide Humaine.
The characters are a crucial element in developing the narrative of a film. The characters in Breathless do not act the way one expects those of Hollywood cinema to act. The woman who distracts the police officer in the opening scene seems as if she may be important, but is in fact never seen again. This happens again in a subsequent ...
This film pulls in real dreads, Bates attempting to deal with his mother’s passing. It has nightmares, when he can’t handle her passing, so he treats her corpse as if she is still alive and well. It shows the interests of others, which for most people is curiosity, and this is brought in with multiple questions about the mother. This film is inserting not one, but yet two opinions, one of which is that people with multiple different personalities can be dangerous. The last opinion, it in forces is that people all have two sides to them. They have the side we let everyone see, the Sside they believe they are as people, and then we have another side, which for some, as in Bates condition, is difficult to keep in check. This film has captured many people, because it is possible for these things to happen in real life. It’s not like some scary movies where it seems almost impossible for most of this to
Dynamic characters are built by dynamic movement in film. Whether the character is sitting down giving a lecture, or is a ballerina dancing on stage, character are born through movement. Movement in emotion, or physical, a characters action and re-actions are what draw audiences into their story. The characters in the movie Take the Lead gain power through their character transformations through dance, their movement on the dance floor directly impacts the way they carry themselves through life. In this paper I will explore three scenes, each scene will show different levels of progression in each character’s life, and I will show how the characters gain more power in their own lives the more successful they become with the movement of dance.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
Relations between sympathy-empathy expressiveness and fiction have become a significant issue in the debate on the emotional responses to the film fiction. Due to their complexity many scholars found it useful to diagram them. With his essay, “Empathy and (Film) Fiction”, Alex Neill tries to develop new theory for analyzing the fiction and, especially, the emotional responses from the audience on it. The project of this essay is represented with an aim to show the audience the significant value of the emotional responses to the film fiction. From my point of view in the thesis of his project he asks a simple question: “Why does the (film) fiction evoke any emotions in the audience?”, further building the project in a very plain and clever way. Tracing the origins of this issue, he distinguishes between two types of emotional responses, sympathy and empathy, as separate concepts in order to understand the influence of both types of emotional responses to fiction. However, relying mostly on this unsupported discrepancy between two concepts and the influence of the “identification” concept, Neill finds himself unable to trace sympathy as a valuable response to fiction. This difficulty makes Neill argue throughout the better part of the text that empathy is the key emotional factor in the reaction to (film) fiction and that it is a more valuable type of emotional response for the audience.
This essay shows the subtle differences that can occur between directors, even when they are basing the movie off of almost the exact same script. Almost no two movies are exactly alike, no matter how hard the directors and actors might try. Minor personality differences and scene changes greatly affect the atmosphere and meaning of the same movie. One example of this is the movie Romeo and Juliet. This movie tells the gripping story of two young lovers who are forbade to see each other because of a viscous feud between the two families. I'll be looking at the older 50's version of Romeo and Juliet and comparing it to the newer version of Romeo and Juliet.
Williams juxtaposes the three genres together, to reveal similarities and differences, and, in turn, their similar and different desire effects on the audiences. Specifically, she points out the physical reaction of characters in the films, and how the audience members mimic them. Firstly, in regards to the physical body, Williams discusses the similar uncontrollable “convulsion or spasm,” that comes with the different genres; a body on the screen is “’beside itself’ with sexual pleasure, fear and terror, or overpowering sadness.” (729) Next, she dissects the sound of these bodily reactions – the overpowering moan, scream, or sob that the chara...
Many movies are created without the notion of conveying any sort of message. The movie “Fight Club” relates the problems faced by the main character to philosophy but more specifically, to Idealism. It is both frightening and intriguing to know that ones mind can control ones perceptions of reality and whether or not what they are seeing is real. In summary, idealism offers the idea that ones mind determines what is real based on their perceptions of the physical world. With perceptions being completely different from one individual to the next, determining what is real may be indefinable.
The significance of the face in Japanese culture is important to considerations of Japanese film and film actors. Tellingly, an entire article about Takeshi Kita...
Have you ever watched a movie and thought “Wow! Those characters are so very different, but they are in two very similar situations?” That is just what the creator of the work wants you to see. They have used what is called a character foil. A character foil is a double or a mirror of characters. This allows you to see alternative versions of the story play out and help intensify the work. Oscar Wilde’s “The Importance of Being Earnest” and Bernard Shaw’s “Arms and the Man” both use character foils to highlight the conflicts and themes which help intensify the drama for the audience.
The development of editing - Editing - actor, film, voice, cinema, scene, story. 2014. The development of editing - Editing - actor, film, voice, cinema, scene, story. [ONLINE] Available at:http://www.filmreference.com/encyclopedia/Criticism-Ideology/Editing-THE-DEVELOPMENT-OF-EDITING.html#ixzz2sNiIEQqt. [Accessed 10 February 2014].