The presence of mirrors is highlighted in this episode. Before this episode there has not been an emphasis on mirrors, even though they appear in other episodes. I feel like the use of this prop is important in understanding the episode. Every time a mirror appears, there is a different circumstance that the character is dealing with. The first mirror appears in Quinn’s house. She is trying on her Chastity Ball dress with her mom, and the dress does not zip up all the way. Quinn is shown in the mirror as the mom measures her stomach. In this instance, the mirror could signify a desire to hide the truth, despite the fact that the truth is there for everyone to see. The second time a mirror is used is in Finn’s basement. He and Kurt are discussing his dad’s bravery in war, while trying on his dad’s old suit jacket. This scene is open on an emotional level, and the mirror works to illustrate that Finn is more like his dad than he realizes. It acts as a reflector for the characteristics that Finn will demonstrate later in the episode and in the series. Finally, a mirror is used with Rachel when she is being told by another student that she does not have a chance with Will. In this scene Rachel is applying makeup in the mirror. The presence of a mirror, and it being actively used, could indicate that Rachel is hiding the truth from herself. Rachel’s character rarely wears a lot of makeup, which emphasizes the use of the mirror. Instead of being honest with herself, Rachel is denying the truth that she is knows is there.
The camerawork in the show is very well done because it helps the audience understand the relationships between the characters, as well as helps draw the audience’s attention to important actio...
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... silence fills the air. Not even the sound of Quinn crying can be heard during these pauses, though through reaction shots, the audience can see she is crying. This creates a suffocating atmosphere for the audience and for the characters. It helps illustrate Quinn’s home life, which helps explain her character’s actions from previous episodes. In addition to the silence, there is also a manipulation of sound in this scene. Most of the scene involves quiet dialogue from the dad, and sometimes from Quinn, but it suddenly changes to the dad yelling. The change in volume is very startling and is almost overbearing. There is no opportunity for escape from the volume and the yelling for the audience; and just as suddenly the volume decreases to Quinn talking softly. The effect is powerful. Overall, it is one of the most uncomfortable sequences from the entire first season.
Mirror: a live entity. The movie shows that the mirror is alive and covered with gold draped. The portrayal of unsecure feelings of the Queen could be the identity of the mirror. It is because only the Queen can see the mirror alive. It shows the progress of the Queen and her fate in the story.
When it came to the dialogue of the production and the understanding of it the performers again did an excellent job. Their gestures and vocal elements all aided in the production’s success and were all fittingly used by the characters. For example, when Lala was talking on the phone with Peachy she casually twirled the phone cord in her hand, leaned against the banister and childishly flirted with Peachy.
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.
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.
The director Roman Polanski likes to make a lot of scenes in his movies through doorways and windows, and the reason of that is simply because in that way, he creates a bigger sympathy with the audience, they get to see the films from the main characters o...
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
...mirror revealing the dual natures within her femme fatale, by the intimate conversation she holds with Leonard by confiding in him of her loss in order to gain his trust. Another notable symbolism used in the film is the photographs which Leonard uses to recreate his short term memory. The fact that he is forced to rely on his old memories to survive turn out to be difficult because Leonard can't realize the true meaning of the photos he carries and therefore is not capable of reaching the same ending every time he sees them. In other words, his dependance on the photos to remember only helps him remember an alternate reality. Thus, as seen by Leonard’s dialogue, “We don’t need mirrors to remind ourselves of who we are”, Nolan explains that the deception of one’s memories cannot be justified whether it be for the better good for it can only lead one to harm’s way.
One solution is to approach an actor at the beginning of their training, and see where knowledge of "commedia dell'arte" and its performance can expand a performer's range. The contemporary young actor's most familiar performance role model is that of televisi...
Mirrors, traditionally used for seeing a reflection, usually of someone’s true outer self. In Laurie Halse Anderson’s novel Speak, Melinda Sordino does not want to see herself. After Melinda was raped at a high school party by Andy Evans, she becomes severely depressed and unable to speak. In this novel, mirrors symbolize how Melinda despises her appearance, and show how she is unable to accept her own reflection after she was raped.
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
Mirrors are first introduced in part one of the novel where Clarisse is describes as a mirror by Montag. Also presented by Granger towards the end of the novel, the mirror is a symbol of the lacking self-reflection but also it cure. Mirrors reflect a perfect image of a person back at them – an image that is neither tarnished nor beautified. Mirror here are a symbol of seeing within one’s soul in pursuit of rebirth, and are a tool to be used in the search what has gone terribly wrong in such an empty society. In a society that lives without living, thinking or feeling like Montag’s looking into a mirror ma spark a thought, and a thought may spark that internal rebellion. Furthermore, metaphorical mirrors are of equal significance when understanding this symbol. Clarisse is Montag’s inner mirror; she reflects the personality and life of Montag back at him, allowing him to learn and question what he sees. Montag is also Faber’s mirror – he reflects Faber’s recent emptiness and his cowardice at not attempting release society from its suffering. Mirrors are a great symbol of self-actualization that leads to rebirth in the novel Fahrenheit
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.
The declaimer of the poem says “I am silver and exact [and] whatever I see I swallow” (1, 20). The purpose of these devices is to convey the position of the mirror in the poem. As an inanimate object, the mirror is incapable of consuming anything but the appearance of entities. Furthermore, the glass’ role accentuates an inner mirror, the human mirror, which does not forget instances of misery and contentment. According to Freedman, the mimicking image emulated by the mirror elicits “.
Art has been always seen as a form to express self emotions and ideas; an artist creates an idea and shapes it by culturally known objects and forms to send encrypted message. Through the times both, ideas and materials used, separates art in to different periods and movements. In late 40’s and late 50’s two art and culture movements emerged, one from another. The first one, Lettrism, was under the aspiration to rewrite all human knowledge. From it another movement, Situationism, appeared. It was an anti-art movement which sought for Cultural Revolution. Both of these movements belong to wide and difficulty defined movement of experiment, a movement whose field is endless. Many different people create experimental films because of the variety of reasons. Some wishes to express their viewpoints which are unconventional. But most of them have an enthusiasm for medium itself. They yearn to explore what prospects the medium has and wishes to open new opportunities to create and to explore, as well as to educate. Experimental filmmaker, differently from mainstream filmmakers, wishes to step out from the orthodox notions. The overall appreciation is not the aim that the experimental filmmakers would seek for. Experimenters usually work on the film alone or with a small group, without the big budget. They intend to challenge the traditional ideas. And with intention to do so Lettrism tries to narrow the distance between the poetry and people’s lives, while Situationism tries to transform world into one that would exist in constant state of newness. Both of these avant-garde movements root from similar sources and have similar foundations. Nonetheless, they have different intentions for the art and culture world and these movements...
Often, actors fight against the staging or movement direction they are given; actors must be able to justify movement within their own mind in order to perform it authentically. Theater directors must be mindful of both the picturization of a moment and its sincerity; bridging the two can be a difficult task. Nevertheless, it is my job to honor the actor's instincts and create an eye-pleasing visual moment. Approaching this dilemma, I always start