“Which is the true nightmare, the horrific dream that you have in your sleep or the dissatisfied reality that awaits you when you awake?” (Justin Acala). Sometimes the worst nightmares, lead one to realize that even this nightmare is better than the reality of his conscious life. Ingmar Bergman’s Prison exemplifies such, as a common thread of a performance within a performance runs through some of his films, calling attention to the reality of the lives of his characters. For example, an analysis of the end of Birgitta’s nightmare based on Bergman’s choice of camera angle, lighting, and placement of object reveals the issues in Birgitta’s bleak life that were ignored by her before. To illustrate the significance of the nightmare, the frame …show more content…
The frame is shrouded in darkness on purpose. There is very minimal lighting with a single light source coming from the left hand side. And even then, it illuminates very poorly the bottom part of Birgitta’s jaw and neck to her chest. Her face is almost entirely covered in shadow. The dim lighting and darkness that surrounds Birgitta in the frame signifies the dismal life that traps Birgitta. In addition, splotches of light are seen on the ceiling. The blobs of light seem to be light that is reflecting from a body of water. In the shot, the light shimmers like it would when it is bouncing off water. Bergman plays with light in this way to hint at a parallel between Birgitta and how her baby was drowned. She is seemingly drowning in this cesspool and is struggling to escape. In a medium close up, it is as if she is covered from the waist up in water. Her single arm reaching up to pound on the ceiling above parallels her trying to resurface from this hellish waters of the pool of life as the water level seems to rise. In order to exemplify the conclusion of the nightmare, the camera is positioned in a low angle shot. This shot allows for the camera to pan upwards, signifying the end of the dream it previously panned down to convey the start of the
Though the majority of the film remains well-lit as the characters remain in the generator-powered bunker, the scenes begin to darken with low-key lighting as the film nears its ending, reflecting the more sinister and suspenseful aspects of the plot. In the chase to escape from Howard, Michelle is flooded with shadows and darkness as she crawls through the air ducts to reach an air filtration system room with a door leading to the outside world. The unpredictability of Howard catching up to her already triggers a thrilling sensation within the audience, causing their hearts to race with adrenaline. Along with the action, Trachtenberg enhances these emotions of fear by dimly lighting the film sequence in order to generate apprehension towards the uncertainties held within the shadows. As Michelle frantically manages to break open the door, low-key lighting continues to add intensity to the still shot of her standing in the darkness of the night outside the bunker. This holds the viewer in their seats and encourages them to glance around at the corners of the screen, anticipating a jump scare to come out of the shadows. Though previous scenes have been flooded with light, Trachtenberg’s use of darkly lit scenes presents a stark contrast, creating suspenseful tones that impose feelings of fear and adrenaline on viewers and making the film out to be incredibly
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
Darkness is one of the main themes in this scene. She said, and brought in cloudy night. immediately. I will be able to do so. Spread thy curtains, love performing night', this.
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
In Emma Goldman’s “Prisons: A Social Crime and Failure,” we discover what Goldman believes to be the negative aspects of prison systems as well as how and why changes should be made for the greater good. In Goldman’s essay, she discusses the failures of prisons as well as calls for a change in the way the prison system operates and handles the prisoners. First, the main point that Goldman makes by listing and explaining the main causes of why prisoners have committed their crimes is that we have always been so quick to blame the criminals
Gresham M. Sykes describes the society of captives from the inmates’ point of view. Sykes acknowledges the fact that his observations are generalizations but he feels that most inmates can agree on feelings of deprivation and frustration. As he sketches the development of physical punishment towards psychological punishment, Sykes follows that both have an enormous effect on the inmate and do not differ greatly in their cruelty.
Most prisoners that are in prison now are more than likely to be free one day where some will spend the rest of their living life there. When they enter into the prison system, they lose more than just being able to wear what they want. They even lose more than just their civil liberties. Gresham Sykes was the first to outline these major deprivations that prisoners go through in his book The Society of Captives. His five major pains, which he calls “pains of imprisonment”, were loss of liberty, loss of autonomy, loss of security, deprivation of heterosexual relationships, and deprivation of goods and services. Matthew Robinson adds onto Sykes’ five pains with three more of his own. His additional pains are loss of voting rights, loss of dignity,
The correctional system is based on helping offenders become part of society and not commit any crimes. Many prisons begin the correcting criminals since they are inside the jails, but many prisons do not. Prisons provide prisoners with jobs inside the prison where they get very little pay close to nothing and many have programs that will help them advance their education or get their high school diploma. There are various programs prisons provide to prisoners to help them get a job or have a skill when they are released from prison. In contrast, prisons that do not provide programs or help to prisoners rehabilitate and enter society again will be more likely to commit another crime and go back to jail. The Shawshank Redemption prison did not
Meshes of the Afternoon by Maya Deren is one of the most intriguing and significant experimental films of the 1940’s. Maya Deren is a surrealist experimental filmmaker who explores themes like yearning, obsession, loss and mortality in her films. In Meshes of the Afternoon, Maya Deren is highly influenced by Sigmund Freud’s theory of expressing the realms of the subconscious mind through a dream. Meshes of the Afternoon, is a narration of her own experience with the subconscious mind that draws the viewers to experience the events being played out rather than just merely showing the film. I chose Maya Deren for my research because her intriguing sense gives viewers an enthralling experience by taking them to a different, semi-real world of the subconscious mind. Meshes of the Afternoon not only reveals Deren’s success in a male dominant arena, but also provides a sensational and escalating experience for the spectators.
On her way through the moor, she passes two large rocks which tower over Emily Bronte, and elicit the idea she is vulnerable and insignificant. It shortly changes to a medium shot at eye level to show her facial expression of determination, this suggests that she knows where she is going and she may have been there before. It also creates the impression that she is slowly being revealed to the audience, and that they are equal to the character because they are on the same level. Natural shadows cover some of her face This low key lighting is effective because she is covered still partly, so it is suspicious.
Where do dreams come from? Heaven? From the metaphorical corners of an individual’s heart? Perhaps both or neither, but in Hugo, a character named Georges Méliès opens his arms to his movie set and expresses jubilantly to “look around. This is where they’re made.” Hugo, an action-packed masterpiece directed by the all-time famous Martin Scorsese, truly captures the eminence of film history. With a most intricate plot, this film illustrates the art of movie-making, and further teaches an important life lesson regarding every individual in the existence of humanity. Flawless in all aspects of content, quality of filmmaking, and success in portraying the significant message intended for the viewers, Hugo makes its mark as a legend in the world
We stepped off the large tour boat with a look of fright in both our eyes. Some joy was there, but knowing what went on in this place made us feel the way we did. To me, Alcatraz didn't really look like a shut down prison at that moment. It looked more like an old worn down cemetery. The paint on most of the buildings was chipped off all the way down to the wood. Most of the buildings had collapsed down to some cement foundations and old rusted poles hanging every other way. As we walked to the building where you start your tour, that was probably the only building at this place with cleanliness to it. They gave us our tour headphones, which take you through the whole prison with a audio guide telling you how it was in the prison. Not just how it was for the prisoners, but how it was for the guards too.
The setting of Inception is idiosyncratic for it divides each section of its dream world into distinct sceneries to help the audience differentiate location and tone. Cinematographer Wally Pfister designed the film’s location with diverse color hues and modern decor. Each dream level portrays an exclusive appearance from cool blue mountain peaks to warmly lit hotel floors. This separates the worlds allowing the audience to appreciate each setting in its entirety. Likewise, these settings provide insight into the tone of the narrative structure. The film exhibits expansive, sleek dream environments to contrast with angular, warmly lit locations paralleling a contemporary psychological thriller with science-fiction. The pressure for Cobb to complete his mission progresses from the tonality of each setting in v...
... music is played as a hypnotising music into the silence and beauty of the night. Similarly, these two scenes use the same style of cinematography in filming the unreality. Long shots and extreme long shots are commonly used allowing the audiences to get a big picture of the fantasy and get indulged in the imaginary world. The simplest yet appropriate costumes and make-up are applied to reflect the pure intentions insisted by the characters and their genuine expressions in their fantasy. Both of the films selected have different or similar filming techniques in depicting the characters’ fantasy world, but they consist of the same meaning of creating the fantasy diegesis: that is the portrayal of desire, happiness, innocence and pursuit of dream.
We have been taught that we should always follow our priorities, whether it is dealing with jobs, families, education, or faith. Ethical egoism teaches us that if our interests are any one these or something else, we should put it first because these are our values. But how far should we go in protecting our values? Is there a limit of how they should be protected? Am I doing what’s best for my priorities or for me? Although we should protect our values, there needs to be a limit and a focus of how I should protect my values with the best intentions. The film, Prisoners, presents this moral dilemma of torture through the characters’ decisions and emotions.