Storyboard depiction of Cities and Memories
The storyboard depicts Italo Calvino’s telling of the city of Isidora, found in his book, Invisible Cities. The story is based on an old man who ventures back in time to visit the places in his memory that fulfilled his life’s desires. Through the use of the design elements, such as time, movement, hierarchy, and positive/negative space, the board leads the reader into the retelling of Weaver’s adventurous tale of this man’s greatest memories.
In the first slide, the old man has been rendered into the frame with a thought bubble that leads to the reminiscing of an adventure. Calvino tells of the “…[R]ide through wild regions…,” which began his journey to the city, and is the story behind the first slide. With the help of color and placement, hierarchy has been established for the old man to attract the reader’s attention and to drive them
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Calvino writes: “…[W]here perfect telescopes and violins are made...,” which I interpreted as a place where all a child’s desires of toys that are perfectly made can be fulfilled. The toy store is the first background that is given a higher hierarchy, with a full image of duller color. This is meant to show the vividness of the memories and the vibrancy of the store. The next level of hierarchy is the young boy. He is given full color and the colors are the most dominant in the frame.
Next, the fourth slide depicts the telling of the “the foreigner who hesitates between two women but encounters a third.” This frame employs color to establish a higher level of importance for the foreigner, who is dressed as a cowboy, and the French woman, who is ultimately the third. The lower level of hierarchy, which is in black and white, is the two women, the server, and their surroundings. This level also reveals clues to the misplacement of the cowboy’s
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
Another element of art used to guide the viewer through the artwork is movement. Both Caron and Albani use different scenes with different people who seem to have nothing in common with one another to come together and create a focal point for their paintings. In Augustus and the Sibyl, The people on the top of the stairway towards the left seem to be moving in the direc...
When looking at the painting it gives us a glimpse of the past. It looks almost like a photograph. The fine detail from the building on the right with the statue on top. The citizens walking around.
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
In Helena Maria Viramontes’ “Cariboo Cafe” she reveals three different experiences her characters face that deals with the nature of fear by describing the domination of foreigners. There is a clash between culture and race throughout the three sections of stories by describing vulnerability through the trauma of two fearful siblings walking on their own through their dangerous environment, discovering the cook’s true personal identity, and endless fight of a mother who loses her child from authority that abuses their power.
Imagine, for a moment, Marian Forrester in her kitchen preparing a tray for tea. As she works, her mind wanders to the letter she received in the post today from Frank Ellinger. "It's been too long since Frank has been out from Denver," she thinks as she glances out the window across the meadow, half expecting to see his form approaching. Instead, she sees in the distance an exotic form, a Spanish maiden, and in a cloud of dust a soldier approaches her.
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. The first element of mise-en-scene to be discussed is setting. In general, this is a very simple comparison. In the red hued scenes, Lola and Manni are in a private place that appears to be a bedroom. The only thing shown in the scene is them lying on a bed.
Strangers on a Train is one of Hitchcock’s most well-known films. It is typically analyzed in terms of the ways that the two main male characters interact. According to many film critics, homosexual attraction between Bruno and Guy is one of the premises of the film. This may be the case, however, many of these film critics fail to consider the minor characters of the film: the women. Specifically, they fail to analyze the influence of these women on the development of the male characters and to interpret the message Hitchcock is trying to portray about women, especially those with qualities typically not associated with women.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
Gloria Naylor creates a peaceful place called Bailey’s café in her book, where people can find their confidence and release their stress. Bailey and his wife, Nadine, are the owners of the cafe, and Bailey is also the most important narrator in the book. By running the cafe, Bailey meets a lot of different customers who share some common but have particular life experiences. Some of the customers are white, while most of them are “colored people”, the same as Bailey. Through describing various stories from those customers who come and visit Bailey’s cafe, Naylor guides the readers to think more deeply about gender instead of ethnicity when we can see how different a male and female is treated in such a society.
..., the broader feel of the scene. He wants us to take in the entirety of the painting but have a moment to catch the individual scenes within it, like the couple dancing, the man in the corner rolling his cigar, or the women in the front talking to the man. We do get places where our eyes can rest, but in general your eye takes in the swirl of modern life and pleasure.
Barr fails in his book to expand upon artistic mise-en-scene decisions, and how these deliberate actions reflect and strengthen the obsessiveness so prominent in the film. However, color and hue, large thematic indicators, are apparent from the first opening shot. An extreme close up of a woman with a color of a deep, lusty red tinted lip immediately makes the audience associate the female with sexual lust and desire. Audiences see this continuation of a prominent red motif through the whole movie, beginning with the almost overpowering walls of Ernie’s, and the contrast of the walls of the restaurant to the green shawl that Madeleine wears over her shoulders. While others wear dull and muted colors, both Scottie and the audience realize the difference between Madeleine and the ensemble of people present. All focus lands on one woman, who unbeknownst to both her and Scottie, will fall prey to Scottie’s obsessive passion and desire. Ironically, red symbolizes a danger and warning that the audience and Scottie ignore immediately. Both audience members and Scottie disregard the outstanding message, wanting to pursue the passionate “thrill of the chase” of a beautiful platinum
The representation of the new age of exploration, which serves as an allusion to man’s potential, is starkly contrasted with the depiction of Icarus that serves as an allegory for man’s limits, indicating the shift from a euro-centric universe. This painting is an oil canvas landscape of the sun setting on the horizon of the ocean sea, while the ships were sailing through the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman, showing the increasing artistic methods that begin to be utilized.
As in the beginning of preface he starts with the tragic death scene of Louis Sullivan who was a contributing personality in the city’s development. He describes the old man who was drunk and in comma. He was suffering from kidney disorder, laying on the floor under the light of the bulb while the life in the city went on (Dyja). The author uses the strategy of this visual description to take the readers back in the 20th century. In addition Dyja uses imagery when he describes the life of a regular guy. As he states, “A house and a lawn in a parish full of your kind of people; kids safe and in line, and same with the wife; your nose out of other people’s business and theirs out of yours” (xxvii). This description of the events walks us back to the past. It makes us imagine how ordinary people lived their daily lives. The strategy of imagery helps the reader to imagine the past and makes them realize how Chicago contributed towards the American