The Visual Re-Creation of Orpheus
Jean Cocteau’s film Orpheus (1949) is an adaptation of the Greek mythological
figure of the same name. The alteration of the story into the visual medium of cinema is
an interesting one. The use of cinematography in the film is creative, and it incorporates
the essence of the myth with Cocteau’s own allegorical imagery. The symbolism of
characters and events accompanied by the use of visual effects create a message that is
uniquely significant.
The special effects are the primary contributor to the distinctive features of
Cocteau’s revision of the literary version. The devices that are incorporated in Orpheus,
such as running the film backwards (the inversion of time) and using the photographic
negative in some environments (inversion of space), function in numerous ways. On the
surface, they add a mystique to the diegetic world that connotes the supernatural and
uncanny nature of the narrative. In a more subtle way, however, they function
psychologically to expose the viewer to the functions and subordinate machinations of
the visual medium. In a way that is unique to the cinema, the special effects disrupt the
pleasant continuity of the viewer. This disjunction is inherent in the ethereal nature of
their circumstances and concomitant with its mythic origin.
The psychological fraction of cinema is the specialty of Jean-Louis Baudry in
Ideological Effects of the Basic Cinematographic Apparatus. He champions the idea that
in order for the ideological infrastructure of a film to be successful, it must abide by
certain filmic rules and not remind the viewer that they are simply witness to a
representation (rather than a presentation, or a reality). The moral of the Orphic myth,
“Don’t look back,” seems to be a historical analog of Baudry’s thesis. The warning itself
applies to both Orpheus and the viewer of the film (“Don’t look at Eurydice”, and “Don’t
look at the apparatus”). In this respect, the message of the Orphic myth is similarly the
message of Cocteau, from a cinematic standpoint. Thus, it is the particular circumstances
of the cinematic medium that multiply the efficacy of Orpheus.
For proof of Cocteau’s intention in creating this meaning, his previous film with
actor Jean Marais serves as the best example. Beauty and the Beast (1946) begins with a
note to the viewer to remain focused on the “Once Upon a Time” mentality while
watching the movie. This preface is another example of the intentional shift of focus
away from the awareness of representation and towards a passive viewing experience.
Later in the film, a mirror speaks to the protagonist: “I am your mirror, Belle.
The intermix of a great literary work into a modern production is not a new concept, but the use of digital enhancement to carry a theme was unheard of prior to the making of this film. Both Director of Photography Roger Deakens, and Business Development Director Sarah Priestnall from Kodak, helped to explain that the digital process used is the modification of the film at the pixel level, in which the film is digitized frame by frame and each frame is color matched to allow for manipulation. The mastering process was done in the film developing...
Films are designed for numerous purposes, some entertain, frighten, enlighten, educate, inspire, and most make us think about the world we live in. This paper will be focused on the cinematic interpretation of the film "Stepping Razor Red X", the Peter Tosh Story. The makers of a film from the writer, director, cinematographer and the art director, design, and conceptualize what they want the viewer to see.
So far, the viewer has been presented with an unnerving sequence of events in Don’t Look Now, and the style of the film helps to project certain emotions onto the audience. We are not able to skip a paragraph or close the book – we have to watch what the characters are watching and only what the director wants us to see. At the same time, we know this is only a movie and is not a depiction of reality. And the projections create yet another alternate reality within the movie. However, the audience can still interact with the medium, because we can turn it off or look away if we find an image too disturbing. But this movie seems to be about gradual build-up, and, as the father said, nothing is what it seems.
The characters in the movie, Black Orpheus, are significantly altered from the Greek myth. In the myth, Orpheus and Eurydice are together from the beginning and are completely in love. Everyone is happy for their love and the only thing that stands in their way is death. In the movie, however, this is notably changed. Orpheus begins as a streetcar conductor that was engaged to Mira, giving the idea that Orpheus was in love with another woman. We quickly see that this is not the case as Orpheus is always very curt and rude with his fiancée. They are slated to get married, but there is an eerie feeling in the air that something is about to go wrong.
...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.
According to historians like Neil Burch, the primitive period of the film industry, at the turn of the 20th century was making films that appealed to their audiences due to the simple story. A non-fiction narrative, single shots a burgeoning sense
...movie that I fell in love with. But most of all I love how the story line is a great overlap into the cinematically engaging movie. There is a great use of camera, timing, shots and story line that are portrayed in this movie without being too overwhelming. This allows the audience to relax during the movie and just take in the scenes as a story from reality. To this day, and even still doing this paper I still come to find different aspects of the movie that I missed the previous times I have watched it.
In final analysis, the motion picture is the one that goes deeper inside the spectator’s mind. The other mediums such as still picture and theatrical play also provide the visual and aural elements for the spectator, yet they seem to be inferior to the motion picture in that they lack the reality, affinity, and creativity in terms of use of time and space. The levels of emotions such as attention, memory, imagination, emotion, and unity, which were introduced by Munsterberg, indicates how the spectator perceives the elements of the film and ends up with it.
In this 21st century, we can definitely say that Cinema has become one of the important and largest facets of our socio-cultural dynamic. For the type of visual communications that we have today, it has turned out to be the most efficient media.
“The biggest mistake we have made is to consider that films are primarily a form of entertainment. The film is the greatest medium since the invention of movable type for exchanging ideas and information, and it is no more at its best in light entertainment than literature is at its best in the light novel.” - Orson Welles
The film’s story does not simply shines forth, but is also the foundation of the plot. The film’s plot makes the traditional guidelines applicable...
It was concluded that in Classical Hollywood Cinema the narrative followed a clear and discernable structure with a distinct beginning, middle and end. Although this type of narrative did have some restrictions it still encompassed the psychology of characters and their objectives, and the inevitable conflict meant to hold the attention of the audience. Continuity editing added to the audiences’ enjoyment of the film and coupled with the attraction of the Hollywood star system they formed a type of cinema that would astonish and capture the rest of the world.
In order to come to a conclusion regarding this question, examination into Orpheus’ life, story, and role must be made. The tale of Orpheus has been retold throughout history, and the critical views and opinions of generations since have changed with the centuries a propos his presence as a figure in Greek mythology. Intellectuals name Orpheus as the son of the Muse Calliope, the patron of epic poetry and fluency (Lindemans 1997). His paternity oft disputed, usually his father is described as either Apollo, god of music and light (Leadbetter 1997), or Oeagrus, a king of Thrace (James 1997). Like some other humans in Greek mythology, Orpheus gods invested with supernatural powers. Lauded as the greatest musician in ancient Greece, Orpheus is said to have charmed the rocks an...
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
...that is strengthened by the use of a narrator, whose changes in tone match the production design revealing an intimate and thought provoking tale.