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Analysis of The Waste Land
Analysis of The Waste Land
Analysis of The Waste Land
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In the shortstop film "Wasteland (2010)", Vik Muniz figuratively describes his adventure to Rio de Janiero as Christ-like model to redeem the catadores. Catadores are garbage pickers that live in a waste land called Jardim Gramacho. Vik Muniz trip to Jardim Gramacho was to intentionally help and redeem the catadores from their ventures. Throughout the film, Vik Muniz uses a point of view of the Christ the redeemer statue to show the audience and the other characters that being behind him will grant you salvation. By utilizing this perspective, Vik Muniz is able to portray the meaning of the film, symbolize freedom and redemption to the catadores and embrace the true meaning of beauty. Early in the fact-filled film, Waste Land, a helicopter hauls the audience around Christ the Redeemer, a white statue soaring over Rio de Janerio, with his arms stretch out supporting the wealthy side of the city. Behind the statue, we originate into the world's sizeable landfill- Jardim Gramacho. Vik Muniz, Brazil-born artist, decided that he is taking time off from the liberal arts world and go to Rio de Janeiro and avail the people that is struggling. “It’s a very exclusive, …show more content…
Vik Muniz employ the perspective by seeing the wasteland and the catadores as a beautiful, majestic art. Muniz tells the audience that he seen an imaginary painting from the catadores when he take a step back. From a distance, the catadores looked homogeneous to ants. Once we lean in, we can discover elegant personalities and illuminate smiles in a broad of smells and scars. In the film, Waste Land, Vik Muniz and his colleague friends brought all that individuals conceal out into the light to divulge its true value such as plastic bottles, boxes and human beings. As Muniz states in the film, “Then they lean in and everything vanishes…and becomes paint. They see the material. Then they move away… and see the image beauty” (Waste
This film captures this class distinction without subduing the atmosphere through the use of a variety of cinematic devices. “A good film is not a bag of cinematic devices but the embodiment, through devices, of a vision, an underlying theme” (Barnett, 274). The audience can see this theme of the realities of the oppression, poverty and despair of this time period through the use of the things mentioned, but also through the character development that is driven by the character’s hopelessness. Each of the characters associated with the lower class is motivated by the conditions, which are viewed through the cinematic devices mentioned above: color, spherical lenses, long shots, and high angle shots. Sources Cited:.
I observed a very unique series of photographs by Vik Muniz called Seeing is Believing. Vik Muniz’s images are not simply photography but are pictures of complicated pieces of art he has produced at earlier times. Utilizing an array of unorthodox materials including granulated sugar, chocolate syrup, sewing thread, cotton, wire, and soil Muniz first creates an image, sculpturally manipulates it and then photographs it. Muniz’s pictures include portraits, landscapes, x-rays, and historical images.
Ozick's use of symbolism is very important to the story. The author uses symbolism abundantly to help the reader envision the setting. In the beginning of the story, Ozick refers to the baby Magda as, "someone who is already a floating angel" (Jacobs 299). Ozick refers to Magda as an angel throughout the story, "smooth feathers of hair nearly as yellow as the Star sewn into Rosa's coat" (Jacobs 300). Other symbolism within the story, talks of the shawl as the "milk of linen" (Jacobs 300). Beyond the concentration camp, outside of the steel fence, "there were green meadows speckled with dandelions and deep-colored violets: beyond them even father, innocent tiger lilies, tall, lifting their orange bonnets" (Jacobs 301). Past the steel fence was beauty or maybe heaven., but not the poor conditions of the death camp.
Tiaò and Magna are only two examples. Many of the other catadores gained a sense of self-worth and potential from Muniz’s presence. The work Muniz was doing assisted in the catadores translation of worth. After working with Muniz, they knew they were worth more than the disgusted looks someone gave them while on the bus. The catadores came to realize that they themselves define their self-worth, and with that self-worth, comes the potential to better their
...survival. Cabeza de Vaca cannot thank God enough for carrying him through the terrible times that he and the few remaining Spaniards went through as captives of the Indians. He feels a sort of accomplishment for making it through and comes out with a better appreciation for life. After experiencing what it was like to have been an Indian and a slave, and after being on the verge of death several times, the fact that Cabeza de Vaca was able to keep his composure and take each day at a time is astonishing. Of course, like a worthy Christian, Cabeza de Vaca gives God all of the credit in the world for his survival and success. However, it is Cabeza de Vaca’s faith in himself and determination that allow him to survive and go through the changes that he makes. It is almost a riches to rags, and back to riches story. However, the riches at the outcome of the expedition are far different from the riches going in. These new riches are not measured in gold or land, but in the appreciation for human life and the struggle for survival which made a better man out of him.
In this image, a sewage worker is seen cleaning the drainage system, with his bear hands, without the use of either any equipment’s or protection. On the first glace, the image depicts the idea of health risk, because the man is exposed to such contaminants, which for him is work. He is looking up from a dirty drain, covered in filth, which shows that he is clearly used as the subject of this image, whom we are engaged to more as he is making eye contact with its viewers. This picture only includes one person into the frame, as the other man’s face isn’t available to see in this picture, which is man that is holding the bucket. Holding a bucket either emphasise the idea that he is helping the sewage worker, either to get the dirt out or to put the dirt in the drainage system.
In Garbage Land: On the Secret Trail of Trash, Elizabeth Royte describes the fate of all the garbage thrown out by people (Royte, 2005). It is a fascinating trail, as she shows a territorial, economic, and ecological perspective of the garbage disposal system. She had visited the Gowanus Canal, a filthy place near her home in Brooklyn when she started questioning herself about garbage.
...tity, Molina when he finds someone who accepts his true identity. In both cases, they find the affirmation that was previously denied to them as a result of an oppressive society. The death here is a death of the self, the repressed self.
The reclusive film director Terrence Malick has to date, only directed a small number of films. His twenty year hiatus between directing Days of Heaven (1978) and The Thin Red Line (1998), may provide the explanation for such a sparse back catalogue. Malick’s refusal to talk with the media, has led to hearsay, as to how he occupied his time during the hiatus. Malick’s directing debut Badlands (1973) is a collection of concepts, all carefully moulded together to create one iconic piece of film. This process draws in and also alienates the audience. Malick’s style is positively noted by critics to be influenced by European philosophy. This is clearly due to Malick’s study of philosophy at Harvard and Magdalen College Oxford. There is no given explanation to the mindless violence featured within the film, mainly due to the films resistance to the straight forward approach. The familiar and the unknown are carefully merged together. The only way of gaining an understanding into the hidden meanings within Badlands is by breaking down the film, by looking at the characters, the use of sound, the visual setting and the films genre. The illusionary effect of Malick’s style means that all is not as it seems.
...s of unity in order to bring change to their community. Furthermore, to gains national attention, the Kettleman community produced a short documentary in order to expose the illness and death that the landfill is creating. To extent to which the community created a documentary, reveals the motivation and desperation of the small community to gain public support against a corporate giant such as The Chemical Waste Management. Ultimately, the frustration of the residents can be seen as they consistently express, “Why us?”. While the case of Kettleman City awaits the results of toxic analysis to shows that in fact the facility is causing negative health effects in the community, this case is indicative of how even the smallest communities can bring create change and more importantly it shows that low-income communities are currently opposing waste in their communities.
In his novel Tweed tries to give us an understanding of religion through the observation of the Cuban migrants in three ways; movement, relation, and position. (Tweed) Movement in Crossing and Dwelling evokes emotions of both sadness and joy. Joy in the sense that as the Virgin Mother was processed into the shrine and displayed for all to see, it brought tears of joy to the eyes those who witnessed such an event. Tweed also describes movement in terms of “waving handkerchiefs and lifting children” and also by describing to his audience how “Our lady of Charity was an exile who had been forced from her homeland-like almost all of the thousands of devotees” that were present during the procession. The sad aspect of movement is that those who had managed to flee from Cuba recalled the memories they had of their homeland as well as of the loved ones that they had to leave behind. (Tweed) Movement stands for hope and that hope stands for Our Lady of Charity whom the crowd, Tweed observed, believed would save ...
Eliot, T. S., and Michael North. The Waste Land: Authoritative Text, Contexts, Criticism. New York: W.W. Norton, 2001. Print.
Cortázar apparently delights in teasing the reader by interspersing indefinite, seemingly insignificant references to certain topics throughout his text. Confounding matters even further, Cortázar constructs, and then deconstructs, dualities or multiplicities around these same issues. For instance, close scrutiny reveals a constant play between light and dark imagery, and the narrator repeatedly revisits what he perceives as a wavering line distinguishing human qualities from animal characteristics and vice versa.
On the most superficial level, the verbal fragments in The Waste Land emphasize the fragmented condition of the world the poem describes. Partly because it was written in the aftermath of World War I, at a time when Europeans’ sense of security as well as the land itself was in shambles, the poem conveys a sense of disillusionment, confusion, and even despair. The poem’s disjointed structure expresses these emotions better than the rigidity and clarity of more orthodox writing. This is evinced by the following from the section "The Burial of the Dead":