Midsemester Examination
2. The most memorable non-verbal dialogue in the 1968 film The Thomas Crown Affair, would have to be, I believe, the chess scene. It was all about the connection between Thomas Crown (McQueen) and Vicki Anderson (Dunaway), their silent flirting. It was a sight behold when I saw the film, there were so many emotions being portrayed though a single touch or a subtle glance. The most important type of non-verbal dialogue throughout the film, had to be the body language. A slight twist of the body, when the character was uneasy, or the single glance can set a scene and make a viewer pay attention a specific detail. It is like the age-old magic trick, where the magician flips through a deck quickly and asks the viewer to pick a card. The magician, or in the film’s case – the character, subtly lingers on a certain card for only a millisecond longer, but that millisecond is all that is needed for the viewer’s brain to latch onto whichever card the magician picked out. This is the same in the subtle body language portrayed in The Thomas Crown Affair which causes the viewer to latch onto something even if they don’t realize it.
…show more content…
[a] Boorstin’s “Three Eye Theory” is the theory that the common viewer watches every film three different ways at the same time. These three “eyes” are called the Voyeur’s eye, the Vicarious eye, and the Visceral eye. The Voyeur’s eye is the observation of the film; it is own mind trying to understand and interpret what we see. It is logical and reflective. It “sees” the logic of the film. The Vicarious eye is the emotional hold of the film. It is when we connect to what is shown. The footage evokes an emotional response because what is shown matters deeply to the viewer. The visceral is basically the primal thrill and innate emotion that the film prompts. It evokes our gut
“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).
In this scene, it displays a clear view on how the angle on Victor's face can show the feeling of terror running through his body. This tells us framing and angling of characters is important to trying to figure out their perception on a
Communication in A Wrinkle in Time Communication plays a big role in society, and can be used in many different ways. In Madeleine L’Engles science fiction novel, A Wrinkle in Time, her characters faces the evil red-eyed man. He’s a mysterious man who appears in their journey on the planet Comozotz. They encounter him in a mind battle which the red-eyed man plays mind games with them while the children tries to go against of fight him off. They both argued and tries to distract each other, but the children mostly focuses on not getting mind controlled.
HOMEWORK QUESTION: Explain how the night of the long knives allowed Hitler to consolidate his power in Germany. [8 marks] Success criteria: x2 PEEL paragraphs, explaining x2 different reasons how Hilter gained more power in Germany after June 30 - July 2, 1934. Separate concluding statement summarising what you have written and directly answering the question. The Night of the Long Knives was a crucial event in Hitler's consolidation of power in Germany.
Thomas Jefferson and Niccolo Machiavelli both believe that the actions of the people shape the characteristics of the ruler and define the type of authority that will be held towards the people. Machiavelli, the first great political philosopher of the Renaissance, argues all men are untrustworthy due to their selfish, self-interested and impulsive ways of life in his writing, The Morals of the Prince, and therefore, to keep the people under control the ruler must be prepared to be cruel and instill fear among the people. Opposing Machiavelli is Jefferson. In The Declaration of Independence Jefferson believes people can be trusted since they have the ability to make their own decisions. Whereas Machiavelli supports tyranny, Jefferson believes
Throughout this paper I will be analyzing a few psychology concepts that relate to different scenes that occur in the movie.
As seen, Bertie’s stammering problem could have been solved when he was little, but that was hindered by the lack of moral support and attention from his parents and the nanny. However, the couching skills of the therapist helped him regain confidence in his voice again, an element that was so necessary for him as a king. Moreover, the use of facial expressions, gestures, body language, and exchange of words have helped analyze the feelings and messages of the characters in the
Philosophy in Literature and Films (HS3033) Assignment Sashank K EE11B124 3 November 2014 1 1 An Introduction to Moral Philosophy and some of its Theories Most humans judge the moral consequences of what they and others do. They classify everything as good or bad. Thus, ethical philosophy is a branch of philosophy which is relevant at some level to even laymen, who are not philoso- phers. All of us make moral judgments based on some preconceived or preexist- ing moral principle.
When the film The Sixth Sense, directed by Night Shyamalan debuted in 1999, it mesmerized audiences near and far with its appealing paranormal plot, its deceptive nature and its top-shelf talent from its actors. The film was immensely prosperous and quickly became a cultural phenomenon. However, most casual moviegoers overlooked its underlying philosophical significance. The Sixth Sense is driven by the big questions of life from almost every aspect of philosophy specifically metaphysics and epistemology. In this specific scene Shyamalan relies on subtlety to create a creepy atmosphere of something beyond our ordinary beliefs and understanding.
Kubrick’s 2001: A Space Odyssey is a film largely defined by a split between human visceral drives, and mechanical narrative detachment. The film appears to privilege visceral images (including the psychedelic Stargate scene in the film’s concluding segment, “Jupiter and Beyond the Infinite”) as a means of creating an enigmatic affective experience which prompts immersion in the film. Instead, Kubrick is more concerned with providing a strong visceral experience over narrative meaning, as evidenced in his assertion that the Stargate sequence’s “meaning has to be found on a sort of visceral, psychological level rather than in a specific literal interpretation When considering Kubrick’s 2001: A Space Odyssey, pensive spectatorship is particularly
In “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and
On the one hand, when people misinterpret the body language of the characters, which is supposed to reflect their inner emotions, the consequences are often fatal. For example, regarding the incident of William's death, the confusion that appeared on Justine's face when she was accused with the murder was misinterpreted as a proof of guilt and eventually led to her death. On a similar incident at the Irish island, Victor was almost accused of murder only for misinterpretation of his body language. As he relates that incident with the mention of fingers on the Henry's corpse he says: "I remembered the murder of my brother and felt myself extremely agitated [...]. The magistrate observed me with a keen eye and of course drew an unfavorable augury from my manner".
As Kubrick (1968) himself put it: “I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
As per Freund, “becoming immersed in a film detaches the viewer from it and that, as a result, the viewer comes to resemble a reflection in a mirror looking back at its facing admirer” (Freund, The Eye in the Object