Jindabyne utilises conventions and ideas from the drama genre to communicate these central themes exploring the film 's significance in the context of Australia as a post-colonial society. Through symbols, Lawrence examines the damaging effects of deceit on relationships, while also demonstrating the unforgiving consequences that division and distrust has on the white and indigenous community. The film opens with a close-up shot of barbed wire, a symbol connoting the division of land. The close-up shot combined with a haunting melody reinforces the town’s hostility and the deceit between the characters, evoking feelings of unease within the audience. Furthermore, Lawrence highlights the dominance of Gregory and the man-made ‘powerlines’, symbolic of a higher ‘power’, through low-angled shots, provoking viewers to question White Australia’s dominance over indigenous land.
Both characters hold a level of insecurity and self-doubt towards their literary and romantic lives. As much as Jake hates to admit it, he and Robert are very much alike in nature, the latter just serves as an exaggeration of their common traits. This sets the stage for novel’s cynical disposition and foreshadows the betrayal of friendship that repeatedly occurs in the
She is then ridiculed when she walks up to the jock who supposedly wrote the note to her by his hysterical laughter when reading “his” note. This shapes our feelings about her thinking of her as an outrageous character, however she is not the only one with a “dark” character. Jason Dean is perceived as the mysterious new kid and only later in the film do we find out that black coat, black hair and smirks boy is more dangerous than we thought. Jason’s persona is distinguished as dangerous when he pulls out a gun in school and
This unavoidable conflict between who Jason is and who he 's is supposed to be, is what drives his struggle in the novel, a struggle only perpetuated by his male “superiors”. It is only with close connection to, and wisdom from, female characters that Jason is able to eventually clarify himself and make his “One-You” clear. While the men of the story, like Mr. Nixon and Uncle Brian, focus purely on achievement and success, women look at Jason from a more balance perspective. It is Mme. C, for example, that first verbalizes the conflict that Jason carries within himself.
This feature was able convey the message to the audience very effectively for example; the scene in which the officer is pointing towards the camera “You will not laugh, you will not cry” is sending a message of control and dominance. The director was able to position the shot from a below the eye-level shot, in which the camera is placed below, from the trainees perspective. This shot was an important element for control, dominance, and shows the Sargent being very superior. Secondly, the editing of this film was very progressive, and starts to build up towards the end. In addition, the framing of most of the shots was mostly track in and track out, primarily to focus on the subject.
GENRE/ STYLE ASSIGNMENT Action movies are more appealing to certain demographic distributions. Bourne Ultimatum is ideally based on fantasy, and the audiences are tipped to identify with the unbelievably capable and original actor, and it seems so realistic that it only enhances the same fantasy. Even though Pamela Landy and Nicky Parsons are represented as the guardian of morals in the movie, this genre almost invariably represents females as not powerful. Paul Greengrass, the director, enjoys the interpretive shots that seem to overwhelm the composition. Since the composition doesn’t have to be perfect, the interior lightings can be somewhat green as opposed to being fluorescent.
The majority of movies he produces is Horror and he uses that lighting to give off a feel of suspense and anticipation. The darkness may be creepy because you don't know all of what's there. Tim burton uses low key lighting in his movies, for example in Edward Scissorhands when Edward was in the corner of the mansion when Peg came in you couldn't really see him because he used low key lighting to give off that feel of not knowing what or who is in the room.
In his film documentary “5 Broken Cameras,” Film producer, Burnat is often close enough to visually see specific details, such as the whites of their eyes as individuals on both sides of the conflict engage in chaos. He is pushed around, physically hit; he can smell the tear gas, feel the percussion grenades and even has his camera broken from the aggression of the Israeli Soldiers. In the movie, 5 Broken Cameras Burnat is a simple farmer documenting his life experiences, through the film, as he watches his land taken away. But he is not alone in his filming, viewers of this documentary will note other individuals like the “press” as identified by their neon vest. Other supporters, from different nationalities, Americans, can also be seen documenting the daily events of aggressive and hostile Israeli Soldiers lashing out at peaceful, unarmed Palestinian protestors and innocent
With as serious a face as Newman and Redford, terrific actors with mastery of subtlety, they were so fine tuned that they can speak seriously, sarcastically, or ironically with the same face, and we know which they mean just from their tone or body language alone. But they aren't the only necessary piece in making this a classic. There's also the beautiful look of the film, from Hill's use of lush locales and romanticized vistas, to Conrad Hall's cinematography, which makes the West as real as if we were actually there. The film gives us moments to admire the scenery, which is every bit as enjoyable as the scenes with dialogue or music. Of course, the vision and style provides most of the memorable scenes, from the grandiose of the bike riding montage, to the boldness of the western-style, making this enjoyable just through sheer quirkiness, but it works through and through.
After a brief interaction between Bruce and Rachel, once again a tracking shot is seen, this time following Bruce’s movements. Visually, Nolan as already established a sense of confusion as the viewer struggles to keep their focus on any one character, and that is all that the scene has accomplished - conveying Rachel’s innocent confusion by instigating a similar emotion in the viewer. However, it is the score which moulds this confusion into a sense of tension. The gradual crescendo leaves the pattern unresolved as the notes do not move from D and F. Thus, an expectance of change in sound is created, which in turn influences the viewer to expect a visual change as well. However, there is still no resolution.