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Sofia Coppola's Lost In Translation

1518 Words7 Pages

Name: Rachael D’cunha
Class: TYBA
Roll No: 171
UID: 131501

Reading the city as depicted in
“Our appreciation reaches beyond pristine nature to our more mundane surroundings: the solitude of a neighbourhood park on a rainy evening, the chaos of a bustling morning marketplace, the view from the road” -Allen Carlson.
Introduction:
The power of the concept of ‘place’ in relation to humankind is commonly accepted by social commentators, philosophers and psychologists. Films not only present places as a backdrop to the action, but also, as characters of the narrative, which provides a level of emotional attachment for the viewer, especially when the setting is essential to the story. Filmic landscapes become landscapes of the mind giving in representations of viewer’s values and …show more content…

The viewer and the protagonist in the texts bring out strong emotional responses. While urban spaces have always been in numerous movies, rural landscapes have taken a centre stage in movies. These landscapes play an powerful role in the narrative and the hostile environment takes an active role in becoming a primary character.
Sofia Coppola’s Lost in Translation (2003) is filled with familiar signifiers for an unfamiliar Japan: streets filled with neon pictographs, pop-star hipsters with multicoloured hair sporting synthetic fashions. Well known for its comedy the film from its western audience. The movie does not represent Tokyo impartially rather every image has a fresh quality of a first impression. The subject is not Tokyo itself but the western perception of Tokyo that is the story of two lonely Americans who aim onto the city and its people. In the movie

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