According to Bill Nichols, the poetic mode of documentary moves away from the "objective" reality of a given situation or people to grasp at an inner "truth" that can only be grasped by poetical manipulation and emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization favours mood, tone and texture. Poetic mode very accurately applies to James Marsh production, Man on Wire that contains elements of lyric poetry such as emotional intensities, musical qualities, religious aspects, and aesthetic facet. Man on Wire prioritizes the emotional aspect of the story that was conveyed through both Philippe and his friends. Philippe expressed his thrill and
Film Comparisons: Same cinematography, Matured Purposes As you can see, once the director’s general objectives have been put side by side, it becomes clear that there is a relationship. The most apparent connection would obviously be the books because the plot lines are continuous and intertwine. However, it seems that their influence may artistically be overlooked and is interesting to see how the same cinematic element can be used for opposing purposes. The Prisoner of Azkaban vs. The Deathly Hallows: Part 1 As mentioned before, the main link between the third and seventh film is the focus on environment.
Modernist poetry is the affirmed break from the traditional literary subjects, styles, etc., specifically the nineteenth century Romantics and symbolist precursors. The modernists valued the construction of the literacy styles they sought to transform. An example of these literacy subjects is compressed lyrics that would be used in a foreign verse. Additionally, modernist poetry had the ideals of being marked by free verses and symbolism that contained visual creations. Along with their ideals and values, modernist poets believed the late nineteenth century and early twentieth century poets had the ability to reinvent a language based on a variety of personal experiences.
The theme dehumanization can be seen in different types of forms for example novel, poetry, art, etc. I will be using the novel, All Quiet on the Western Front, poetry, The Rear-Guard and I will be using a painting, Bathers with a Turtle that was painted by Matisse in 1907. The dehumanizing art is mostly used to trigger familiar emotions and feelings, and this is really the abiding subject of the viewer’s delight. This art is used as a narcotic way that allows us to enjoy what we are most familiar with, our own emotions. Gasset said: “Tears high noon of the intellect”.
Within this essay I’m going to discuss the history of the French Impressionism movement and further my discussion on this topic by focusing on two different sources, my first source of David Bordwell and Kristin Thompson discusses the art movement in Film Art: An Introduction and secondly, in the Mists of Regret: Culture and Sensibility in Classic French Films by Dudley Andrews. The art movement of French impressionism founded by artists within Paris during the early 1860’s. While the primary form of impressionism was presented through open air paintings, it was such a success it continued to impact on other platforms of art, particularly film after the First World War, filmmakers used impressionism to expose the psychological depth of what
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. Self-reflexivity is employed in Romeo + Juliet by immediately drawing attention to the fact that the film is represented as a news report rather than the original format of a Shakespearean play.
The three films revolve around the journey of a search, death and loss. Khemir incorporates music as a foundation for his films, Bab’Aziz for instance conveyed the dramatic mystical to its audience through the infusion of Sufi music. Khemir comments in an interview that not only does he rely on music heavily for conveying the movie’s message but also place. He explains why the desert trilogy was set with a desert manifestation, believing a certain beauty that could only be achieved by filming in a desert. He mentions a Tuareg proverb that claims: “There are lands that are full of water for the well-being of the body, and lands that are full of sand for the well-being of the soul.” (Trilogy 1) (http://www.spiritualityandpractice.com/films/features/view/17822)
In The Great Gatsby, Baz Luhrman has reinvigorated the 1925 classic novel by introducing many modern filming technology such as lighting and colour; sound and music and editing. While Joe Wright has attempted to do the complete opposite by taking the modern novel, Atonement ,and attempting to recreate the harsh reality of the past by using the same filmic techniques as Baz Luhrman. However Joe Wright is more successful in recreating the past and showing the harsh realities of the era in Atonement. The lighting in The Great Gatsby tends to be theatrical and illuminates the characters by bringing the focus on them and not on the background. An example of this would be when we are introduced to daisy for the first time, she is the focus of attention and is given almost a dreamlike quality by using soft lighting.
the authenticity, authority, originality, uniqueness – of the world of art, thus bringing about a ‘liquidation of the traditional value of the cultural heritage (Aragay, 12).’ However the basic and official critical models of literary film adaptation are all formulated on the film’s degree of fidelity to the literary text (Elliott, 220). The attitude towards this issue of textual fidelity has undergone a remarkable transition from the time when Geoffrey Wagner’s three models of adaption valued and ranked adaptations according their degree of infidelity to the original. Narratologist Brian McFarlane critiques this very same ‘fidelity pre-occupation’ as a ‘near-fixation’, ‘unilluminating’ and a ‘doomed enterprise.’
Also, his long journey with his disciple Kawai Sora impacted his poetry. As was already stated, Saigyō was Matsuo Basho’s poetic hero and Basho went on a very similar journey to his. He visited various different shrines and temples along the way. For example, Basho and Sora went to see ruins from the Heian period in Hiraizumi. These ruins were an important government checkpoint that was abandoned during the Heian period.
Style Analysis Words of poetry come from deeper meaning, they come from experience. Personal stories have greater connections with readers because they themselves have also sought through their own experiences. In the short story “There will come soft rains” by Ray Bradbury, he uses elements of imagery,details, and syntax to illustrate to his readers the image he pictures in his head. Throughout the passage, Bradbury’s style of diction is charming and abrupt. He creates a playful tone towards the harsh environment described in the short story.
Like any Hitchcock film, where a cameo by the director is a traditional quirk, so too Nabokov appears in the pages through his multiple narrators. Left alone, the poem belongs to Shade, but it changes in context through Kinbote’s translation. Further, the latter includes an internal focalization that often betrays Kinbote’s self-importance – he places much more of himself within the lines of the poem, and perhaps more so than Shade had ever intended. Kinbote’s voice cancels out Shade’s, but does Nabokov negate Kinbote’s? Perhaps this is Nabokov’s main point.