Cinema Devices In Face It

Wings of Desire contains the fundamentals of magical realism to specific details that no likes other films before, or since has managed to accomplish. While simply containing such traits does not automatically make a film superior, Wings of Desire works as a result of these magical realist traits to better illustrate the grander ideas at hand. In the following paragraphs, an investigation and explanation of the magical realism in Wings of Desire will fall into two distinct categories, namely, the technical detail (cinematography, direction, sound and setting), and the narrative detail. As stated before, one of the primary foundations of magical realist art was the changing of perception regarding objects, to see them in a new light. Film can achieve the same target, although it has to work within the added dimension of time and the qualities of actual movement, something that painted art did not.

With the actors and the film choices, these helped diversified messages to dip into the film. Even though the film was mainly focused on the Prospera’s revenge and reconciliation, Taymor also brilliantly convey other small themes to the audiences as the tools to carry out the film. Such as the magic, which Prospera an Ariel tormented Antonio’s group, and the love with Ferdinand and Miranda, which lead to comprise with Alonso and Prospera. Furthermore, Taymor expressed usurpation, and treachery of Caliban and Alonso’s servant in a more absurd way than the original play, which I think it was one of Taymor’s dramatic choices in the film. Whereas “Much ado about nothing” is totally explicated in comedy, and love, albeit some treachery, reconciliation are in the film.

It is also necessary to define cinematic aspects that contribute to perceptions of time and space, specifically referring to postmodern cinema. Postmodern cinema and attributes such as hyperreality, simulations, as well as ideas prior to the postmodern era of film such as mise-en- scene, are important when analyzing perception, geographical space in film, landscape, space and time. Geographical space and landscape have a tremendous effect on the storyline of the film as well the viewers perception of a what is real and what if fake, in terms of geography. 3 1 Liminal space in terms of hyperreality is a state of becoming, however, never really existing. 2 Virilio’s Vision Machine speaks of film, media and images that replace what it perceived to be real.

Lakoff and Johnson also note that metaphors may differ from culture to culture but argue that they are not arbitrary, being derived initially from our physical, social and cultural experience, whereas metonymy is a function which includes using one signified to stand for another signified which is directly or closely associated with it. Moreover, metonyms are based on various indexical relationships between signifieds, notably the replacement of effect for cause. When compared with metaphors, metonyms may be visual as well as verbal. In film, which Jakobson regarded as a basically metonymic medium, 'metonymy can be applied to an object that is visibly present but which represents another object or subject to which it is related but which is absent ' (Hayward, 1996).The indexicality of metonyms also tends to propose that they are 'directly connected to ' reality in contrast to the mere iconicity or symbolism of metaphor. TV Chandran has predominately used metonyms to bestow a 'grounded experience ' to the viewers by visualizing the protagonists’ anguish, fear, worries, fantastical liberation, mental agony and stereotypical lives in experiencing alienation than metaphors as they usually involve direct associations (Lakoff & Johnson 1980).

It was captivating how the film has transformed lives and how it imparts a provoking thought to

The aim of this paper is to analyse this situation and to examine whether or not the absence of ‘right’ and ‘wrong’ actually makes a difference when emotions come into play. With the passage of time, people have come to develop further understanding of the abstract, unquantifiable forces that are ‘emotions’. Furthermore, as the knowledge about emotions has blended with morality, artists have increasingly expressed their thoughts on emotions through their media. More specifically, in the genre of movies, lit-erature, and video games, the paradigms have evolved to depict morality in a much more human manner. An example that has really stood out in this respect recently is the video game ‘The Last of Us’.

In the film, Rear Window, the director uses, panning shots, perspective shots, and framing to illustrate being aware to surroundings help the understanding of life. To know about the surrounding events will prevent blindsides that life decides to throw, and so the possible opportunities won't go unnoticed. The use of panning shots from the character's perspective portrays the “big picture” and knowing how all the little pieces fit into the big scheme of life. The perspective shots give a more detailed and personal perspective of what is currently being focused on, and sometimes tunnel visioned occurs where a narrow path restricts the vision of the big picture. Framing also contributes to the focus on the finer details on different aspects of

Therefore, chiaroscuro in drawing takes part in storyboarding for film and television to consider in detail how the lights and shadows should look

By means of such comparison it can be significantly demonstrated that the film language is just a mode of representation as well as transmission. It

Organizational behavior helps to understand and predict behavior of the people and helps to improve relations between management and employees. Concepts of OB in Movie Movies just not only provide an entertainment, sometimes it is also provide some beautiful concepts and ideas. In the same way in my project movie “The Pursuit to Happyness” also have very beautiful and great concepts and ideas that I like to discuss here.

In Marlon Riggs’ 1992 documentary film titled Color Adjustment, Riggs, the Emmy winning producer of Ethnic Notions, continues his studies of prejudice in television. The documentary film looks at the years between 1948 and 1988 to analyze how over a 40 year period, race relations are viewed through the lens of prime time entertainment. The film examined many of television’s stereotypes and mythes and how they changed over the years. The one hour and twenty-two minute documentary is narrated by Ruby Dee, the American actress, poet, playwright, screenwriter, journalist, and civil rights activist.

Film makers continue to misrepresent African-Americans in movies depicting them as characters, such as the brash women, domestic workers, thugs, and the “magical negro”. The brash African American women is depicted as being rude and having an attitude towards people in her immediate surrounding. The brash women in depicted as being loud mouth and not caring for what other people might think of her. These images are bad since people who do not live in close to the African-American community could stereotype and assume that all African American women act with a brash personality. Surprisingly, many of the films that includes the brash stereotype is found in African American film maker Tyler Perry.