I’ve touched on it several times so far, but the use of shadows in *Out of the Past* stands out as a defining cinematic device from Jacques Tourneur. Obviously, shadows are ingrained in the fiber of any film noir. Deep focus, low key lighting, and expressionistic compositions are standard. But Tourneur goes above and beyond with his use of shadows. He creates beautiful compositions, but more importantly, he uses shadows to define and redefine the mood, and to tell the story.
Tim Burton’s distinct style became evident in his very first films and stayed clear in his later film, while the plot of Burton’s films vary greatly his style stays pronounced. This can be seen across his many movies from Charlie and the Chocolate Factory, Edward Scissorhands, “Vincent”, and “Frankenweenie”. In all of these films his distinct style is developed through the use of a strong contrast of high and low key lighting to show contrast between characters and circumstances, a recurring motif of mobs antagonizing the antagonist, and the frequent use of shot reverse shots to show the development of the relationship between the outsider and the people on the inside. With the use of a contrast between high and low-key lighting, a recurring mob motif, and the use of shot-reverse-shots Tim Burton develops his hopelessly bleak style. One of the most evident cinematic techniques that Tim Burton uses to develop his hopelessly bleak style is the use of a strong contrast of high and low-key lighting or colors.
As he sits there looking out the window for countless hours he is no longer interested in just his personal life but those around him. When observing even closer I realized that there is an explanation to the obsession Jeff has with looking out of the window. It is not directly stated in the film but when looking at the sorrroundings Jeff is surrounded by only the courtyard and a small alley way hince the reason why Jeff choices to take particular interests in looking at his neighbors. The lack of scenery and things to do makes me believe that Jeff is feeling trapped. The binoculars no longer act as just a viewing defice but a symbol for
At a time when "Let There Be Dark" was in vogue, Paul Bogard tries to get the audience to see how light can pollute the world. He uses diction as well as syntax to get his purpose by tying to persuade the audience to make changes or alternatives with their usage of lighting. Paul Bogard starts off with words that are captivating and that leave the audience thinking. When Bogard uses diction like "too much artificial...wrecking habit...blanket of light..." it makes the audience re-think the way they saw our planet. Also, when he instills the impact that light can have on us both positively and negatively on our bodies, it gets the people to see other perspectives.
Before anything else happens Jeff yells “Kenton” calling Ken back into the real world. Ken passes it off as a claustrophobia for many years and he doesn't realize what truly happened until he goes back with Ib. When Ken finally realizes, he thinks “The final puzzle piece of memory slides into place. That song, the two-note song. The sweet high voice calling me in the tunnel.
We are then first introduced to Jeff when the camera turns to him, while he sleeps in his wheelchair, fashioning a full length leg cast. It is here in this room we see Jeff sit for the majority of the film, with only one scene we see him leave his apartment and that is when he is pushed out his own window. We are introduced to the minor but vital characters including Miss Torso the dancer who entertains serval men at the one time, Miss Lonely-Hearts whose name speaks for itself, a couple who struggle with the death of their dog and a composer whose career is going nowhere. The most interesting of Jeff’s own personal entertaining cast is Mr. Thorwald, played by Raymond Burr, whose wife spends her days in bed, miserable of the life they have. It is while watching the married couple that Jeff believes he is a witness to a murder as we later find out, Mr. Thorwald has killed his
Throughout the novel, Will and Jim are faced with many forms of evil that often test the strength of their friendship and trust in eachother. However once the carnival is introduced, it almost seems that Jim is tearing away from the friendship because of his desire to be older. With this being true, Will still stays friends with Jim and he is still always there to protect him. Because Jim is one of Will’s only friends, it causes him to greatly care about Jim.
By realizing the similarities between himself and the Piano man, Jefferies is able to empathize with the piano man’s frustration instead of laughing at his pain. Requiring everyone to understand the day-to-day lives of everyone else on earth is of course absurd, but recognizing the similar qualities shared among all people reminds
In fact, there are many mysterious doors belonging to the opposite apartments which the destinations to are never discovered. This is a device used to create fear of the ‘unknown,’ but also heighten suspense. Therefore, our gaze may not be as omnipotent as had been discussed in the previous chapter. Given that the movie is diegetic, it is impossible for us to see everything as Jeff is human and needs his sleep just like the rest of us. He becomes a prisoner of his own gaze, fearful of what incriminating evidence he may miss during his unconscious hours.
By looking at specific moments throughout the novel, we can see how Jim changed from a man whose life was unfulfilling, to a man whose life comprised of leadership and confidence. As shown in his interview with Harry Nilson, Jim and his family had a haunted past. “My old
The lighting in Donnie Darko movie is a key component of composition which creates our sense of illuminating for people and things. This movie uses two sources of lighting; natural light, such as daylight, when the scene is in an outdoor area for example, walking from school, at home, waiting at bus stop, or playing outside of the school on sunny days. Another source of light is artificial spotlight which is used in the movie indoors to cut and shape the light at the dining table, in the classroom or in the psychotherapist's house. Also, distinct shadows are used as an essentially smooth surface that reflects hard light in the Halloween party to feature deep shadows and scary areas in function of the plot. Three-points of lighting create ominous shadows in the horror genre for all the actors at Donnie and Elizabeth's Halloween party with lighting from below the cast to create monstrous objects in real life.
In Burton’s films, lighting is used to show happiness or sadness. For instance, in the movie “Charlie and the Chocolate Factory”, it is shown how dark and gloomy the town is while the factory is disconnected from society compared to when Charlie's grandfather was younger, working in an upbeat and colorful environment. Nevertheless, the lighting in his movies are manufactured for you to think a certain way of something when it could actually mean something else. With the accompany of lighting, Burton’s films
Though he is away from Nebraska he does not consider his best days far behind him. Jim repeatedly mentions how the people and the moments of Black hawk have become integrated into his daily thoughts. In regards to these friends and experiences he stated, “whenever my consciousness was quickened, all those early friends were quickened within it, and in some strange way they accompanied me through all my new experiences. They were so much alive in me”. In this third book where Jim is attending college Lena decides to visit him.
In the movie, Edward Scissorhands, Tim burton uses low-key lighting when Peg meets Edward for the first time in a castle. Edward was sitting in a dark corner and there was just enough light to see his face but not his clothes. This shows the amount of loneliness of Edward and that he was sad and frightened but also willing to make a friend when he approaches Peg. Also, in the movie, Charlie in the
The use of background light was an important focus in this picture, there was less attention to lighting the actors faces but in almost every frame there is well placed background light often combined with a moving light source. Repetition was also evident within the visual composition of the frame, the actors were rarely positioned within the center of the frame but always to the left or the right with a light source covering them from behind. Ridley Scott perfectly matches colorful high key light with low key lights creating impeccable contrast, this lighting used could be described as a modern Citizen Kane style. Although this is overall a very dark and low light film, the motif of shadows and darkness allows the beauty of light to truly be