Even the name Oberon, who is presented as a fairy king in A Midsummer Night’s Dream, was a name of a devil “The name Oberon or Oberion was borne by a demon who had been frequently conjured by fifteenth and sixteenth century wizards” (Thomas 609). Shakespeare has altered the perspective of considering Oberon as a devil, he has revived the early medieval tradition here in which Oberon was a fairy king. Another fairy that Shakespeare introduced in his play is Robin Goodfellow. One interesting thing to note is that Robin Goodfellow was not a fairy at all. Latham says “He was no fairy, if the records of his history before 1594 be true, and this was his first inclusion in fairyland” (219).
Musical films usually focus on songs as a major element, in a realistic setting. The Wizard of Oz displayed several songs during that film, but to list one, it was when Dorothy and her friends became scared when they were in the woods, and they began to sing to express their emotions. This film also showed some horror. A horror film is usually designed to bring forth fear and shock. One scene that illustrated horror, was the dark forest, talking trees, and flying monkeys.
This creates suspense as ‘below there’ hints at an underground environment, which subtly lends the story a creepy feel as only dark and covert things hide underground. They also wonder why the narrator calls down to the signalman in the first place. Dickens writes, ‘There was something remarkable in his manner of doing so, though I could not have said for my life what.’ Dickens uses a long sentence to create a list of eerie details which creates an overwhelming or intense feeling. The word ‘remarkable’ suggests something notably or conspicuously unusual, which lends a sense of mystery and thus suspense to the story as we wish to know more about this mysterious signalman. This sense of mystery is further heightened when the narrator admits he “could not have said for my life what.” This provokes the thought that the signalman is luring him down, supernaturally, just as the phantom is luring the signalman.
Establishing and illustrating the concept of uncanny is a challenging endeavour, however music assists encourage the portrayal of this sensation, although as Sigmund Freud introduces that “the uncanny is that class of the frightening which leads back to what is known of old and long familiar.” To explain this with further precision, emerging from the homely and familiar there is this greater development towards something unusually disturbing the domestic setting and the feeling of the familiar, the home, the known, as opposed to introducing something strange, unfamiliar and inaudibly still. Sound that is provided to an audience within a film is everything and anything one may hear, for instance voices, music or sound effects. Sound heightens particular moments to help the viewer understand the mood created within a scene, indicate a certain setting or surrounding, provide information about characters or enhance the storyline. There are two types of audio that is utilised in cinema: Diegetic and Non-Diegetic sound. Diegetic sound are the manmade sounds we hear on an everyday occurrence within reality, for instance slamming doors, footsteps or dialogue.
The ‘anvil’ is turned into an ‘altar’ which is set at ‘somewhere in the centre’, ‘horned as a unicorn’. Here Heaney touches upon the God’s work, artist’s art and a blacksmith’s work and weaved them together as in a garland. But the term ‘altar’ attaches asceticism of saints and surrender of the artists for knowing the unknown beauty of knowledge beyond sense perceptions. Horn of unicorn alludes to the mythical creatures which evokes both beauty and dread after which the artist always hankers. Heaney thus highlights the binary oppositions of surrender and escape, working out and entering deep inside, the simple life of a blacksmith as well as the strenuous, difficult task of a devotee or an artist or a saint.
Feminism – The theory of the political, economic, and social equality of the sexes. 1.2 The main attributes of the film, Shakespeare in Love, correspond directly with the photographic style of the movie. It is a sweet movie set in a romanticized period in history. To accentuate this, many of the scenes are filmed in a painterly style, with warm high-key lighting and an emphasis on colour. Lines are blended.
Mise-en-scene has often used for to achieve realism and audiences have been attracted to fantasy. The setting, décor, props, costume and make-up provide contribution to the overall story narration. Most effective contribution of depth and shadow and lighting are provided. Settings in the White Zombie mainly use in studio and the decoration can shape to the narrative expectation of film. The setting in the film supports to the characterisation and decoration effect to the horror narration.
Stonehearst Asylum is roughly based on a short story short story "The System of Doctor Tarr and Professor Fether" by Edgar Allan Poe. In this period piece the cinematography is employed to support the gothic theme of the era the film finds itself in. The Gothic theme is supported by four Gothic elements present in the film namely the isolated setting, entrapment/ imprisonment of the characters, the violence and insanity. According to the Oxford dictionary (2015:) can gothic be explained as belonging to or suggestive of the Dark Ages; significantly gloomy or horrifying. The gothic theme is significantly supported by the isolated setting.
The philosophy of the song shows that there can be many different hallelujah 's. They all are calls to different emotions, each hallelujah has a unique idea and message. The story of “Hallelujah” is one of beauty, irony, and melancholy allusions. Cohen 's song begins with a reference to the Bible 's King David, mentioning the heroic harpist 's "secret chord”. The story states, “And it came to pass, when the evil spirit from God was upon Saul, that David took a harp, and played with his hand: so Saul was refreshed, and was well, and the evil spirit departed from him” (1 Samuel 16:23).
Shakespeare uses light in this way a few times. For example, when Benvolio describes when he has seen Romeo, he says: “an hour before the worshipp’d sun peer’d forth the golden window of the east” (I,1, 118-119). This beautiful description is used just to describe that Benvolio has seen Romeo one hour before sunrise. Friar Lawrence has an even more beautiful description for sunrise: “The grey-eyed morn smiles on the frowning night, chequering the eastern clouds with streaks of light, and flecked darkness like a drunkard reels from forth day’s path and Titan’s fiery wheels.” (II, 3, 1-4) All these metaphors are used to give the audience an indication of time. That is, as explained before, necessary because it cannot be made clear by using stage lighting, as that was not available and it also fits the poetric style of Shakespeare, whereas a simple it is 5 o’clock in the morning would have