Analysis Of Clip Analysis Un Chen Andalou

From this scene until the end of the sequence, Kubrick plays with different editing techniques. When this ape is observing skeleton, the shot cuts to a low angle shot of the monolith. This shows the audience that the ape is thinking about the monolith. When the ape smashes the skull with the bone, it cuts to a shot of a dead tapir. The quick-cuts of the crushed bones and another cut of a beaten tapir illustrates that the apes are no longer scared of tapirs or any other predatory creature. It gives the apes a sense of power and dominance over their so called predators. This method of editing not only becomes an insight to an ape’s thoughts but it also seen as a depiction of mankind’s predatory instincts. The music also invokes the feeling of power because it indicates a connection between the outskirts of space and this major breakthrough of human evolution. As a result of evolution, the apes have a newly-developed intelligence as well as a dietary change that primarily consists of

“It was like a child’s game in which you stare at foliage, grass, clouds in the sky, and suddenly you see a face or a figure, and after that recognition you can’t not see the hidden shape, its staring you in the face.” (Oates, 95)

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

At first glance the large-scaled canvass demands your attention. As the distance between the observer and the canvass close you are drawn in like a moth to light. To the right center of the work is a winged angel wearing a flawless white dress with open arms inviting all to be a part of what has happened. There is a golden glow of color that surrounds the curvature of her head. As you come to rest in the waiting arms you are no longer a spectator, you have now become a participant. Its massive size gives an understanding that there is room for anyone who wishes to take it in as truth. Now drawn in you realize there are many winged angels that recede to give the two-dimensional work depth. They too have the same golden glow that encompasses their heads. Their wings take on the same lustrous colored dress that covers their bodies. The dresses are solid in

In Figure 2, it is early on in the film where the director establishes who the main character is. The director uses the middle of the screen for dominance. The frame shows O’Neill in trouble and sums up the sort of trouble he has caused himself. The lighting around the two characters is very low, emphasizing the situation. The intricate use of lenses shows the connection between the two at the very moment. The proxemics helps define the relationship between the men too. The director did a great job in the way he has shaped the image to accentuate the action and engage our attention. What is not seen in the shot are the other men trying to get to O’Neill too, the director does this to provide some visual variety in the scene. O’Neil seems to be dominated by the man, indicating vulnerability and powerlessness. The blackness toward the outside of the frame is indicating danger and possible death. The camera angle is at eye-level. The subjects are both standing, and the camera is placed as though the audience was viewing the

This aids in the naturalistic phenomenon that is easily consumable for the viewer. The long flowing lines in the waterfall give rise to the illusion of movement and as the viewer’s gaze drops, the movement appears to become stagnant and calm in the body of water. There is careful contouring and chiaroscuro on the mountains allowing for the viewer to become inundated with its immensity.

In one particular cut the camera goes into a frame that reveals crocodiles swimming around the area, indicating the danger the four men are risking, which can also be seen as metaphorically reflecting the dangers they are partaking in. The movement of the four men are a combination caution, anxiety, and being secretive primarily due to the trespassing issues that exist in the Fakahatchee area. Laroche can be seen in the frames ahead of his accomplices indicating to the viewer that he is leading the way. Laroche’s positioning is one that can be accounted for when considering that, he especially out of the four men, have special interests pertaining to the reasoning for why they are extracting orchids from the swamp. This imaging of that day read in “Orchid Fever” is given in descriptive information of the event, however, “Adaptations” creates visual details such as emotions, distress, and behaviour that the four men displayed on that day, along with how the environment around them influenced their actions using camera techniques to do

Rice describes how these monkeys that are living in an artificial world and still remain detached from reality. The monkeys play and interact with each other in the exhibit as if they were in their natural habitat. These monkey continued to play on the fake hill oblivious to the fact that it was synthetic. Rice writes: “when out of the concrete slabs piled to resemble a hill/a splendidly squealing chaos of monkeys/ rushes, some trespass or crime in mokeydom.” These monkeys are unaware or carefree about the fact that they are being watched by many people. They act as they would anywhere else in the world with each other. Another part in the poem where Rice shows that these monkeys are oblivious to reality is when the mother is standing staring at nothing in particular. Rice writes: “The mother will stand on all fours and stare into space/and we will see by her eyes that all of this is beyond her.” The mother demeonstrates how unfased and unware she is by all of her surroundings. Rice uses imagery in this poem because he describes these monkeys playing on the “concrete slabs piled to resemble a hill” and helps the readers clearly visualize this fake hill and the fake life that these monkeys are living. He also describes how the mother monkey “stands on all fours” and “stares into space” in order to show the readers how unmindful the monkey is to her surroundings.

Despite evident differences in the compositional elements of Picasso’s Les Demoiselles and Manet’s A Bar at the Folies-Bergère, both utilise a composition with a shallow plane to distort visual perception in their work. This distortion promotes the spectator to revaluate the way they perceive these female prostitute subjects. Picasso’s treatment of paint and use blocked colours in Les Demoiselles creates the sensation of a flat, two-dimensional image, signifying a radical break from traditional modes of representation. The lack of depth in the painting pushes the figures of female prostitutes on top of each other, layering the stark angles and sharp forms that make up their bodies. In addition, this layering on such a large scale (243.9 cm × 233 cm) creates a feeling that the figures are pushing beyond the boundaries of the work and imposing themselves onto the spectator. Furthermore, the stances of the prostitutes, who are dramatically flaunting their bodies with arms raised and torsos presented openly, fills the frame, refusing the spectator to accesses to other areas of the image. Instead the female figures dominate the attention of the viewer, in some ways empowering these figures who previously lacked representation. These formal elements of composition all come together in Les Demoiselles to challenge the spectator’s ways of viewing the females in the work.

An individual detailed analysis on the style, editing techniques Mise-en-scene and cinematography in the film "Eternal sunshine of the spotless mind".

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

The opening scene in David Lynch's Blue Velvet portrays the theme of the entire film. During this sequence he uses a pattern of showing the audience pleasant images, and then disturbing images to contrast the two.

Comparison of Primitivist imagery in Wilfredo Lam’s Untitled, 1953 and Matta’s Untitled (Flying People Eaters), 1942.

We see from clever fades Jump cuts, match cuts and various long takes. Truffaut does this in an effort to move forward his vision of the auteur theory. “The opening sequence uses a series of high angle shots to assist in establishing a feeling of childhood innocence and indeed, the child in this film, Antoine Dionel (Jeanne-Pierre Leaud), starts out innocent. The camera focuses of the city buildings and the sky above. As shown from a ground point of view, the buildings are larger than life and intimidating. This is how most children view the world, as being large and intimidating. Take, for example, the scenario of dropping a child off for his/her first day of school. Most of them are devastated because they have to deal with a world that is larger than the one they know, and that is intimidating. The sky is vast and innocent, symbolizing a child's mind. Children have incredible imaginations and are also innocent by nature. There is a definite correlation here between the angle selected and the sense of childhood innocence. However, this particular camera angle does not always hold the same meaning in every

"Near the same tree two more bundles of acute angles sat with their legs drawn up. One, with his chin propped on his knees stared at nothing, in an intolerable and appalling manner... others were scattered about in every pose of contorted collapse, as in some picture of massacre or pestilence."