Analysis of 'Raise the Red Lantern'

First, the characters, in this story they’re five main characters, one of them being George Hadley, the father, George is striker in the story and consistent with his decision, and Lydia Hadley, the mother was really paranoid but became more laid back towards the end. In the movie though they switched roles. George was not consistent with his decisions and was very easygoing at the start of

Prologues are often an author’s way of introducing important information or topics needed to understand the body of writing on a deeper level or as a way to direct the reader to a certain line of thought or specific interpretation of the writing. Anne Sexton writes a prologue for every single one of her poems in her compilation of fairytale poetry throughout Transformations. She gives the reader so many hints throughout her prologues on what the reader should pay attention to. In “Red Riding Hood”, Sexton draw immense attention to the issues of deception in real life though the importance she places on these issues in her poem. She calls out not only the frequency of deception in life but she calls attention specifically to the deception of a mother’s security.

The producer, René Clair, made many important changes throughout the movie, one major change stood out, the mood. He incorporated the lighter mood with a variety of comedic and tacky scenes, with characters chasing each other, peeking through keyholes, and childish music, which left the audience happy and laughing at each of the characters. With a little romantic touch, it developed two characters to stand out and feel sympathetic for them. But with each joke, the characters make the

The long take begins with an alarm clock waking up a couple, sleeping out on their balcony. As the camera moves from window to window around the courtyard, we see a few brief snippets of characters’ lives. And finally, the audience sees inside the apartment that has been its point of view all along. Mise-en-scene, framing, and cinematography

Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to

The play RED by John Logan was a phenomenon. It portrays artist Mark Rothko at a serious time of his life, a time where he was becoming depressed and even considering suicide. The play deeply expresses Rothko’s conflicted mindset about the role of art. The conflict between his intellect and will for art represents an internal battle that artists may experience when creating. The play is also a good depiction about the ideas that society has on art... art appreciation. At the same time, the play shares an exhilaration of creating a piece of art. It is

Shot 6: Wide shot. Dorothy is in the center of the frame with Toto in her arms. Puts Toto down as a mysterious glowing orb far in the distance slowly hovers down, getting larger in size as it approaches. Dorothy backs up out of the frame as the orb takes up the entire shot. Gwendela the good witch appears instantly. Straight on shot, no camera movement. Music is more haunting, eerie, and mysterious to represent the orb floating down.

The lighting there is much darker than outside without any light. There is a medium shot from low angle facing the cellar door. Then, Lila opens the door and slowly walks down the stairs and proceeds to another basement room. The scene of walking steps from the door down into the room generates a mysterious mood and it symbolizes that Lila is going deeper into the hidden secrets. The shot then edited to another brighter room with lights on and a worn out setting continues with Lila opens the door producing a creaking noise. Then, it shows a medium shot of a back of a woman sitting on a chair with her hair-tied in a bun. Lila then walks closer to the woman and call Mrs. Bates. When she is walking, the camera is constantly stay and Lila is getting closer and the focus point changes from the hanging light bulb to her face. Her facial expression shows that she is curious about the appearance of Mrs. Bates in the cellar. She taps on the right shoulder of the woman and the body of the woman slowly jiggles back and turns over. There is still medium shot when she taps on her shoulder and audience can see the shadow of the woman reflected on the wall behind. Then, the shot is cut to a close-up shot with the skeletal of the woman’s corpse with empty eye

One Night the Moon (Rachel Perkins) is a marvellous portrayal of the conflict between the white settler and the Indigenous Australian, at the heart of which, is their attitude to the land and what it represents. The film demonstrates the conflict created through opposing views of land ownership due to misunderstanding and stubbornness over opinions, and highlights the mistreatment the Indigenous people have suffered over this confusion. The film follows a white settler, Jim Ryan, and an indigenous police officer, Albert, and their actions surrounding the disappearance of Jim’s daughter, Emily. The film depicts the conflict caused by their opposing attitudes towards the land, particularly Jim’s territorial view towards ‘his’ land. Perkins attempts to bring the similarity between their conflict in the 1930s and our society now to the fore by subtly hinting at the subconscious of the audience to cause them to consider their own ideas and values.

One such flashback begins at Thatcher’s building where the reporter Thompson enters an exaggeratedly large room and begins to read about Kane. This is one of the scenes in which cinematographer Greg Toland’s deep focus technique of filming and use of unique lighting, in which the only light source hits

?  The film becomes a different thing in the same sense that a historical painting becomes a different thing from the historical event which it illustrates. It is as

Almereyda's film remains mostly faithful to the original plot but the setting is in stark contrast to the original setting

Raise The Red Lantern is a film that follows the story of Songlian, a young university student forced to become the concubine of a feudal lord after the death of her father. Songlian is the fourth mistress to the Master and has the most trouble assimilating to the domestic life of servitude that is expected of her. The harsh traditions and expectations present in the manor are made clear through Yimou Zhang’s use of framing. The vastness of the manor is assumed however Zhang choses to show limited areas neatly framed in geometric symmetry. Characters in the shot are always framed within a structure of the manor and placed carefully in each frame so not to disturb the symmetry and order in each shot. The precision of the camera visually represents the restrictions placed on the mistresses and how Songlian feels trapped in her new life.

The next shot is an establishing shot, showing the street where the main character, Leister, lives. Its fall/autumn time and the trees are bare or dying, possibly indicating and foreshadowing a death later on in the movie. Also the streets are very linear, all vertical and in uniform, as it were.

Raise the Red Lantern was a Chinese movie that published by 1991, the director of this movie is Yimou Zhang. This movie depicted a tragedy of a woman that living in a traditional Chinese family, the movie is representing the wives and concubines in the old Chinese Society, which woman usually joined in marriage to a man who have a few wives, and woman who cohabits with a man to whom she is not legally married, especially one regarded as socially or sexually subservient and four mistresses in the same house. The main character- Songlian, she is forced to marry fifty years old man named Chen Zuoqian who is the lord of an omnipotent family, and Chen has already wives three wife, but each of his wife are living in separate house within the great