Koyaanisqatsi Life Out Of Balance Analysis

Accordingly, the nature was one of the Romantic themes adored by numerous readers during this era. The author’s description of untamed environment and striking sight inspires and impresses the readers. Soothing and relaxing people through these illustrations, author takes them away from the impersonal society. For example, The Most Sublime Spectacle on Earth by John Wesley Powell vividly displays the spectacular views of Grand Canyon to make readers forget the depraved reality. “The carving of the Grand Canyon is the work of rains and rivers,” Powell stresses that Grand Canyon is the splendid work of nature, not the artificial work of

Cole has no restrain in describing the beauty of all the elements found in the American scenery. He talks about the mountains, the sky, the streams, the sunset, waterfalls, all of which are overflowing in richness, full of magnificence, and unsurpassed by any other. For Cole the scenery and nature are subjects which must be present in the souls of every American. While he considers himself and even others underserving of “such a birthright”, he is thankful for the beauties given to us by nature. Cole suggests to his audience that the reason behind him painting natural scenes relates to the experiencing of a particular emotional response while doing so. This is a response which can only be compared to a “calm religious tone”, full of “tranquility and peace.” Witnessing the beauties of the American scenery, anywhere one goes, makes one realize how “the sublime and beautiful are bound together in an indissoluble chain. In gazing on it we feel as though a great void had been filled in our minds.” Cole places great emphasis on the importance for all members of society to learn how to cultivate “a taste for scenery.” This can be achieved by appreciating the physical beauty of nature and the ability of said beauty to provide mankind with a different perspective about life and with

The image is brighter and sharper in the film. The contrast of the film really affects the mood. Since the contrast is so bright the viewer is bound to stay focused and aware because everything is so catchy and noticeable. Also, the exposure changes throughout the film. At the very beginning the film starts in black and white and changed to color as the story progressed. The filmmaker uses a lot of Long Takes, each shot of Dorothy meeting someone new is pretty lengthy.

She became accustomed to the perception of a desert being portrayed as dull and lifeless (Being raised in Kentucky) until this trip. Throughout this scene, she expresses her fascination for nature, and uses a tone of awe and allurement while describing the attributes about the land with metaphors. This narration occurred following the first rainfall, when Mattie and Taylor decided to go to the desert. This passage which is distinctive of Kingsolver’s portrayal of the natural landscape shows her sudden awareness diverse atmospheres. By linking to the scenery to “the palm of a human hand”, the author uses the literary device of personification with the mountains and the town. Her phrase “resting in its cradle of mountains” associates the basin to a child, and the phrases “city like a palm”and“life lines and heart lines hints a grown-up. The terrain exemplifies a life from the beginning to end. Taylor describes the land my linking each attribute with lots of metaphors, which then confirms that the tone is “wonder and allurement” because it demonstrates that she is emotionally connected to the

By his vertical placement of the cliff in the right forefront of the picture plane, he further emphasizes the illusion of space. Second, the diminishing size of the sea, cliffs in the background, and the jetty all express depth in the overall scene. The violent cove appears to move away from us in to the open sea. Ante Meridian is an example of atmospheric perspective. The foreground colors are bold and rich, whether it is the white wave caps or the cliff façade, but as the scene retreats in to the distance, the sea, background rocks, and sky become bluer, paler, and less distinct. The objects in the distance are blurrier to demonstrate this open space even more.

Although books full of words are more efficient in delivering and describing what the author feels, sometimes pictures can give a deep meaning depending on how they are organized. The Veil by Marjane Satrapi’s is a graphic novel that’s organized in a particular way, to deliver a certain message through the pictures. Marjane includes different sizes and frames that serve what she is thinking and feeling. Choosing certain sizes, frames and colours isn’t arbitrary. As each box increases in size, it means that she wants to emphasize the message behind that box, or show her relation to that particular text. Contrast is also one of the main elements that Marjane uses in her graphic novel. For example, on page five, there is a big picture of

Both William Wordsworth and John Muir use imagery to express their relationships with nature. In paragraph two of The Calypso Borealis, Muir describes the environmental obstacles he encounters when he sets off to find the elusive flower: “fording streams more and more difficult to cross and wading bogs and swamps that seemed more and more extensive and more difficult to force one's way through.” Muir’s choice of words helps the reader imagine how difficult and harsh the environment was as

The portrayal of Australia as a ancient, dramatic, and somewhat spiritual landscape, is not only shown in the exposition, but also in many landscapes to follow, one of these being the gorges encountered by Jedda and Marbuck towards the end of the film. This landscape was not only used as a representation of beauty, drama and the primeval nature of Australia, but also to create a sense of awe and wonder at the mysterious, almost supernatural qualities of this particular setting. To achieve this feeling of wonder, Chauvel has used extreme long shots to his advantage, placing Marbuck and Jedda against the towering background of high, rocky gorges, thus making them look, and creating a sense to the audience, that they are insignificant in this landscape. The use of soft European choral music also highlights the supernatural aspects of this landscape, representing the landscape as being one of high spiritual significance to the Aboriginal people. Although Chauvel has incorporated the music into this

Tone can have an immense effect on the plot and it can also have a large effect on the setting. In the movie High Noon, all of the characters

This contrast portrays Jim’s disturbance. He is accustomed to his peaceful, quiet surroundings and his birds. The war though, is completely different. He is out of his comfort zone, and in something he has never experienced. As this disturbs Jim, it disturbs the reader, and foreshadows the horrors and troubles Jim faces.

This contrast relates to the theme because it shows how an adult can negatively be affected by materialistic things such as money. In the first stanza there is a strong use of positive imagery- representing a child’s mind. For example, “grass grows soft and white”, gives a floral and peaceful description about the place used in the description. However, in the second stanza there is the use of negative imagery. The imagery used helps to describe a dark and lifeless city, a phrase which influences this would be, “smoke blows black”, which means pollution. Within the second stanza, the narrator introduces personal pronouns. These pronouns influence the reader’s thoughts about the

Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.

The adjustment needed to be detailed because a neutral grade was not enough and yet we didn’t want to affect the original material too much. We replaced the sand dunes since they were not as pristine as the showrunners wanted them to be (i.e. too many human footsteps / car tire marks). We completed the ‘pristine’ dune environment with blowing FX sand passes to give the shots a bit more life. For the sky, our lead compositor Remi Martin played with multiple layers of constellations and

distinction of where the mountains meet the desert create a horizontal line that takes the viewers eye

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a