Larz Von Tier's Melancholia

Interestingly, visual techniques are also effective in portraying the theme of free will versus determinism to question the responder who and what controls our lives. The tripartite storytelling structure incorporating three wholly, self-contained alternate versions of events is an unconventional filming technique reinforcing the postmodernist perception of having minimal control over life. As Lola rushes past minor characters in the film, flash forwards offer alternate glimpses of the possible outcome of their future, suggesting that fee-will alone is not a sole determination of the outcome of life. In each run, Lola’s encounter with these minor characters varies, showing that even the slightest change can become a significant impact to life. An extreme close-up

The film techniques used in this film changes the entire landscape and changes the mood during the scene. The colour reflects on a charters feelings and the camera angles and

As deserting the boxcar behind, the arid and chilled setting defers Karl’s inspiration, “their lips were violet and their feet were so numb”(Erdrich line 9). In this instance, Louise Erdrich illustrates that Karl is hopeless. However, the shift in lines 41-49 where the narrator commences to describe the appealing of nature, “a scratch of light against the gray of everything else, tosses a film of blossoms,” the sudden shift from dark imagery to light imagery denotes the transformative experience for Karl. The author sketches the blossoming nature to convey that Karl is finding hope in the hopeless place. Furthermore, Louise Erdrich’s description on how Karl’s deep immersion in nature, “She shouted, but he did not seem to hear her and only stood, strange and stock-still among the branches”(Erdrich lines 52-54) seduces himself to lose his awareness of the dangers around him, “he did not move even when the dog in the yard lunged against its rope and bawled”(Erdrich 55-56).

a film. It is what the viewers sees, hears and experiences while watching a film. A film’s Mise en Scene subtly influences viewer’s mood as they watch a film, much like decor, lighting, smells and sounds can influence our emotional response to an actual place. In Film Art: An Introduction, Bordwell (2001), explained that in Mise en Scene, realism can be achieved by giving the settings an accurate and convincing look or letting actors express their emotions through performance as naturally as possible. This paper will discuss and analyse the significance of Mise en Scene in Wong Kar Wai’s In The Mood For Love

The visual’s background is formed by a dark and starry night sky; stretching across the image and transitioning into a sunny day sky. This is a representation of the passage of time, life, death, and the power of memories. The nighttime depicts ageing and adulthood, whereas the daytime represents youth and life. In the poem, the narrator describes the sky, ‘Ambiguous night, ambiguous sky,’ which is symbolic for the transience between adulthood and childhood. An ambiguous sky is a sky which is unclear or undecided. The faded transition from the night sky to the day sky reflects this notion and the uncertainty of memories; displaying how the poem

In the book night there is a lot of things things that are not talked about, but there is a lot of things that are talked about. For instance starvation, Elie talked a lot about starvation. They would only get a peice of bread and a bowl of really bad soup. Everybody starved in the camp. Elie talked a lot about how him and his father starved. How they would steal bread sometimes to survive. What was not talked about a lot was depression. Depression was common in the Holocaust. The place they were in in general was depressing. Elie would have a reason to be depressed with so many things that happened in his life like not seeing his mother or his sister ever again, or losing his friends that he made

Though the viewers focus first on the centered figures, it is easier to first analyze the surrounding settings to understand them. The stone wall foreground and the open fields of the background each embodies one of the girl’s thoughts. The back landscape is filled with warm, airy colors of blue and orange, as if it were under a bright sun. On the other hand, the foreground’s stone walls and concrete floor has dark, cold, shadowy, earthy colors that seem to appear as if under a stormy cloud. The sunny land suggests free, pure, spacious land previous to the industrialization. Yet, the darkened foreground due to the overcasting shadows resemble the currently dirty,

Dan Reynolds was diagnosed with depression when he was a teenager, which can be scary for many people at first. He went to therapy and learned how to cope with depression. Through music. He is now the lead singer for a band named Imagine Dragons and uses depression as inspiration to write his songs. He is currently on tour and stated that without depression, he would have never gotten into music. Accordingly, this goes along with the novel Fahrenheit 451 by Ray Bradbury because it’s about Guy Montag who wants to change change society. But only a handful agree with him because they are afraid of change. So everybody goes against him, which causes him to leave town and search for a group that will help him. He went back to tear down society and build it back up again. This makes the theme of the novel, things that scare you at first, can transform into something amazing.

In ‘Time’ nature’s sublimity is reflected in the visual imagery displayed as the form of a film allows for not only the characters to tell a story but also the camera shots, music and scenery onset. Through various camera angles and shots, particularly pan, eye level, low angle, and tilt, the film portrays the dominating power of nature and its impact over man’s emotions. However, sometimes nature can be domineering and dangerous as suggested in the non-diegetic and suspenseful tones of the music being played. It can also be portrayed in the final scenes of the film where the mum and boy protagonist are trapped in the drowning car due to losing control over it while the mum was texting. This theme then signifies discoveries which are sudden and unexpected and symbolises how individuals will be confronted with challenges that they must overcome in order to comprehend the discovery. Nature’s power is also displayed in the Australian text, ‘Away’. However, the environment not only has influence over the characters of the play but the plot itself which can be shown in Act 3 Scene 4 the ‘Storm Scene’. The tempest causes a group of characters (Gwen, Meg and Jim) to join another family on a desolate beach where the personas can open up, reflect on and change their lives, which was all caused by the storm. Furthermore the peaceful beach is symbolic of tranquility and reflection, a place that leads to transformation within each of the individuals. The title, ‘Away’ represents a homonym, a word with more than one definition. ‘Away’ can either be defined as the physical action taken to escape a place or for an individual to venture off into their own imaginations, leaving behind reality. This concept further highlights the different meanings behind nature, symbolising the many perceptions which one can approach when making a

In the Tomson Highway’s novel, Kiss of the Fur Queen, the opening passage transports the reader to the harsh, cold, and intense struggle of the caribou hunter, Abraham Okimasis during a championship huskie sled race. Any race often proves to be physically and mentally exhausting for a person, especially like Okimasis who feels he has so much to lose if he doesn’t win. Tomson Highway utilizes a variety of literary devices to dramatize Okimasis’ physical and emotional experience through his last leg of the race by creating a powerful, aggressive atmosphere through the effective use of descriptive imagery, passionate diction, repetition of words, and a tone of desperation. To begin with, the author utilizes descriptive vivid imagery to

7. The setting is used as a reflection of the woman's inner emotions. The sun shines and birds sing with no sign of gloom because she is not actually mourning as she thinks to herself. The lack of sorrow from the woman cause the setting to seem even more lovely to her as she realizes she is feeling joy. The details used by the writer portray a sense of well being and positivity. The woman reaches out towards the window as if her joy is tangible, this is a vey important

The poem Oblivion, by Bastille, is about someone who is watching their friend fade away from who they used to be. The author uses personification and figurative language to express how the person is feeling. In the lines “When

The scene begins with Kat Dennings character 'Renee Yohe' laying on the ground after taking drugs. A high shot has been used to capture this moment as it usually represents vulnerability, therefore causing the audience to sympathise with Renee, and the position that she is in because she's powerless. This angle also enables us to view the mise-en-scene, which is extremely dreary as the colour scheme used consists of grey and black. These colours have been used as they have connotations of being seriously dull and depressing, thus reflecting the characters emotions and causing the audience have a further understanding of Renee and what sort of personality she has. Still in the same shot we hear the diegetic sound of a butterfly flapping its wings, it flies past Yohe who glances at it emotionlessly. Although this is a very small action, the butterfly holds great symbolism as its reminiscent of her childhood, because at the start of the film we are shown how Renee liked to draw bright coloured butterflies, the directors and producers of the movie

The opening scene of the film utilises multiple aspects in order to display the hopeless that looms over the dystopian world that the audience is presented with. The film uses a mix of both visual imagery to show this along with verbal features in order to convey this to the audience.

Emily Bronte’s novel captures and portrays the essence of damaging passion through illustrative writing to ultimately exemplify details of her character's inner feelings and reality. The 2010 interpretation is embellished in artistic camera angles as its focuses on the novels connection to nature. Although both mediums are an expression of Bronte’s imagination, Arnold individually articulates her version creatively and expressively. However both narratives manipulate diverse devices to produce a haunting result. The film adaptation and the book exploit the devices that the other cant as they offer audiences with unique approaches of the same events.