Letter from and Unknown Woman Essay

Seventeen seconds into the song an additional instrument possibly the sound of a top hat are added and enter with a

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

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

The first scene, where Cheryl (Kristen Wiig) is imaginatively urging Walter to climb onto the helicopter to hunt down photographer Sean O’Connell, uses techniques such as slow motion, high angles, and long shots. Slow motion is used when Mitty is running to catch the helicopter before it takes off; this creates a sense of “real time” in the film and also adds drama and suspense--the audience is waiting to see whether or not he will make it. Then, when the helicopter is taking off, the camera cuts to Cheryl, on the ground, looking up at Mitty. The use of this high angle is to showcase Mitty leaving the ground and leaving behind his “old” life; it is becoming smaller in his mind as he seizes the moment and jumps onto the helicopter, which is something he would not have previously thought of doing. It makes Mitty seem like a large, powerful person to be leaving. Lastly, when the helicopter is flying over the Arctic Ocean, the camera zoom out from just Walter to show him looking outside the helicopter, which turns into tracking as the helicopter flies away. This is to establish the scenery of Greenland and showcase how alone Mitty was after leaving all he was used to behind. This use of tracking emphasizes the scenery in the movie and impacts the audience in that they feel happy for Mitty for being so brave. Overall, Stiller’s use of tracking, zoom, slow motion, and high angles craft a sense of adrenaline, bravery, and beauty in the scene, which adds to the sentimental value of the film. In the next scene, Stiller once again works with

This technique momentarily suspends the omniscient gaze of the camera, and evokes the spectator’s—as well as Hitchcock’s—desire to “capture” the female protagonist as she escapes off-screen. In this context, the seemingly objective tracking shot may in fact reveal itself as a violent, subjective

The elements of cinematography in the film include a low angle shot looking up at the farmer as he chops wood at the beginning of the scene. The shot is preceded by the infamous extreme long shot of the military convoy. The director uses close ups to capture emotions throughout the entire opening scene. Fear in the faces of the farmer’s daughters as they come face to face with the Jew Hunter. Fear in the face of the farmer when he prepares himself as the military convoy approaches. Close ups are used at the table when the confrontation looms; the camera zooms in when the farmer begins to crack under the

The director uses multiple camera shots to highlight the love during troublesome times and the emotions that are present. A wide shot is used when the audience watches Guido marching in front of the soldier shortly before his death. Guido does this as he is aware that his son is watching and still wants the experience of the camp to be a fun game and does not want Giosue to be afraid of what is happening. Close up shots are commonly used throughout the film to give more detail into the emotions that the characters are feeling. A

The non – fiction calls: “Letters My Mother Never Read” by Jerri Diane Sueck is a wonderful piece of writing. Many authors affirm that it is a great literature, including Hemingway, an American novelist and journalist. In the following paragraphs I will discus how well the author handling irony, writing style, and theme through the novel. According to the Hemingway quote: “Prose is architecture, not interior decoration.”, Sueck’s memoir is a great literature because Sueck’s purpose is to encourage people who meet challenges in their life as hers rather than make people honor her.

In “The Author to Her Book,” Bradstreet is awash in indecision and internal conflicts over the merits and shortfalls of her creative abilities and the book that she produced. This elaborate internal struggle between pride and shame is manifested through a painstaking conceit in which she likens her book to her own child.

Suddenly the music gets louder, the title of the film appears on the screen, and the music abruptly transitions to the sound of Emily's beating heart.

Anderson uses camera movements to speed up the pace as well as to show a constant forward motion. Having an upbeat pace makes the audience feel more elated because it is going so fast they do not have the time to process the sad parts of this story. He also quickens the pace by having short takes so the audience does not have a lot of time to process what has just happened. The constant forward motion of the camera, which is created by either moving the camera on a dolly as they walk, e.g. when the Scout Master is walking past all the tents with the khaki scouts in tow, or by pan the camera extreme fast between each frame, e.g. the beginning and end scene in the house with Suzy’s family.

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

Cultures can shape the identities of individuals. Kingston identity was shape by Chinese and Chinese American culture. "No Name Woman," begins with a talk-story, about Kingston’ aunt she never knew. The aunt had brought disgrace upon her family by having an illegitimate child. In paragraph three, “she could not have been pregnant, you see, because her husband had been gone for years” (621). This shows that Kingston’s aunt had an affair with someone and the result was her pregnancy. She ended up killing herself and her baby by jumping into the family well in China. After hearing the story, Kingston is not allowed to mention her aunt again. The ideas of gender role-play an important role in both cultures. Kingston in her story “No Name

The mise-en-scene of Interview with the Vampire is relatively theatrical in nature. Long shots are used for much of the movie and the intense close-up shots are retained for the extremely moving victimization scenes where the camera closes in on the eyes of the vampire attacking its victim and what the vampire is feeling thru its eyes (Rice). Also because of the darkness of most of the settings within the movie and the lushness of the immediate sets and costuming one gets the feeling of the importance of the characters and where they are at. The character proxemics and intimate distance of the shot when Claudia curls up with Louis in his coffin, shows the feelings and morality that Louis is fighting so hard to hang onto in his immortality and the loss of the innocence Claudia has accepted.

Written Case #1: Vera Bradley in 2014: Will the Company’s Strategy Reverse Its Downward Trend?