Long Tan Film Analysis

Stage directions are also used to reveal the humour and action on the stage during the entire performance. At the end of act one, scene two, the audience is and the rest of the patients are told by Doug that there is a fire in the bathroom, where Doug himself, had just exited. Stage directions are used to capture the madness as the characters run off of the stage trying to stop the fire, and as Cherry attacks Doug, and starts to strangle him.

The reasons that I will bring forward that emphasise what the Anzac Spirit includes the sacrifices made by men and women, Anzac Day traditions, Australia’s identity and the qualities of the Anzac Spirit.

Australian people and culture are often stereotyped in the media in different forms, one of them being film. The two films being examined, ‘Red dog’ (2011) and the ‘Sapphires’ (2012), are an example of the Australian identity but from different points of view. ‘Red dog’ shows the kind and positive side which exemplifies mateship and loyalty. The film ‘Sapphires’ ,which takes place in the 1950’s through to the 1960’s, shows a negative and racist view towards the indigenous people. Both the films show different aspects of the Australian identity, not all insights of the films accurately represent contemporary Australian identity as the Australian identity has changed by the evolution of people and their lifestyle.

Jocelyn Moorhouse’s The Dressmaker is a thought provoking film exploring revenge and small-town politics providing a compelling reflection on aspects of Australian culture. Through powerful symbolism present in fire, mirrors and clothing, the audience is able to interpret its themes and forge a deep connection with its

Today I’ll be talking about the play “Blackrock” that I’ve been studying in class this term, the purpose of this speech is to make us think how Australian drama challenges us to think about Australian culture and identity, and the impacts it can have on us as person and as a community.

The live performance I have chosen to write about is ‘Warhorse’ which I saw on the 3rd February at the New London Theatre. In this essay, I am going to explain and analyse how the staging and the lighting together created the different atmospheres and moods such as fear and tension. Throughout the play, numerous themes are illustrated such as the barbarity of war and the cruelty of man. The themes of loyalty and hope are also illustrated and portrayed. Not only did the set and lighting help portray these

The Queensland Theatre Company’s rendition of ‘The Wider Earth’ was a highly captivating piece of theatre, which recounted the scientific visionary, Charles Darwin’s voyage on the HMS beagle. Through the extensive manipulation of dramatic languages, in which ritualistic movement, characterisation, tension of relationship, and symbolism were all employed in order to achieve the company’s artistic director, Sam Strong’s aims to have “the cast beautifully transform the various historical and fictional characters into three dimensional human beings.”

The crowd roared to life as the four australians strutted onto the platform, playing their most recent song. I stood in awe as their voices echoed in the clearing. The recording of their voices did them no justice, when it came to listening to them playing live.

Stage directions are supposed to guide the movement, entrances, exits, essential behaviors and intonations of the actors. Moreover, the crew is able to seek guidance regarding their responsibilities such as the sounds required, the lighting and music that needs to be added. These directions often give the audience important information regarding what is taking place in the stage’s background and also indicate the environment and mood that the playwright envisioned (Frayn 100).

To begin with, the use of imagery in my feature creates a poignant picture of the emotions experienced by the men who fought in Vietnam; representing the good and the bad times during the first World War. This is a great example of Australian Identity as it shows that even in the most difficult times, Australians find a way to look past the horrors that they’ve endured, and to focus on the things that keep them going. Laughing with mates and having casual talks that don’t relate to the

Challen has employed a simplistic, bleak and interpretive set design reminiscent of a classical and slightly disturbing Australian landscape painting. The first segment of Challen’s Design is a striking gold frame with a curtain similar to that of an Australian landscape. When the curtain pulls back it reveals the second segment, a large rock that spans across the intricate framing of the set. Perhaps in an attempt to make the text more relevant for contemporary Australian audiences the design of the rock bares similarities to Uluru. The design of the rock brilliantly slopes upwards creating a mound containing Winnie to which the audience can focus their attention upon solely her. The focus has also been directed towards her by not overcomplicating the set itself so as to not distract the audience. Whist the rock is semi realistic there is an obvious distance between it and reality. The final piece of the set is the muted red and black plastic-like scenery background. Bare and desolate the background appears too big for the set and contains ripples that show its very obvious separation from reality. Challen’s set creates a literal distortion of reality and a work of art. By framing the performance set, not only has Challen created a method of focusing the audience she has also literally trapped the set similarly to how Winnie has been held.

As the conductor took his place in the pit, the audience began the performance with a loud applause. When the curtains were drawn back, the audience’s attention was immediately fixed upon the stage. As the characters began to file in, one’s eyes were easily drawn to the characters of wealth and importance as their costumes were more colourful and lavish then those of the chorus. The music accompanying this image drew the audience even further into the performance as its stylistic features helped to portray a sense of urgency and warning.

Journey's End is a play about British soldiers in World War One, and the effects the war has on them, both physically and mentally. The play explores many aspects of war life, including friendship, alcoholism, class boundaries and the lifestyle of the men in the trenches. This essay explores how the play shows the effects of war on those involved, looking at use of dialogue, lighting, props and other key dramatic devices. The essay will mainly focus on Act 3, Scene 2 of the play, but relevant quotes from other scenes in Journey's End will also be used to help illustrate points.

The genre the film was originally intended to be was horror. But after filming and the editing process started we decided to change the film to a mystery film with a little bit of action in it. The action comes from the gun shot in the last scene.

Composers breathe life into their characters’ experience with aspects of distinctively visual elements. John Misto effec6tively does this in his play ‘The Shoe Horn Sonata’ (TSHS), a remembrance for the women imprisoned during WWII. The play recounts on live television about Bridie and Sheila’s untold grief and stories and their loss of innocence at a young age and the hopelessness they held. Likewise, David Douglas Duncan’s Korean war photograph has captured time to highlight fear and hopelessness the victims of the war held. These aspects are done through the clever employment of visual techniques and engaging dialogue and as a result of this, John Misto and David give life to the characters’ experience.