Looking At A Few Of Them

Through the use of techniques and themes, a composer is able to create distinctively visual images when describing the setting and characters in detail which help us to understand and form meaning of what the composer is trying to convey in their texts. The use of techniques such as body language, symbolism, lighting, music and photographic background slides create distinctively visual images same with themes that are being used within the texts such as truth which is evident in the dramatic text ‘The Shoe-Horn Sonata’ by John Misto, the song ‘Lose Yourself’ sang by Eminem, and the film ‘The Eye’ directed by David Moreau and Xavier Palud featuring Jessica Alba. These three texts demonstrate how the responders are impacted and what is

The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and

Research Stimulation Task: The evaluation of mental illnesses to those that are being diagnosed serve as a basis to alter their way of living, that is to make effective and positive changes. Mental illness refers to a wide range of mental health condition disorders that affect your mood, thinking, and behaviour. It is irresistible to act upon knowing the illness you hold and what level it is in the spectrum, and the clarity of your reactions becomes intuitive to society.

Environmental documentarian, Bridget Besaw, combines both photography and film to advocate wilderness preservation and food sustainability. She creates “visual stories that serve as a rousting, yet romantic reminder of our collective instinct to care for the planet” (Besaw, 2015). Besaw’s photography captures a range of environmental issues from “threats to Maine’s wilderness, loss of working farmland in New England, restoration of crucial salmon habitat in the North Pacific, wilderness preservation in South America, and sustainable fisheries initiatives throughout the world” (Besaw, 2015). Besaw uses photography so others get “a closer understanding of and relationship to their own bodies and the planet that provides them with life. So for

The way in which composers convey their ideas is dependent on their use of distinctive visuals. Amanda Lohrey’s “Vertigo”, Tim Burton’s “Edward Scissorhands” and Bruce Dawe’s “Homecoming” show how the composers use the distinctively visual concept to portray a greater understanding to the audience of the themes and ideas presented in their work.

Peter weir’s film “The Truman show” visually communicates his concerns about the power of the media and the impact it has on society and individuals, through the use of many techniques the composer attempts to engage and inform their audience about how through its manipulations the media affects society and individuals. Victor Kelleher uses manipulation of the visual to communicate ideas about his novel “The Ivory Trail” through the book cover.

Filmmakers like Claude Lanzmann (Shoah) negotiate this tension by flatly rejecting the use of "historical images." So, by juxtaposing the visual/critical/rhetorical practices found in these films we can begin to define some of the practical parameters of what a visual-rhetorical critic might investigate.

The director Miyazaki utilizes both physical and visual elements as represented by the characters, in order to communicate and individualize unique character traits and contrasting personalities. Miyazaki’s placing emphasis on character development is a significant aspect of not only the narrative, but also asserts how each gender is represented in a different way.

John Luther Adams and Phillip Glass had very unique ways of sharing their environmental message. John Luther Adams’ environmental pieces were focused on the music and each individuals’ experiences in nature. John Luther Adams used unique stage set up and performance location to share his environmental message. Phillip Glass’ Koyaanisqatsi was used in a film. This film used visual images to further express the changes happening around us, both in the city and in nature. Both composers were passionate about the changes happening in nature due to human involvement, but they used very different modes of composer and presenting to share their message and beliefs.

Gasland, an environmental documentary directed by Josh Fox, follows Fox as he explores the inner workings of drilling and fracking, only to discover the shocking reality that plagues those near drilling sites. Aimed at educating the general public about the horrors of fracking, the Gasland movie poster utilizes alluring visuals and words to entice the viewer to inquire more about the film. Through the use of mysterious imagery that conveys a sense of wonder, shocking text that creates feelings of worry and fear, and the use of movie awards to establish credibility, the Gasland movie poster effectively achieves its purpose to gather viewership, and ultimately inform its audience about the drilling industry. The movie poster’s primary area

“The Boat” is an interactive graphic novel that takes an extraordinary tale of a young Vietnamese refugee to new heights through the use of interactive elements and sound effects. Employing a simple, easy to use scrolling method the reader is immersed in the world of the narrator, the website adopts a number of elements, the most striking; however, is the sound effects which transform the two-dimensional story to a three-dimensional landscape. Immediately readers are encased with sounds of lightning and rain, setting the scene for the tale and heightening the drama of the tale. Diegetic and non-diegetic sounds have a continual presence throughout the website, as the reader scrolls down sound effects that match the pairing stills and moving

Hayao Miyazaki has directed ten Studio Ghibli films, and many more outside the company. Most of his films include a form of uncertainty, some of which include technological ambiguity, moral ambiguity, and the ambiguity of age. The focus of this essay is Miyazaki’s ambiguity of age, specifically through his film My Neighbor Totoro. Through the theme of the ambiguity of age, Miyazaki is able to show the different characteristics that are maintained through maturing, characteristics that are left behind, and characteristics that are gained from the process of growing up. I will focus on the differences of maturity between the two sisters and the father in My Neighbor Totoro.

The way Hayao Miyazaki entices his viewers to accept his idea about a new relationship between nature and humanity was never really talked about or discussed in the past couple of years. The film ‘My Neighbor Totoro,’ with all the religious elements and the social impact it had established the director Miyazaki as one of the best animators not just in Japan, but around the world. What really gives this film power and fame is not just the mysterious and magical world it has or the cute character that Miyazaki created, but also the film’s way of influencing the audience by conveying an unfamiliar message about this three-layered relationship between nature and humans. Comparing both Miyazaki’s childhood memories and the story depicted helps him connect the audience’s feelings with the characters and making this realistic representation of human emotion in the film believable and realistic not only to children, but even to adults. What also makes the world more familiar to the spectators is the director’s use of a common fear from many people’s early years in this unknown and magical world. This common fear is clearly illustrated when the girls meet Susuwatari, a black spirit in the old empty house that stays in dark spaces and prefers to be left alone, and only children can see it. The introduction of this spirit is a good transition between the world of magic and reality. It confirms and insists about the existence of the unknown, and introduces a world of illusion and

Traditionally, animated films have been made for and consumed by children, with the plotlines and themes being relatively basic and forthright. However, recent years have seen the release of animated films that explore significantly more adult themes and thought provoking ideas. Perhaps the most confronting example of adult themes in an animated film is in 2016’s ‘Zootopia’. The film forces viewers to think about concepts such as racial segregation, nature vs. nurture and the debilitating effect of stereotyping. Although Zootopia features anthropomorphic animals, it is easy to draw a connection between the film’s prey vs. predator narrative and racial divide in our own society.

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.