Symbolism Of The Monolith And Re Red By Stanley Kubrick

In Kill Bill the only colours are black and white. The scene was made black and white partly due to censorship issues and for dramatic effect. Looking at the effect of the

     While the film is in color, sometimes it appears to be in black and white. There are no bright colors in the film. Most of the colors are either browns, beiges, whites, blacks, and grays, so that even when the characters are outside or in daylight, there are contrasts between lights and darks. For example, at the beginning Mr. Gettes is seated in a somewhat dark office, yet he is wearing an all-white suit. Later, when he goes to examine the dried up river bed, his black suit contrasts with the bright sunlight and light colored sand.

The Red Convertible by Louise Erdrich is more than an emotional story about the lives of two brothers who grew up together on an Indian reservation. She uses a writing style that allows the reader to understand the text, while providing the opportunity to read into the story. Erdrich uses metaphors, symbols, imagery to describe and define the brothers Henry and Lyman’s relationship.

The film uses a variety of colors to help this psychological piece to really embrace the story. In addition, the music in this film makes it feel more alive in contrast by its dark humor. Spiders make a big appearance in this film symbolising the world of Beetlejuice.

that black is symbolic of evil and darkness. The first black cat was the victim of the narrator’s evil and violent heart.

The story “The Red Convertible” by Louise Erdrich is a story with symbolic importance. Often you find that a lifeless object can be more important than the actual characters of the story. In this story that object is the red Oldsmobile convertible. This is a story of two Native American brothers of the Chippewa descent, Lyman and Henry Lamartine, who through their car that they purchased together form an unbreakable bond. Although the car itself represents the most symbolic item in the story, the color red also seems to come up in other forms than the car and plays a very symbolic part in the story. The red convertible is the main symbolism of the story and source of communication between the two brothers and the color red illustrates further the symbolism in the story. In America, the color red has positive and negative symbolic representations. The positive being passion, strength, love and energy. The negative being blood aggression, danger and war. Through the Native American culture, the color red represents a color of faith while also symbolizing communication. Throughout the story we read of both positive and

The black waters can be seen as a metaphor for the realm unknown in the second schema. The persona uses a mask to protect her from exposure, she must learn and adapt to her new environment. The persona does not want to forget her mission, "And now: it is easy to forget what I came for" (Vendler, 504). She has come to explore the truth of the wreck and she will not get sidetracked. The diver has become a different person underwater, she even breaths differently in the sea.

In movies such as Schindler’s List black and white successfully deepens the impact of the film and gives the film an archival quality as well as a documentary edge, as the film is set in World War II era. This means that the shift from colour to black and white and vice versa, plunges the viewers from the present into 1939, bringing them closer to the characters and the storyline as well as helping them experience the horrors of the Holocaust firsthand. The psychological convention of black and white works well because many people visualise World War II through black and white images and film footage, since the style of black and white links to that time period which deepens the historical settings. The director’s use of black and white during most of the film creates emotional impact which solidifies the horror that many of the Jew’s were faced with. Spielberg’s use of black and white also presents him with the opportunity to use colour to create a certain effect, such as in the final scene, where the line of Jews in black and white changes to the modern day Jews in colour, which creates the effect of being transported from the past to the present. Spielberg's use of colour in the final scene helps to show the realism and the horrors of Holocaustic events, and creates a lasting effect through the contrast of black and white and

Where the darkness is represented in the place where black is stated and the lightness is represented by the things that are white. In this novel, shades of black can be seen in objects or emotions that are associated with the night, shadows, burned, and evil. On page 3 it states, “It was a pleasure to see things eaten, to see things blackened and changed” (Bradbury). There was also a black cobra mentioned in the beginning of the book which was a "suction snake" that pumped Mildred's stomach . It could have been any colored cobra but the significance of it being black kind of gives us that thought of something dangerous.

One way used many times throughout the book is using black to reinforce a grim tone onto the reader. An example of this is in Book One on page 93. The image shown is of lunch counter protesters during a sit-in with a “counter closed” sign. The photo uses mostly black to develop a dark and unsettling tone. On the page before it is shown how the servers did not want to serve SNCC members. The negativity and hatefulness of the servers is reinforced with the dark tones used to create the image on page 93. Another instance the illustrator uses black is in Book Two on pages 102 through 108. The Freedom Riders were arrested and they were transferred to the Mississippi State Penitentiary, also known as Parchman Farm. This point in the Freedom Riders’ journey was one of the low points for the Riders. They were dehumanized and treated terribly in the jail, this shown in the way the panels are illustrated. As soon as the Riders entered the jail cells, the white borders started to transition into black borders. This transitions the tone the reader feels while reading. The dark colors cause the reader to subconsciously feel unsettled and unhappy, which is what the Freedom Riders felt during their time at the

To illustrate, director often uses red details in scenes to symbolise danger, small things such as a scarf on Dr Sattler’s neck in the beginning of the film. These tiny details indicated the audience about danger and builds a fearful mood. In addition, the weight of the evidence suggest that, colours and lights can make any situation appealing and horrifying.

Secondly, the colour back is mentioned numerously throughout the text. The rear hull is punched full of holes and smoke and oil pour out like black blood. Neo hears the helicopter begin to die (Larry and Wachowski, p.107). The colour black is alluding to secrecy and death as the helicopter begins to malfunction. A black sedan with tinted windows glides in police cruisers. Agent smith, agent brown, jones get out of the car. They wear dark suits and sunglasses even at are also always hardwired; small Secret Service earphones in one ear, the cord coiling back into their shirt collars (Larry and Wachowski, p.03). The secret service is known to where black in order to preserve their identity. However, it is odd to wear sunglasses, even during the night. The removal of the sunglasses contradictorily indicates both protection and crisis. Morpheus opens his hands. In the right is a red pill. In the left, a blue pill.This is your last chance. After this, there is no going back. You take the blue pill and the story ends. You wake in your bed and you believe whatever you want to believe. The pills in his open hands are reflected in. You take the red pill and you stay in Wonderland and I show you how deep the rabbit-hole goes (Larry and Wachowski, p.29). Neo is put in a dilemma and has to choose whether or not he wants everything to be over. Neo raises his hands and the bullets, like a cloud of obedient bees, slow

The Dawn of Man. Four simple words introduced what is remarked as one of the greatest films of all time. There is no spoken dialogue within the first 25 minutes and the last 23 minutes of the film. “2001: A Space Odyssey” is an ambiguous film. The broad range of audience captures various interpretations of the film. The main theme seems to be about the evolutionary process of mankind interwoven with elements of a higher or extraterrestrial entity guiding this evolution. There are some film theories that suggest this movie was all propaganda used in conjunction with the space race that occurred during World War 2. Some even go as far as to say that the same set used in “2001: A Space Odyssey” was used to fake the moon landing of 1969. However, theories with more evidence suggest that the iconic monolith doesn’t represent aliens or “God”, but instead represents the cinema screen of which we are viewing. The artistic importance of “2001: A Space Odyssey” is derived from its ability procure various conclusions.

Not only does Kubrick, focuses the monolith with the apes. He further depicted the monolith in outer space with the contacts by humans. The setting of the monolith is not too different from the prehistoric setting. As the sun rises over the top of the monolith, just like in the previous setting of the monolith. Reactions by the humans were not that far different from the reaction by the apes. As both species, reacts in a confusing manner by such an unknown object. All the same, the appearing of the monolith in both scenes is a sign of advancement in society and the minds of people

Keisuke Kinoshita's 1958 film tells its story with deliberate artifice, using an elaborate set with a path beside a bubbling brook, matte paintings for the backgrounds, mist on dewey evenings, and lighting that drops the backgrounds to black at dramatic moments and then brings up realistic lighting again. Some of its exteriors use black foregrounds and bloody red skies; others use grays and blues. As in kabuki theater, there is a black-clad narrator to tell us what's happening.