Temporal Articulation in La Jetee Essay

Split screen techniques divide the screen into three equal proportions creating a simultaneous depiction of Lola, Manni and the clock, allowing Tykwer to show the struggle to beat time. Adding to the dramatic urgency and reinforcing the power of time is the virtual real time of the film, meaning the twenty minutes of Lola’s life are shown in virtually twenty minutes of screen time. Hence, the distinctively visual provides an insightful image into Lola’s experiences placed under seize by the adamant nature of time.

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

The signs of the time are also shown through the use of specific camera shots, which humble the characters and show their frailty. Long Shots, in particular, are used to exemplify the smallness of the characters (without power) in the vastness of the world around them. In the scene in which the

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 other camera movement that I want to talk about is the shot which shows the frame within the frame. At the scene when Gustave tries to escape from the prison with his prison mates, they slide down through the steam vent and open the wood-paneled door on the ground. At this moment, the camera shows them who are staring down a hole in the wood frame and shows the guards who are playing the card game in the wood frame. Through using this shot, this film allows audiences to feel that they are looking at the painting just like seeing one page of a fairy-tale book. On the one hand, Wes Anderson’s frame within a frame shows the internal psychology and memory of the characters in the film (MCCAUSLAND). The last camera movement that I figure out is employing a symmetrical shot which is perfectly balanced in the left, right, upper, and lower side. This symmetry makes audiences recognize psychologically that they are watching fictional dreamlike world. Because of this balance, on the one hand, audiences can easily understand what they are seeing in each scene, and the symmetry aesthetically amuses people’s

Paul Keating’s speech ‘funeral service of the unknown Australian soldier’ and Noel Pearson’s speech ‘an Australian history for us all’ have developed and expressed ideas using language appropriate to their audience, purpose and form. Despite the fact, it is fundamentally the speaker’s skills in the construction of the speech that determine its decisive success.

It can show: Happiness, sadness, frustration, confusion, disbelief, nervousness, and if we’re fabricating a story or recalling a memory

As I signed up for a class called “Embodied Discourse” I had no idea what to expect; the only informatioin I knew was that I was about to take a Goal 1 course. If someone asked me on week one or even two what “embodied discourse” meant in terms of this course, I believe my response would be something along the lines of: “I don’t know, but we do yoga every day!” As the course progressed, if someone asked that same question, my response transformed more to: “It’s about integrating your mind and body into writing,” but I always remembered to mention we did yoga every time we met as a class. It has taken me awhile to realize that embodied discourse is more than just a class I’m taking to help me incorporate my mind and body together into writing. Much of the content we have discussed has been eye-opening to me, regardless the topic, or of it was a discussion, listening to an interview, or digging deeper into my thoughts through meaning making journals. By living our lives in ways that de-center ego and create a sense of integration, we free ourselves from a “default” mode that David Foster Wallace articulates. Realizing that college graduates are equipped with an educated mind, Wallace encourages us to think about our thinking. Since thinking inwardly is natural, it requires refocusing of ego to think outwardly. Wallace’s ideas are a leap towards a better sense of integration of the mind and body. Acknowledging that our minds and bodies are subconsciously weaved together means

The change of location is quite dramatic as it leaps backwards and forwards through time without warning. This creates a memory-like sequence as each scene is connected through a stray thought. It is connected through chronological order and focuses on the theme which link these episodes

The passage of time and Kane's first dissolving marriage over the course of nine years is vividly conveyed within six scenes by the technique of quick jump shot cuts. Each one marks the passage of time through each of the six progressive intervals. Changes in time are also reflected in differences in lighting, changes in their positioning (they are gradually seated further apart or opposite from each other at the table), the special effects outside the window, the food, their hairstyles and their wardrobes. Each transition is also accompanied by waltz music on the soundtrack that progressively becomes more dissonant as the marriage

There is an extreme depth of field created by Davis within the photograph that washes everything past the foreground into a blurred ambiguity. The farther back one looks into the space created by the image, the more difficult it becomes to determine what is being observed. The foreground focus becomes the metaphorical equivalent of the relative clarity of recent memories, just as the blurred background is equated with the more distant past. This depth of field creates a sensation of time as the background of the image recesses and eventually degrades beyond readability. The image evokes an ephemeral quality—the depth of field combined with the reflective surfaces causes the image to feel insubstantial. The temporary moment that was captured on film is a remnant of a fleeting memory.

This is because the editor has been able to create something in the movie that cannot be filmed by the use of various techniques in order to show the change of time visibly. These techniques give the editor a chance to give a different effect and be able to create something totally different to the film. The use of technique shows people an object change or the environment of an object change of a certain period of time such as a person acting in the film such as getting older or younger (Belton, 57). The film of Pulp Fiction is a good example of manipulation of time and space.

In other words, the film does not follow a linear time narrative. It begins with “Passionless Moments recorded in Sydney, Australia, Sunday October 2nd”, pretending the film was shot secretly to record characters’ lives without letting them know. Also, the film ends with the narrator saying “There are one million passionless moments in your neighborhood; each has a fragile presence which fades as it forms”, as if the film just started and was going to present those moments. Spectators will still understand the theme even if the order of each episode

The camera tracks backwards as Szpilman walks towards us. It gives the audience the feeling that he is limping into our hands as if we are helping a poor elderly man. Then the camera tracks from right to left as we get the impression that he is searching for something. The director chooses to track his movements slowly to make the audience feel as if Szpilman is moving along in a fragile house just like himself. The camera tracks along showing the audience a full view of him showing us the little steps he is taking just to get to the other room. There is very low lighting in this scene which shows as if he is looking for something quietly without making noise. Szpilman then finds something on the floor, so he bends down and this is shown by tilting the camera down to a low angle. The director has chosen to do it this way because it makes it flow with Szpilman’s movements. Then the camera tracks and zooms into Szpilman walking into the next room. When Szpilman finds a tin opener and uses it the camera focuses on it even though it is a small object and not important. As Szpilman carries on trying to open it the camera is still focused on it. The director makes the audience focus on that repetitive movement of trying to open it but at the same time distracting them from the characters emotions if anything surprising happens.

necessity that speaking and listening ought to be solidly laid during the formative years of the learners.