Textual Analysis Of Wings Of Desire, By Wim Wenders

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

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 story’ opening shot is part of the montage sign of the neighborhood. Starting, the Camera tracks towards the STOP sign. There is also a distant aero plane behind, something which is catchy, and that suggests that there are remote likelihoods of escaping from these hood surroundings, that is, if the right decisions are made. The plane in particular tells a contrast to the sound of the hovering movement of helicopters, which is intrusive and always present. The sound of the intrusive hovering helicopters is already on the soundtrack even before any image appears.

Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to

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 camera movement from one side of the street to the unknown neighbor's house illustrated how unwilling they were to listen to Will’s reasoning yet determined to inflict violence upon a presumed “terrorist family”. The previous examples revealed that with the correct camera movement you can enhance feelings, and foretell them too. In specificity to these scenes, the reoccurring slanted motion appealed to the feeling of disarray and foreshadowed the mayhem to come. While the camera movement from one house to another depicted the wrath of the mob; proves that the cam movement allowed the viewer to receive a better sense of what unreasonable fear the characters are feeling.

Montag is someone who is shy and keeps his thoughts to himself, but thinks many things. He shows that he is distracted instead of being happy throughout the book. At the time, he was walking home from work and was looking at Clarisse. Clarisse is a girl who would roam the streets and was also Montag's neighbor. She walks over to Guy and they start to have a conversation while walking to their houses. They discussing if talking about to see if Montag is really happy or if he was lying. She keeps questioning him. Bradbury explains “He was not happy. He was not happy. He said the words to himself. He recognized this as true state affairs. He wore his happiness like a mask and the girl had run across the lawn with the mask and the way

Thus, through the initial impression of the man of the bird’s brave and challenging movements by the utilisation of poetic techniques, the reader is able to visualise the bird’s characteristic it inherits and gain a deeper understanding of nature and the impression of humanity distinctively.

Fahrenheit 451, by Ray Bradbury, is set in 2053 in a city like Las Angeles. Bradbury wrote this novel in 1953, 100 years before the time this book was set. He intended to talk about a future society. Not only predicting a future society today but, predicting the way people are turning out. People in this society think it’s okay to burn pages of knowledge rather than read them. Firemen in this society have a job to burn books. The mood of this novel is terror and misery because people who own books live like this just to keep their books.

Before meeting Clarisse, Montag was a strong adherent of the societal function of book burning. He was rather oblivious to the ignorant and critically dull society he lived in. His meeting with Clarisse was the beginning of his Metamorphosis into a critically aware and enlightened individual, one who could see the errors of society in forming a bubble around them. This “bubble” forming that Clarisse leads Montag away from is a serious issue, and even affects our real modern day world.

“Then, moaning, she ran forward, seized a book and ran toward the kitchen incinerator. He caught her, shrieking. He held her and she tried to fight away from him scratching,” (63). In the novel Fahrenheit 451 follows the protagonist, Guy Montag, and his interactions with society discouraging and encouraging his discovery of the illegal books. Along the way he understands who are the poisonous people in his dystopian world and who are not; changing his perspective to lose trust in his wife Mildred, from previous quote, and finding safety with Faber, a retired professor he came by one day in a park. In the novel Fahrenheit 451 the author demonstrates the idea that when there is censorship in the world, ignorance will follow because when a subject is hidden from one anything they do regarding it is under the impression of their lack of knowledge surrounding the topic, this becomes more relevant when Ray Bradbury acknowledges the emotions of people who have read books and whom haven't and their general opinions of them.

In addition to camera movements, he uses camera distances and framing to create images that make the audience feel cheerful. When he frames a shot, if it takes place outside, there is ample amount of bountiful nature within the frame. The most prominent example of this is toward the end of the film when the narrator is describing the after effects of the massive storm. It is a medium close up but the narrator is only in a small portion of the frame, the rest if a

First the author uses symbols to help describe the Angel and portray how weak the angel actually is. The Angel’s wings symbolize strength and power. While the Angel is in the cage his wings are beat up and he is weak, but over time his wings begin to heal and he becomes more powerful. It says, “... and at the beginning of December some large, stiff feathers began to grow on his wings,” (367). This line demonstrates the power the Angel is obtaining and soon after he

As Ali's face dissolves to a flashback, non-diegetic music accompanies the overview of Algiers. The musical motif which begins as the camera starts to pan is exemplary of the parallel relationship between the aural and visual elements in the film. As Joan Mellen has highlighted, the arabic soundtrack, as if from another world, expresses the

The spectator is thrown into the reckless and expeditious world of the characters, creating a sense of hedonistic abandon and excitement. The chase leads to the first of the dramatic scenes within City of God. A heavily armed stand-off between Lil’ Zé’s gang, and the police ensues and we are introduced to Rocket who is caught between the two. It is here that the shot rotates 360 degrees, spinning us into the past, leaving the spectator keen to understand more. It is this exhilarating sequence of editing and camera work that has led some viewers to brand the film an indulgent exhibition of romanticized ghetto life. However, the producers of the film claim that the effects are present in order to assist the telling of a universally human story and are intended to capture its realism[9]. Kátia Lund commented on the rotation shot and remarked that “the critics would say this is a film from Hollywood, they’re doing The Matrix, these fancy shots. And the cost of the shot was...$20. Just a guy pulling a dolly”[10].