Waltz With Bashir

The strong imagery paints a picture of the battlefield and draws a connection between the past and present leaving the football players with a feeling of loss.

These components include juxtaposition and direct address to the audience. Juxtaposition is seen when The Last Post overshadows a didgeridoo, when the Indigenous serviceman returned from war. This enhances the dramatic meaning as it is conveying that the wider white community overlooked the actions of Indigenous soldiers. Also, the Last Post is still played today and thus communicates that there is still prejudice now. Secondly, use of direct address to the audience developed the viewer’s understanding of the dramatic meaning. This is evident as a past soldier is describing the effects of war and his journey through World War I, and speaking as if the audience were at the event. This grasped the audience on a personal level and made the address more meaningful. It is through the use of components of collage drama; juxtaposition and direct audience address that the dramatic meaning is effectively portrayed to the

As for the sound effect, the alliteration of the "s" sound, "with spools of suffering set out in ordered rows", illustrates the silent and isolated atmosphere the photographer is in-the photographic studio. With "eyes" rhyming with "cries", it heightens our sympathy towards the victims in war as it appeals to both the readers' sense of hearing and seeing. Not only does the suffering turn out to be more descriptive and

In analyzing “Beirut”, Freeman creates setting as the camera to convey a close perspective of the place, setting as action to show the conflict and differences that had occurred over time in Beirut, and setting as mood to express the emotion of the place. First, Freeman creates the setting by translating the perspective using a close up to isolated other objects to so you can pay close attention to the main idea. He states, “Here where everywhere was somewhere else; and the street signs point to Paris, and the light is not to be trusted” (156). Freeman starts from the beginning focusing closer and closer to the idea, by giving more vivid details for example when he states “streets signs point to Paris, and then more detailed to, “light is not to be trusted”, he is pulling the reader closer to the main action to reveal his primary focus or message of the story. Second, through the use of setting as action Freeman creates a conflict in the setting describing it in a way that evokes bad

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

A distinctly visual aspect of demonstrating the experience of the characters kindles curiosity in the audience to involve and instill emotional understanding of the context. Through the use of distinct and unique techniques, composers create an emotional response that can have a significant effect on the responders’ attitude on the world. The play ‘The shoe-horn sonata’ explores the crisis of circumstances as John Misto depicts the forgotten history of the women captured and imprisoned during WW2. Misto explores the experiences of the Australian nurses and the government’s response to their pleads of salvation, to emotionally bind the audience and the characters. Likewise, David Douglas Duncan involves the audience by evoking a feeling of pity and empathy in his Korean War photograph. He creates sentiment for the loss of innocence and employs distinctly visual elements to convey the horrifying nature of war. He profoundly highlights power in the photograph to explore the despair felt by the weak fleeing Korean citizens. Hence, both authors elevate the context with a visual representation of the individuals’ struggles to create curiosity and emotional rapport with the audience to improve the understanding of the characters experiences.

“The Shoe- Horn Sonata” is a play by John Misto that gives an insight into two lives of two female POWs in WW II and is a vector of Misto’s thoughts. It explores the little known and often terrible events associated with female prisoners of war. The play follows a friendship of two women through the war to a point of tension that’s beyond what any normal friendship would have to deal with. Misto engages his audience by using a multitude of mediums to portray his story creating a truly multimedia performance. The playwright challenges the audience to look beyond this to the underlying ideas of survival, loyalty and truth.

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

The Shoe Horn Sonata provides an insight into the lives of two women who were made prisoners of war by the Japanese and explores the little known and horrific conditions and events the women endured. With the use of distinctively visual techniques, John Misto brings Bridie and Sheila’s experience vividly to life. Through the use of projected images, sound, music and symbolism; the horrors of war, survival and resilience are portrayed throughout the drama.

The elements of cinematography in the film include a low angle shot looking up at the farmer as he chops wood at the beginning of the scene. The shot is preceded by the infamous extreme long shot of the military convoy. The director uses close ups to capture emotions throughout the entire opening scene. Fear in the faces of the farmer’s daughters as they come face to face with the Jew Hunter. Fear in the face of the farmer when he prepares himself as the military convoy approaches. Close ups are used at the table when the confrontation looms; the camera zooms in when the farmer begins to crack under the

A stylised moment was when Joey met the tank during the war scene; this moment was very intense as Joey was faced with a huge big tank that he cannot compete against. It shows the old technology in this case the horse meeting the new technology the tank. As Joey meets the tank he screams and gallops fast past the tank, while doing so Joey breaths rapidly. This is shown when the actors controlling the horse move the stomach inwards and out. There is a use of strobe lighting effects into the audience to make them feel Joey’s fear and panic that he is going through. In addition there is loud classical music playing in the background to intensify the emotions that the horse is going through. When Joey is first faced with the tank he runs, this is shown by the clever use of the revolve. The use of juxtapositioning occurs here, as it shows the old warfare facing the new warfare.

By exploring the theory of the “abject”, horror and the role of gender instability within film with regards to The Silence of the Lambs, this essay will attempt to explain the characteristics of the aestheticisation of abjection.

Martin Scorsese’s film “Raging Bull” is considered by many to be one of the greatest “sports” films of all time. The plot focuses on the professional and personal life of boxer Jake LaMotta. In the opening sequence, the film uses narrative, mise en scene, cinematography, editing, and sound to provide a framework for the rest of the picture. These elements also help to establish the film’s themes of nostalgia, isolation, loneliness, and suffering. In addition to setting up the film’s themes, these elements also help to create two distinct personas of the main character Jake LaMotta.

Furthermore, Lumet uses the film technique of different 'camera lenses and angles' to emphasize his intentions during the film. He employs numerous methods to enhance the ever-building tension throughout the room, including physically moving the walls in on the actors to enhance the feeling of claustrophobia. One case of this occurring is performed throughout the whole movie. As the story continues, Lumet gradually changes the lenses of longer focal lengths, so that the backgrounds seems to close in on the characters as the movie progresses, this gives viewers the feeling that there is an increasingly amount of pressure and tension filling the room as the decision becomes more uneasy on the jurors. Another example employed by Lumet to raise the tension level of the film is by using various camera angles during the film. Lumet shoots the first third of the movie above eye level, shoots the second third at eye level and the last third from below eye level. In that way, as the film begins we look down on the characters, and the angle suggests that they can be comprehended and mastered. By the end, the ceiling is visible, the characters loom over us, and we feel overwhelmed by the force of their passion.

Presented in an engaging and intensely graphic visual style, Waltz with Bashir uses the medium of fluid animation to present layers of history and effectively communicate concepts surrounding how we deal with trauma. Often referencing traumatic events that which current society did not encounter directly themselves, Waltz with Bashir triumphs in the struggle against ethical and visual implications of animated form, evoking a strong emotional response in its visual style. A vector based, frame by frame animation technique was used to present a re-enactment of the events that took place; referencing live-action footage as visual reference for the stand-alone animation process. The opening scene of the film sets up the dramatic visual style; as the camera tracks along, rabid dogs run loose on the streets of Beirut. Initially just one dog running towards the camera, eyes wide and vicious, swiftly multiplies into a pack of dogs, snarling and drooling; tearing through the highly stylised war-torn streets. This dramatized, surrealist scene we later find is actually a visual interpretation of a nightmare that Folman’s friend Boaz has connected to his experiences from the war in Lebanon. Typically a convention used in narrative film, Folman’s process removes us from the reality in the film because of its surrealist animated form and we become lost in the spectacle of animation. This allows the feature’s concepts to