Koyaanisqatsi

The film Koyaanisqatsi was premiered in the year of 1982, but it was filmed throughout the 1970s. The name of the film is in Hopi language and there are various meaning to the word: crazy life, life in turmoil, life out of balance, life disintegrating, or a state of life that calls for another way of living. The one I think that fits the most for what I got out of the movie is a state of life that calls for another way of living. According to Marc Truitt, the film is saying that humankind is interfering

In the 1982 film by Godfrey Reggio, Ron Fricke and Philip Glass, Koyaanisqatsi: Life out of Balance, the filmmakers use imagery and music rather than dialogue to convey emotion, time and meaning. The images in the film is primarily time-lapse and slow motion footage of natural landscapes in the United States, cities and human machinery/development. It requires skill and experience to create a film with no dialogue that can effectively convey a message. Without words it would also be challenging creating

Abbas Kiarostami’s remarkable short film 'Bread and Alley'', presents a unique cinematic narrative that captures a glimpse of an extraordinary relationship between man and dog. A ten minute film set in the isolated alleys of Tehran. Unlike any Hollywood day-to-day movies, the short Iranian film is bound to leave you speechless. Bread And Alley, encourages young adults and children to face their day-to-day challenges. Kiarostami initially released 'Bread and Alley' in 1970. Though it has a simple

Koyaanisqatsi Koyaanisqatsi, sometimes titled Koyaanisqatsi: Life Out of Balance, was directed by American director Godfrey Reggio. The film deals with the relationship between humans and nature entirely through the contrast between the music and the visuals. The tone of each scene relies purely on composer Philip Glass' score to aid what's being shown on screen and provide meaning to what's taking place. Because there are no conventional story ideas or dialogue, the film takes its message

… Kony Video The above is the simplified characters (or dimensions) of the human right narration as perceived by Mantua (2001). In relation to Kony 2012, joseph Kony is the face of savage who abduct the innocent children (victims) and force them to join his Lord resistance army (LRA). The saviour in this video is the US troops who sent to train and advice Ugandan army and help them capturing joseph Kony and finish this rebel group. The main idea of the video was an experiment to raise awareness

I was surprisingly pleased with the 2008 film Stilyagi. Shattering the dystopian Soviet era film I came to expect, this musical comedy is brimming with saturated filming, jazzy music, and ostentatiously bright clothing. This often unseen view is symbolic of the counterculture of which the film is named. The film is set in 1955, a mere two years after Stalin’s death, in the start of the Khrushchev thaw. The resulting relaxation of censorship, allowed youths were able to explore their interests. Through

countless films discussing this issue. This report aims to explore two particular films, “Koyaanisqatsi” (1983) and “If a Tree Falls” (2011) and their attempt at manipulating audience’s perceptions of this ideology, through their mastery of the unspoken elements of film. This report shall take the stance that through its manipulation of camera angles and shots, sound and editing techniques, the film Koyaanisqatsi more effectively conveys a positive, ecocentric representation of environmentalism, in

The purpose of Bowling for Columbine and Koyaanisqatsi is not radically different, both directors are attempting to make an argument. In Bowling for columbine, Michael Moore is constructing an argument about the culture in some regions of the United States that are vulnerable to gun violence. To accomplish this he weaves together first person accounts from people responding to his questions on the issue and presents images that he wants the audience to connect with what they are seeing to create

o In Koyaanisqatsi, Glass’ use of repetition drove my feelings and I started to focus on the music instead of the images. The majority of the time, it seemed that there was some comparison of the images and the music. When the music was fast and higher pitched, it was correlated with exciting moments in the images. When it was slow and lower pitched, it was more related to the negative changes happening in our world. These comparisons did not have the same effect as the slight changes in the pieces

Compositions such as Company, Facades and String Quartet No. 3 (the last two extracted from the scores to Koyaanisqatsi and Mishima) gave way to a series of works more accessible to ensembles such as the string quartet and symphony orchestra, in this returning to the structural roots of his student days. In taking this direction his chamber and orchestral works were also written in a more and more traditional and lyrical style. In these works, Glass often employs old musical forms such as the chaconne