The scenes consist of the many techniques mentioned above, there are two main characters are shown and the play is set in contrasting between the past and the present. There are two real locations that are the TV studio and Melbourne hotel, however the interplay of the techniques in the scenes works together to create a wartime setting. The audience awareness is developed through the historical information from each scene. Theatrical devices a re combined to create various features and have a great dramatic impact. The structure promotes the audience to watch the play because the structure of this storyboard is contrasted between the past and present that will attract audience attention, as it is an historical play set between different times.
Distinctively visual techniques are crucial elements in conveying a sense of actuality of an event. They aid the reader’s insight and perspective sparking emotions of joy or empathy for the characters. In John Misto’s play, “The Shoe-Horn Sonata”, the use of distinctively visual assists in creating the atmosphere, in order to highlight the WWII catastrophe’s the protagonists encountered. In addition, this is thoroughly examined in the John Misto’s interview. Similarly, in the picture book “The Lost Thing” by Shaun Tan, the incorporated visuals assist in telling a young boy and a machine-like creature’s adventure in unraveling the true face of society.
Vivid and memorable images produce certain emotions within the audience, through their interpretation of distinctively visuals to create particular perspectives. ‘The Shoe-Horn Sonata’ a multimedia presentation composed by John Misto, is a highly evocative play exploring the history and treatment of women in the Japanese prisoner of war camps, by looking at real life experiences of these women told through a story about two characters, Bridie and Sheila. Kenneth Slessor’s 1942 poem ‘Beach Burial’ similarly comments on the horrifying scenes of war and the significant sacrifice of those who fought. Through the use of distinctly visual techniques, both composers create memorable images immersing the reader into a new understanding of war allowing
John Misto, the composer of the play ‘The Shoe-Horn Sonta’ cleverly weaves various distinctly visual techniques to illuminate the dramatic ideas, shared by two friends, Sheila and Bridie. Through the use of engaging dialogue, characterisation, symbols, stage directions, sound, and dramatic tension Misto explores, the key ideas of horrors of war, and heroism and creates distinctly visual images within the minds of the audience. An idea/theme which Misto cleverly illuminates through the use of distinctively visual techniques is that of the horrors of war. In one scene, where the women have sewn a pin into a guards loin cloth in an act of defiance, Misto cleverly uses voice over and soundtrack to dramatically convey to the audience the brutal beating Bride endures to protect Sheila from the wrath of Lipstick Larry.
The acting portrays the external struggle – maintaining a certain image in front of others – that the characters face as the roles of each person is revealed from the dialogue and facial expressions in particular. Sound reinforces
There are many things that make “Citizen Kane” considered as possibly one of the greatest films every made; to the eyes of the passive audience this film may not seem the most amazing, most people being accustomed to the classical Hollywood style, but to the audience with an eye for the complex, “Citizen Kane” breaks the traditional Hollywood mold and forges its own path for the better. Exposition is one of the most key features of a film, it’s meant introduce important characters and give the audience relevant details and and dutifully suppress knowledge in turn. “Citizen Kane” does not follow this Classic Hollywood style exposition, instead going above and beyond to open the film with revealing as little information as possible and confuse/intrigue
“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).
Like Zach, I have never put it together that Orson Welles was the man behind War of the World that caused people to go into this mass hysteria. It is incredible that if you make it sound like it is believable, people will actually buy in. I have truely never see a man's voice pursuade a large portion of people to strongly. Welles uses many of the same stadegies that he used in Citize Kane to make sure the viewers or listeners never even thought about turn the screen or radio off.
The use of symbolism and expressionism is paramount to both the narrative and to the theme. Meaning of some of the symbols are; • Mirrors: The mirrors in the movie Citizen Kane shows how Kane has different series of mirrors in his life in which his image has duplicated infinitely. Metaphorically, these mirrors continuously showed us different versions of Kane. • Puzzles: The jigsaw puzzle shows how Susan Alexander used to play with them very often not merely for fun but also as a way to fulfill her unyielding existence with Kane. The jigsaw puzzle shows how all pieces always don’t fit in properly, similarly, Susan and Kane’s personalities were very different that created unresolved issues and conflicts in their lives.
The history of South Korean begins with the surrender of the Japanese at the end of World War II. It was during this time that the peninsula of Korea was divided into two: the northern zone which was occupied by the Soviet Union and the southern zone which was occupied by the United States, causing two separate governments to form within the country. On August 15, 1948, the Republic of Korea (South Korea) was formed (South Korea Profile, 2014). Shortly after, on June 25, 1950, the Korean War erupted due to the invasion of South Korea by North Korean troops. United Nations troops, predominately the United States, intervened to help the South Koreans, however, China intervened by sending Chinese troops to help the North Koreans.
In “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and
The original version of Shakespeare’s Comedy of Errors can only be read unlike the live version of Comedy of Errors performed by the American Player Theatre which is watched. By watching the live version of Comedy of Errors, the audience gets a visual and audial experience. This multi dimensional version of the Comedy of Errors is a positive factor that makes the live version of Comedy of Errors successful in representing original version . For example, a top hat is used when identifying Dromio of Syracuse and a bottom hat is used when identifying Dromio of Ephesus. The visual representation of the twins allows the audience to avoid any confusion when watching the play.
“The Empty Space”, a book written by the director Peter Brook outlines his four theories of theatre each that evokes a different meaning, Deadly, Holy, Rough and Immediate. In his opinion, Deadly Theatre is the most common type of theatre, which fails to modernize, instruct or even entertain. This style concentrates on the act of imitation by mimicking successes from the past and relying on old schemes instead of exploring the deeper meaning from the text (Brook, Peter). However, Shylock, a character from the Merchant of Venice a play written by Shakespeare, has had various interpretations from actors through out time, causing tendentious reactions from its audience. This thought fueled my inquisitiveness to investigate the importance on how
“Imagination no longer has a function”, says Emile Zola in his essay, ‘Naturalism in the Theatre’. Many of the ideas which Zola has discussed in this essay have been taken up by modern theatre, both in theory and practice. Modern theatre, for instance, is aware of the fact that analysis and not synthesis should be the basis for theatrical production. It is with this theory at the back of his mind that Bertolt Brecht has discussed theatre’s role as an educator only if the elements associated with spectacle are removed from theatre.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
