The Shot From The Goddess's Play, The Goddess
The shots make the actors more courageous or important. As it is in the film when the body of Claire lies on the glass while Norman stands over her, the low shot shows that he is the bad guy and is in control. A boundary that was never stated, although portrayed by the camera angles. Zemeckis, as a director, only allows certain things to be seen at a time to help the audience catch certain actions of the characters. When she walks backwards down the steps and the view is up the stairs, limiting the audience’s view of what’s behind Claire.
Additionally, during the Pantheon meeting, a girl mentioned that when you are Pagan, “if you’re in a community of people who have the same meanings as you, then I think it’s easier”. I tried to depict this sense of comfort and unity through arrangement of the photographs, since “the aim of ethnographic film is to preserve, in the mind of the viewer, the structure of the events it is recording as
Similarly, in Corpse Bride, Burton uses a low angle on the bride when she rises out of the ground. When the audience sees the bride from this angle, one can imagine how Victor sees her, and begins to feel frightened by her, because she appears so much larger than a normal sized person. It is not until later in the movie does one realize that she is actually an average-sized person. This effect is achieved because of the angle on the bride when the audience first sees her. Additionally, Burton uses a long shot in Edward Scissorhands when we see the mob of people enter the forest.
These aspects include gloomy, dark atmosphere, or a sense of horror and dread. In this scene, Coraline’s Other Father shows off the garden to her, which is revealed to be in the shape of her face. This scene uses all the movie techniques in collaboration to allow for the scene to have a peaceful affect on the audience. The camera techniques that are used in the scene are called a long shot, overshot and the camera pans horizontally to the right.
The antagonist is in this shot because the audience is then seeing the main reason and build up to this whole scene. Such as Moriarty stealing the crown jewels. This low angle mid long shot allows the audience to see all the full effect of the glass smashing. The shot makes the audience feel like a rush of adrenaline and intensity flows through them, creating this captivating scene keeping them glued to the screen. Plus, it places the audience as though they are stood to the side watching this event happening due to being able to see the entire glass sheet shatter.
An important technique from this scene are the camera shots. The camera shots applied in this scene are simple. These conveyed the raw emotion
Ancient plays throughout different cultures in history contained all male cast, failing to even cast women as they were deemed inferior. Tradition held that the culture in western societies restricted women’s roles. Even as female characters were indeed written in certain plays, the role were portrayed by a male. They regarded women being able to portray these roles as dangerous and that having men play them “neutralized” the danger it possessed. The Greek’s and the Roman’s both held these views making it impossible for women to be on stage.
They put this shot in to show the sadness in her eyes when she was singing.
In ancient times, there is a general sense that women were simply items and slaves to their husbands. Ancient Greece specifically has a renowned reputation of favoring men. Men possessed the dominant role in public affairs and events while most women were pressured to stay at home. Very few records extensively discuss women; the records focus mostly on men. Despite the lacking records, it is certain how ancient Greeks viewed their women and their relationships with their male counterparts.
For instance, there is an understanding of the woman’s feelings as she describes “a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down” and the pattern looking at her “as if it knew what a vicious influence it had” (Gilman 437). The personification is symbolic in displaying how the woman felt as she was stuck in the lonely room with allowance of her husband and Jennie, their child’s nanny, keeping their eyes on her with the dependence of her healing. Additionally, the woman specifies that behind the yellow wallpaper she can see “a strange, provoking, formless sort of figure, that seems to sulk about behind that silly and conspicuous front design” (Gilman 438). As the appearance of the wallpaper is personified, the author taps into the hidden meaning that the woman’s sickness is taunting her as she is attempting to heal. In the end, readers are given the most significant piece of personification in the statement, “and then when the sun came and that awful pattern began to laugh at me, I declared that I would finish it today!”
Women are weak, helpless, and have no real purpose other than to serve men and take care of children. . . or so they were perceived in history. In the Odyssey, one can see that Homer’s portrayal of women challenges the depiction of women during that time period. Throughout the book, many women intervened in Odysseus’ journey home to Ithaca, for better or for worse. One will see Penelope, Athena, Circe, and other women impact Odysseus’ expedition home.
The setting is on an island called Motunui plays Moana. In this scene, the camera distance is at a fixed stable medium body shot from her waist up. The lighting is a natural light coming from the sun top right
Tragedy―a timeless phenomenon. Sometimes used in fiction to entertain, yet sometimes induces great suffering for real people. The genre of Greek tragedy is a staple of Ancient Greek culture, and its influence continues to be seen in fiction today. In Beloved, Toni Morrison tackles the story of African Americans post-Civil War. Traditionally, and stereotypically, people today perceive the end of the Civil War as a concrete turning point for the lives of African Americans at the time, as if their quality of life improved immediately after the war.
An astounding number of contemporary stories have their roots based in the structure set by ancient Greek myth. The film Moulin Rouge! directed by Baz Luhrmann is one such example. Moulin Rouge! and the Greek myth of Orpheus and Eurydice share many similarities in terms of structure, theme, and character arc.
A low-level shot is used on Nick in the inside of the house to make him appear smaller and emphasise the size of the house. A medium shot is used on Gatsby’s coffin under the staircase to show that he only made up a small portion of the large house he lived in, and what made up the house was the constant and extravagant parties. An overhead shot from the top of the stairs, looking down on his coffin, zooms in on the coffin as the camera moves down to symbolise that Gatsby lived a high life that was grand, but it was all for nothing as he died a tragic death, alone and without
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