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The sequences taken from the films To Live and The Road Home can present a different use of formal elements; however, one can argue that both of them eloquently portray the despair of women who has lost people extremely dear to her.
This paper is aimed at discussing and comparing the way in which different techniques are used by film-directors in effort to highlight the experiences of these characters. Close attention will be paid to such aspects as non-diegetic sounds, the movement of camera, and its distance since they help the authors to explore the feelings and emotions of people. They can be regarded as tools that evoke the empathy of a viewer. These are the main issues that should be examined in greater detail.
One of the main similarities that can be identified is the use of non-diegetic sounds that play an important part in both movies. They are supposed to intensify the visual effect of these sequences. The source of these sounds cannot be identified by the viewer and it cannot be attributed to any physical phenomenon that can be observed in the movie.
Overall, they are supposed to highlight the emotions experienced by the female characters who have to accept the idea that their beloved ones can never be returned. They have to reconcile themselves with this idea. This argument is particularly applicable to the final shots in the sequence from the movie To Live. It seems that music prompts the viewers to feel even deeper compassion for a mother whose child passed away. The music reminds that the woman comes to the grave of her son and brings dumplings.
This is one of the details that produce a strong impression on every person who watches this film. Similar approach can be observed in the film the Road Home. In this case, non-diegetic sounds are essential for demonstrating the despondency of a woman who has to be departed by the man whom she loves. Close attention should be paid to the scene when she stumbles down and understands that her chase was futile. This is one of the similarities that can be identified in these sequences.
Additionally, one should speak about the functioning of the camera, especially its distance. It is possible to choose those cases, when the directors prefer to take close and straight-on shots in order to emphasize the feeling of loss that the female characters had to overcome. This technique is particular useful when the director wants to show the facial expression of a person.
It is possible to argue that in each of these sequences both music and camera distance are supposed to show the emotional distress that the female characters try to overcome. These are the main similarities that can be identified. The film-makers apply these techniques to make the scene much more vivid.
Nevertheless, there are certain differences that should be taken into consideration by the viewers. One can speak about the movement of camera in these sequences. One can say that the authors prefer to move the camera in different ways. For instance, one should mention that in the movie The Road Home the director decides to rely on tracking shots that are done with the help of a camera dolly.
This technique is particularly suitable in those cases when one has to depict moving objects. It seems that this technique is quite justified because in this way the film-makers were able to illustrate the desperate effort of a girl who tries to catch up with her beloved. Moreover, the viewers can look at this character from different angles.
Furthermore, this method makes the sequence more dynamic. This is one of the main distinctions that can be identified. In contrast, the movie To Live is based on a different technique. The cameraman focuses on the woman who mourns the loss of her son. This sequence consists of rather long shots that can last for approximately ten seconds. Furthermore, the camera is almost not moved in any way.
Additionally, when a new shot is taken, the cameraman takes a sufficient amount of time to show the facial expressions of the characters and their jestures. Overall, these examples suggest that formal elements can help film-makers express very complex ideas. Additionally, one can say that by paying more attention to formal elements, viewers can gain a better understanding of these movies and the ideas that the authors attempted to express.
The movies discussed in this paper can differ dramatically in terms of plot, genre, or cinematographic techniques. Nevertheless, each of these films shows that cinematography can explore the experiences of people who have to struggle with emotional distress. The sequences which were analyzed have several similarities.
For example, one can say that music and camera distances assist the film-makers in portraying the emotions and feeling of different characters. In turn, the movement of camera is one of the differences that can be identified in these sequences.
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