Analysis Of Schindler's List

884 Words 4 Pages
The aesthetic of each movie is also drastically different. In the black and white film of Schindler’s List, only a few colors are exposed and specifically to draw attention to the most important aspects of the story. The director, Steven Spielberg offers this technique to draw attention to significant parts of the movie. The specific scenes of the red coated girl and liberation of the Jews, the colors define precise themes. One of the most significant characters presents herself during the liquidation of the ghetto. Oskar Schindler sees a little girl in a red coat strolling through the streets, walking unnoticed by guards. She weaves in and out of the Jews suffering and the Nazis murdering. Later in the film, Schindler is in the concentration …show more content…
The shooting of a women in the neck and a boy stomped to death corrupted the pure eyes of a young girl all witnessed my Schindler. Keneally further explains, “But worst of all, if there was no shame, it meant there was official sanction. No one could find refuge anymore behind the idea of German culture, nor behind those pronouncements uttered by leaders to exempt anonymous men from stepping beyond their gardens, from looking out their office windows at the realities on the sidewalk” (page 89). He genuinely expresses the severity of Jews’ problem during the Holocaust that might not have been as explicitly portrayed in the movie. In contrast, Geoffrey Hartman’s The Cinema Animal: On Spielberg’s “Schindler’s List”, Hartman explains, “Spielberg is always precise, with a special ability to translate history into scene and synecdoche. Yet his tendency toward stylization is both distancing and disconcerting.” The effort put into the aesthetic appeal allows Spielberg to portray history more …show more content…
The yellow hue placed in the scene while Jews running freely allows cheerfulness to finally fill the hearts of the audience. The aesthetic appeal in Inglourious Basterds changes accordingly to the purpose to the movie. In Frida Beckman’s Ambivalent Screens: Quentin Tarantino and the Power of Vision, the discussion of the effects of Tarantino’s visual aspect lean towards the opposite of Schindler’s List. Beckman says, “If Inglourious Basterds is part of a video store aesthetics, it also offers its own twist by employing this pick and mix strategy in the portrayal of a historical war.” Inglourious Basterds aesthetic appeal works in a severely different way than Schindler’s List. The historical quality of Oskar Schindler saving over a thousand Jews seems more desirable and fitting in black and white. Whereas, the bold colors allow Inglourious Basterds to express its unique take on the characters from the Holocaust without impressing a serious tone to the storyline. Tarantino specifically uses his ideas to liven the Holocaust into entertainment rather than another traditional historic film. Beckman explains this further as, “Rather than cold accuracy and empty representation, Tarantino fills his film with disjointed historical and cultural references that do not give us “dead history” so much as raise our consciousness of how we see and access history

Related Documents