The Final Scene

P0 Intro – Discussing similarities and the essay to come. Metropolis and Mortal Engines are cut from the same cloth. Both explore themes of power and corruption through their antagonists, while simultaneously exploring purity and morality through the protagonist duo. They do this in adventures that take them away from the central icon of power, then toward it for the finale – the ziggurat blows up in Metropolis, and MEDUSA is blown up in Mortal Engines. Symbolism like this is what I aim to…

The shootout scene plays like a five-minute heroic journey, during which the hero loses his confidence after his first shot, then risks it all to save the victim. This format is meant to invest the audience in the protagonist’s future and to influence their expectations in a manner that incites joy when the protagonist fulfils them. As Decker et al. explain in their book, “it is the journey that is important. The possibility of [the antihero’s] transformation and reemergence as someone more than…

this is becoming a huge problem in today’s schools. The consequences can be disastrous both for the victims and the perpetrator” (Cyberbullying PSA). This is a strong opening statement that catches the reader’s attention and is then followed by a scene of three high school girls scheming a plan to get revenge on another girl who is having a casual conversation in the hallway with one of their boyfriends. The girls start by calling her ugly names to each other which is seemingly harmless,…

Ophelia only appears in five scenes out of twenty, but her scenes are so important to the play that it balances out the difference. For instance, Ophelia’s death scene is by far the most dramatic, decorated, and descriptive death in the entire play. It is a very long, poetic scene in which Gertrude describes Ophelia’s final moments, depicting the scenery as a place where “a willow grows aslant a brook that shows his hoar leaves…

techniques that enable viewers understand the films on much deeper level. I have chosen Quentin Tarantino 's 2008’s ‘Inglourious Basterds’ and 2012’s “Django Unchained’.Both films highly-acclaimed receiving uwmaris awards. Each of the films includes scene that feature compelling characters and cinematic techniques that allow and encourage his films to be thought about on a much more intellectual…

I heavily relied on Stanislavsky, Katie Mitchell, and Fuchs. That is not to say that these thought processes didn't overlap with viewpoints. I think my final outcome was a fairly even mix of both sides. In the start I considered the message of the speaker. My section has a clear speaker who identifies herself as “Marie”. She begins with giving a curious interpretation of the seasons, then with excitedly…

In the movie To Kill A Mockingbird, the scene that I have chosen is the scene where Atticus Finch gives his closing statement to the jury during the trial. This scene specifically is extraordinary in several ways. The scene is mostly all one shot, meaning that it was all recorded in one take. This enhances the scene because it gives Atticus Finch enough time to explain why Tom Robinson is innocent, and it kept the viewer focused on hearing the closing statement. I believe the director Robert…

shown thus indicating an impressive figure. The mood of the scene changes completely when the enemy attacks. Dense sound effects are used in order to represent the explosions and there’s a lack of background music. The lighting in the opening scenes is harsh and bright exposing the viewer to the tough…

environment devoid of germs and garbage. It is a world of crisp, clean, antibacterial white walls, floors, and ceilings. Kubrick repeatedly uses red as a symbol of danger. Red lights flash within the ship during some of the most intense scenes of the film, such as the scene where Bowman (Kier Dullea) shuts down the ship’s computer, the HAL 9000. Red is also used for HAL 9000’s camera eye. This is one of many symbols alluding to Homer’s The Odyssey. Specifically, this is an allusion to the…

what he describes as “[…] social myth, historical reconstruction, psychological truth and the traditional theme of the western mise-en-scène” without eventually dominating each other. (Bazin, 1967) Said balance cannot only been seen during the narrative of Stagecoach but also are mirrored in visual aspects, as well as editing, and shot. The beginning and end short scenes reflect each other, firstly the cavalry riding to bring the bad news, later Ringo and Dallas riding into the sunset. (Bordwell…