Final

Art is life and life is art. What people connect with and what artists strive for is this idea of capturing the human experience. Film is often underrated. People judge it not as a art, but solely as a form of entertainment. What is interesting about the medium of film is the way it captures life. Using mimesis, a film has the ability to capture humanity in an outlet that allows for mass distribution leading to a hope of societal change because of it. Through this "imitation of the real world", the line between what is fact and what is fiction blurs as the viewer connects with the experience and can release their emotion (catharsis) because of it. As Kenneth Lonergan, film maker, states, "Filmmaking, like any other art, is a very profound means of human connection," the goal being "to communicate itself to other people". In a world where communication defines the age, people are suprisingly disconnected. Film allows people to feel less alone. Within Almost Famous, American Beauty, and Amelie, film techniques are utilized to understand the role film plays in portraying memesis and catharsis to emphasis the importance of looking closer into a person's own life in order to find authenticity, self identity, and leading to the viewer's own connection.

Within Almost Famous, William finds self identity in discovering passion and authenticity through living in the "uncool" adding to the idea of mimeses and catharsis in film. At the end of the film, William finds meaning and is finally able to interview Russell with the courage of a journalist who is not afraid to live outside of the norm. In William's room, the medium cinematic shot of William's face cuts to a long shot of the two finally facing each other man to man. William is no longer intimidated by the people around him, but instead, willing to face Russell as his true self. When William asks Russell, "What does music mean to you?" the camera zooms into his face blending with the uplifiting background music cutting to a view of the dominant of the tour bus moving down the road. The ending shots of film is often when the viewer will receive their truest form of catharsis because it serves as the pay off in character evoltuion. Everyone has felt sometime in their life like they don't belong. Whether that means being alone or feeling alone in crowd full of people, feeling "uncool" can lead people to conform into something they are not . William struggles with being an outsider the whole film until speaking with Lester causing him to realize how cool it is to be "uncool". The viewer connects with William, but also leaves the theater wanting to find a truer form of self. True beauty is finding a passion and delving into it without the perceptions of others conforming a person to something they are not. The subsidiary contrast of the sunlight streaming across the frame with the parallel edited bus is used as a lyrical movement in defining the evolution of William's character to finding beauty in his own self identity. What Cameron Crowe does so well is capture the emotional tone of the characters and the scene through music. The thematic montage flashes forward to events (like William's Rolling Stones cover) catalyzed by William's new self identity without using anything but music. This use of silence allows the emotional appeal of music to come through as the audience connects to William as an outcast and, hopefully, feels a need to change their own way of life because of it.
As Lester Bangs says in the film, " Yeah, great art is about conflict and pain and guilt and longing and love and love disguised as sex, and sex disguised as love... and let's face it, you got a big head start". Within this scene, a close up of Lester cuts to William's reactionary shots and shows how this conversation resonates with him. It doesn't matter if William is "cool" as defined by others. If he loves art and wants to peruse it, it can be found in experiencing life the way a person wants to live it themselves. This statement by Lester is mimesis itself. It is the idea that William's life and journey to finding self could be another person's as well. As such, the film serves as an artful form of medicine to be taken in order to live a more authentic life. Within Almost Famous, memesis and catharsis are used to make a statement on the importance of finding passion and living authentic lives.

Within American Beauty, Lester takes a journey to self discovery through breaking free of self imprisonment and becoming a more authentic form of self adding to the idea of catharsis and mimesis in film. A monologue begins immediately after Lester is shot swiftly panning from left to right as the filter of the screen changes from color to black and white to represent a flashback versus present time. This left to right movement suggests an organic form of evolution for Lester's character as death sets him free. Starting from the dominant of the black and white picture within Lester's hands, he realizes the importance of embracing the little things in his life like family and human connection. Although people may have not experienced the exact circumstances as Lester, they can see how the search for society's defined perfection can lead to a "rotted" or "ugly" person. Just like the American Rose, something perceived as beautiful can be rotted at the core. Beauty is in human relationships not in striving to become a person others think is beautiful. There is no self identity in conforming to society's definition of beauty. Although Lester has this epiphany right before his death, the viewer can have catharsis in knowing they don't have to. A long aerial black and white filtered flashback shows Lester lying on his lawn as a kid enjoying the little things of his life. Re-establishing shots with the synchronous sound of the gun shot flash back to present day reactions of the characters realizing Lester's death. Again, the camera pans to an extreme close up of Lester's grandmother's hands, Janie in a fairy halloween costume, and Caroline laughing. It's the simple things that are beautiful and upon looking closer into his life, Lester realizes the "beauty"he was striving for was nothing but rotted at the core. These flashback moments are moments of resonance all people have experienced at some point in their lives. They are the simple moments of beauty that outsiders normally pass over, but leave the most meaning in a person's own life. Through connecting with these experiences, the viewer can have catharsis in knowing their life can be filled with these beautiful moments by finding authenticity. The final scene of the film is an aerial zooming out shot of suburbia as Lester states, "It's hard to stay mad

when there is so much beauty in the world." It's ironic that the dialogue and this shot would be associated with each other, since beauty and suburbia have just been contradicted. That being said, suburbia is a common life for people and it resonates as something similar for a wide audience. As such, the film is saying that although a statement is made on looking closer from these preconceived notions of suburbia, true beauty can still be found in authenticity (allowing catharsis for the viewer). American Beauty uses catharsis and mimesis to track Lester's journey into self discovery by living life authentically.

Within Amelie, the character evolution to self confidence comes from Amelie learning to love herself leading to a more authentic life adding to the mimeses and catharsis of the film. Within the cafe where Amelie works, Nino recognizes Amelie for the first time. In a high angle shot cutting to continuity from Nino's medium shot recognition of Amelie and her own nervous nature demonstrates how Amelie has not yet found her own identity. Although Amelie sees so much beauty in the world, which can be seen through the warm colors of the film and the background filled with representations of life, she still doesn't have the self confidence to find love as she hides behind the glass barrier creating depth. In her interior monologue, Amelie recognizes the beauty of Nino as an extreme close up, high angle, slow motion shot of Nino coming to recognize Amelie's identity in the picture is shown. The motion in the close tightly framed shot of Nino touching his finger to the sugar shows Amelie's recognition of the simple aspects of life bringing the most joy. Despite this, she is not able to find the self confidence she needs to find happiness in loving herself and therefore, loving another person as well. The viewer can connect with Amelie, in terms of mimeses, due to all people having moments lacking in self confidence. On a person's journey to self identity, there will always be moments of doubt and worry impeding with a person's own personal happiness. The viewer connection makes the film more meaningful as realism always leaves resonance. As the fast motion of Amelie walking away creates depth away from Nino, a formalist shot of Amelie turning into water and the sound affect of water crashing to the ground is shown. Again, Amelie is trapped in these tightly framed shots due to the battle to self confidence that prevents her from finding love. Another possible form of mimesis could be the journey to finding love. Love, in all its forms, is exciting and nerve-racking all at the same time. A love story is a critical part of many people's lives. Making a statement on the importance of a person loving themselves first before loving another person is key to societal change. In the final shot of the film, tracking shaky camera movements follow Amelie as she rides with Nino on the scooter. The kinetic symbolism of the fast motion allows the audience to experience the beauty of life just the way Amelie sees it. Jump cuts to Amelie and Nino laughing or closing their eyes to enjoy the beauty of the moment captures life and love in its purest forms. This is when the viewer

experiences catharsis because they can see Amelie's happiness in her control and self confidence. The scenes are still filled with the simple moments of beauty which Amelie loved from the beginning, but now Amelie has embraced her own life, instead of only looking onto others. The viewer can have catharsis in realizing the importance of living life to the fullest and not letting insecurities disrupt a person's journey to happiness. Through experiencing life through Amelie's eyes, the viewer can see what comes from seeing beauty in the simple things leading to finding the self confidence to love. Hopefully, the viewer will feel a release of emotion in wanting to change their lives for the better, just like Amelie. Within Amelie, catharsis and mimeses in the film make a statement to the viewer about finding self confidence and authenticity on a person's journey to love.

Within each film, the character's journey to self identity and authenticity allow mimesis and catharsis for the viewer. What makes art so beautiful is its ability to make people feel. In life, humans may feel alone in their experiences, but art allows them to have catharsis in realizing they are not so alone. Within Almost Famous, William finds passion and identity in living authentically. The audience can connect to being the outcast and seeing the importance of not letting others define what is "cool". In addition, Amelie's journey to self confidence (through seeing not only the beauty in others lives, but also the beauty in herself) allows a further catharsis for the viewer in their journey to understanding the importance of living authentically. The human search to self discovery is universal. If in that search art can make people feel less alone, it should be embraced as something beautiful worth exploring.

American Beauty

Within American Beauty, sound techniques are utilized to create a statement on the power of perception in creating a false reality due to character's who repress their true selves and fail to live authentic lives. Lester was living in a prison that he created himself. He failed to see the beauty of his own life and the importance of valuing the relationships around him. In a medium tightly framed shot, Lester is trapped by the Colonel's gun, yet it is the one moment when he realizes what beauty truly is (authentic relationships). Lester only finds relief and truth in death which serves as a satirical statement on what happens to those who choose superficiality over authenticity (the life others expect a person to live, versus how a person wants to live their own life). The non-synchronous sound of the unseen rain creates a feeling of release or renewed life for Lester. Through using silence, added emphasis is put on establishing tone and sound (or lack thereof) symbolism. The camera pans from the profile of Lester's face, to the family picture in his hand, and then to the white wall splattered with blood emphasizing the transitional epiphany of his character. By having a lack of sound in the scene, except for the off screen sound of the gun shot, more significance is put on the meaning of Lester's death versus the action of violence itself. As Adam Norman, film critic, states, "By the end of the film, most of the characters get a taste of their dreams and discover the underlying emptiness of their lives. Looking closer, they see the decay that has replaced genuine beauty and meaning." Lester's realizes this in his inner monologue that focuses on the aspects of his life which he took for granted including lying on his back at Boy Scout Camp, yellow leaves from the maple leaves on his childhood street, Janie, and Caroline. A nostalgic background music focuses on Lester's realization of  how the beauty of his life was replaced by ugliness (dreams of being with Angela, unstable marriage, no connection with Janie). Lester is one of the only characters to realize the

importance of living authentically and not to feel pressured into morphing into the perceived perfection of suburban society because just like the American rose, those perceptions are rotted at the core. American Beauty utilizes sound techniques within this scene to make a statement on the power of  perceptions in creating a false reality of true self causing a sacrifice of authenticity.

Within American Beauty, sound techniques are utilized to create a statement on the importance of looking closer at the beautiful things humans spend their lives yearning for because often times, they are not what they seem. In terms of the satirical complex of suburban society, a world perceived as perfect is often not, when a person takes the time to look closer. This is shown through the use of color throughout the movie. Through using red, white, and blue a commentary is made on the faults of the American Dream and how reaching the goal is not always what it seems to be. Within just this scene, color is used to heighten the intensity of the broken family living within a home of perfection. Sound is focused on the dialogue of the conversation as it rises in intensity and chaos. Background music of Frank Sinatra's Call Me Irresponsible is ironic in the lyrics perfect exemplifier of the scene. Lester is calling Caroline out for her faults and is acting "irresponsible" and taunting her with it. The emotional appeal of an up-beat song adds to this idea of needing to keep up appearances even when their world is falling apart around them. David L. Smith's, film student, brings up the question, "If freedom does not consist in doing what one wants, then what is it?" A critical question of the film in light of Lester's childish behavior in this scene, sound creates fluidity behind it. Using silence as a mechanism of tension, the dialogue stops and the background music's lyrics appear to almost rise in their volume. Lester and Caroline's crazy behavior has reached its climax in the synchronous sound of the breaking of the plate against the wall. In that moment, the perfect perception of the world which the American Dream sets up families to desire is shattered. The mise en scene or balance of the scene creates a feeling of order within a family that is anything but organized. American Beauty uses sound techniques to emphasize the meaning of looking closer on the ideals of a person's life because they are often not what they seem. 

Works Cited

"Journal of Religion and Film:  Rosetta Stone: A Consideration of the Dardenne Brothers' Rosetta by Bert Cardullo." Journal of Religion and Film:  Rosetta Stone: A Consideration of the Dardenne Brothers' Rosetta by Bert Cardullo. Web. 14 Dec. 2014. <http://www.unomaha.edu/jrf/am.beauty.htm>.

"Looking Closer at "American Beauty"" Aishcom. Web. 15 Dec. 2014. <http://www.aish.com/ci/a/48929712.html>.

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Almost Famous

Within this scene of Almost Famous, music is utilized to anchor the otherwise silent characters to the emotion of the scene. Cameron Crowe understands the emotional appeal of music and that sometimes the human experience can be more effectively captured not solely by images, but through sound. What is so beautiful about the medium head shots of each character's hostility evolving with the panning of the camera into a bond over their passion of music comes from the establishing tone of  Elton John's "Tiny Dancer". Music tracks the band's emotions as they change with the lyrics of the song with each character realizing the beauty of pursing a mutual passion. What could be solely a melancholy scene of important plot evolution transforms into, as Cameron Crowe stated in his Oscar acceptance speech, "a love letter to music". Emotional appeal to music is universal. Lyrics resonate with memories and often become the feeling of the moment itself. Using "Tiny Dancer" to establish a lighter tone to the scene creates an emotional appeal to the audience by connecting with their own memories of the song and resonating with the common experience of exploring a passion. As Lester Bangs states, "the main reason we listen to music in the first place is to hear passion expressed." Passion is a function of music  and is unitized to portray the power

music has on people's lives. Russell was ready to quit the band and his bandmates were prepared for the split. Yet the power of music is used as a subtext to the whole film motivating the characters to move forward. Utilizing the lyrics of music as a subtext serves as a technique to create a greater sense of the symbolism of sound. What appears to only be a song has so much more meaning in its dramatic context of silence. As Cameron Crowe states, "Music is usually more profound than anything the actors may be saying." The fluidity of connecting images with music creates a plot line in itself with no dialogue needed to connect it. Music is utilized within this scene of Almost Famous to demonstrate the emotion of the scene.



Within this scene of Almost Famous, lack of sound and music are utilized to portray Penny's emotions in the scene. As William is trying to caution Penny of Russell's true feelings towards her, there is little background noise and only synchronous sound of the rustling of leaves and wind. By creating a silence around them the scene focuses on the dialogue. The sounds that are included are all very natural suggesting this evolution and realization of Russell selling Penny to Humble Pie is essential for her character. It also creates a conversation that is very real. The medium jump cuts of the dialogue shots and realistic background noise establishes the audience's pity towards Penny's character as she realizes her own self denial concerning Russell. When her realization hits, a soft background music creates the establishing tone moving forward. The music begins very soft and somber as Penny lets herself feel, but quickly raises in volume and switches to a uplifting tone. Penny's joke is used as a coping mechanism and the music of the scene portrays her

own mentality of moving on. Music moves the characters forward in every scene. As Cameron Crowe states in an article on his website, "Music was always the baseline passion of the groups I covered." Crowe's utlization of music as a force of emotion in each scene almost creates it as a character itself. Whether it be background music or silence, symbolic sound is prevalent in each shot of the film. Almost Famous utilizes sound to more accurately portray Penny's emotions in this scene.

Works Cited

"The Quotable Lester Bangs: Mantra for the Uncool and Other Thoughts." Theboxcutters. Web. 8 Dec. 2014. <http://theboxcutters.wordpress.com/2012/01/13/the-quotable-lester-bangs-mantra-for-the-uncool-and-other-thoughts/>.

"The Uncool - The Official Site for Everything Cameron Crowe." The Uncool - The Official Site for Everything Cameron Crowe. Web. 8 Dec. 2014. <http://www.theuncool.com/>.

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Editing and Movement Essay

     Much of the genius of film lies in the motion of a moving art form. In order to create a "moving picture" the syntax of editing must be mastered to create a cinematic art form that eliminates unnecessary material. As film scholar Richard Dyer MacCann states, "The opening of a door, a hand, or an eye can bring about a climax as thrilling as a crash of locomotives on the screen." Although movement is rarely appreciated, even slight motion has the ability to arouse kinetic symbolism for the viewer adding to the film's overall emotion and deeper message. In its most basic terms, a film is a series of moving pictures. In order to create a series, these moving pictures must be combined. As actor Phillip Seymour Hoffman states, "The film is made in the editing room." By cutting the master shot, the editor tells his or her own story. Although the film has previously been shot, how an editor chooses to associate thematic elements of the film can create a completely new story than how the plot line is sequentially told. Within, Snatch, Amelie, Across the Universe, Memento, Vanilla Sky, and Donnie Darko, movement and editing techniques are utilized to create meaning in the film and add to their respective thematic messages.

     Movement techniques are utilized within Snatch, Amelie, and Across the Universe to add additional emotional depth to the film's thematic messages. For example, Mickey's first fight with Gorgeous George in Snatch displays how the hyper-macuslinity of the gangster film genre contrasts with the femininity of the characters to demonstrate how masculine and feminine characteristics are not defined by gender. Both in lateral movement and extreme close ups, derogatory terms are associated with
Mickey as the camera pans to several shots of him being thrown down by Gorgeous George. In addition, anticipatory shots are used to leave the audience waiting for the fulfillment of the affects of violence only to pull away. Combined together, these motion techniques add to the speed and anxiety of the scene. The little regard for human life that everyone in the shot has expect for Mickey, demonstrated by his restraint in the fight, displays not only that masculinity and femininity are present within both genders, but also that feminine characteristics do not have to be weak. Mickey is the character to win the fight and comes out on top at the end of the film as well. Amelie has a similar utilization of movement techniques to portray the world through Amelie's eyes as she escorts an elderly blind man down the street. The lyrical movements emphasize the beauty around her as well as the beauty of the action she is doing while the shaky hand held camera movements follow the path through Amelie's perspective. By focusing on these moments of existence, the film emphasizes the importance of not passing over moments that leave resonance. In addition, close up tightly framed camera movements and tracking dolly shots follow Amelie showcasing her confidence to take charge

of the situation. Her surrounds are blurred as the emphasis is on the dominant of Amelie. Although she is a female lead, Amelie demonstrates a confidence in her journey to her own happiness often associated with masculinity adding to the emotional depth of this thematic element also displayed in Snatch. Across the Universe utilizes movement as a catalyst to emotion as well. Stylized shots and music, often seen in the musical genre, are used as a convention to symbolize the emotional depth of the characters. While

Strawberry Fields Forever is playing, Jude's cigarette smoke moves upward in a medium tightly framed shot entrapping him in the shadows and loss of his girlfriend (kinetic symbolism of this moment). A point of view shot pans to the canvas contrasting the darkness with bright red strawberries (hearts) being pinned on the board. The long tilt shot of the strawberries dripping down the canvas as Jude's face blurs in the background creates the strawberries as the dominant and adds to the separation of love and hurt Jude feels over the loss of Lucy (his girlfriend). Movement within Snatch, Amelie, and Across the Universe adds to the emotional complexity of each respective thematic message.


     Editing techniques are utilized within Memento, Vanilla Sky, and Donnie Darko to expand upon the emotional complexity of each film in defining their thematic message. From the first scene of the film Memento, a reverse motion parallel edited shot creates the idea of what is means to trust memory, which defines truth, when it is largely unreliable? Through un-developing a polaroid and the motion of the photo fluttering forward and back, a deeper representation of the unreliability of Leonard's own mind

can be seen. Although photographies trigger memories, for Leonard's condition the photographs can only trigger so much. Reverse motion is similar to Leonard's own memories. No matter how much he tries a developed photo can not stick in his mind because the memory will constantly fade (just like the photo). The jump cut to the black and white sequence transitions back to prior events. The editor created an un-chronological film to display the plot points as Leonard learns them, so the viewer can see the affect memory plays on a person's identity more effectively. Within Vanilla Sky, editing is utilized to showcase how David's confusion and paranoia originate from fear within the sub conscience mind. The

flash forwarded scene, when David drives around the empty streets of New York City, foreshadows later events and creates the reasoning behind David's actions. Establishing shots jump cut to David's reactionary shot of confused expressions as he watches the empty streets of New York pass him by. David's unbeknowst isolation within his own life is now manifested in his dreams. Dreams are defined as being controllable within Vanilla Sky, yet fear appears to be largely unreliable in a person's defitnion of rational thought. Within Times Square, a 180 pans around David in his paranoia of isolation as it moves to a birds eye view of him running the opposite direction. A montage of juxtaposition between close up shots of David's face contrast long and medium shots of the various advertisements of Times Square. Finally, within Donnie Darko, a statement is made on the irony of a person who is perceived insane, yet is the only person to see the truth. When Donnie realizes he can time travel, jump cuts begin with the close up of Donnie's eye overlayed with found footage of the events which occurred within this alternative reality. A dolly tracking establishing shot of the woods follows a car to a parallel edited frame of Donnie sitting in the same spot he woke up at during the first shot of the movie. His laughter and body language represent his choice to save the world and his family by traveling back

in time. A thematic montage of the events which occurred leading up to this night creates the heroism of Donnie up to the climatic end of a medium shot of him viewing the world falling apart around him. Although Donnie is the only one who sees the truth, he will never be remembered or validated in others mind's as the hero. In a bittersweet ending, Donnie saves his family at the cost of his own life. This makes a statement on what it means to see the truth and how external validation is not needed for heroism to occur. It was enough for Donnie to have his own validation in knowing the truth and having the courage to act on it. Editing is utilized within Memento, Vanilla Sky, and Donnie Darko to explore the role these techniques play in creating thematic elements of each film.

     Editing and movement shape a movie's ability to portray the depth of a film's emotional and thematic complexity to the viewer by the intentions of the director. Although often passed over, these techniques expand upon existing footage to create a film of meaning, if done correctly. For instance, within Across the Universe, movement is utilized to create a greater emotional loss for Jude over Lucy. In addition, Memento utilizes un- chronological editing techniques to establish the large role memory plays on identity. Although two seemingly different topics, movement is needed for editing and editing is needed for movement. As such, the interdependency allows for a fluidity in film that crosses all topics of thematic messages. Film is a cinematic art form with layers of technique collaborating to portray the desired affect to the viewer.

Vanilla Sky

Within Vanilla Sky, editing is used to demonstrate the confusion and paranoia of David's dream to illustrate the role fears play on the sub conscience. When driving along the empty streets, a series of sequence shots create a feeling of confusion for David. Establishing shots of his surroundings (the empty streets, sidewalks, a red stoplight) transition to reaction shots of David's confused demeanor. The flash forward foreshadows later events and establishes the idea of entrapment within a world which was created by himself. What's interesting about dreams, particularly within Vanilla Sky, is they are defined as being controllable, yet some elements of the sub conscience mind are uncontrollable. Sometimes a persons fears aren't even realized or faceable until they are confronted in the sub conscience. David creates a "lucid dream" to escape the inevitability of confronting his fears, yet they always come back to him. This first scene and David's confusion demonstrates the unpredicability of dreams, and their ability to create based on sub conscience thought. As the scene continues into Times Square, the camera pans in a 180 around David focusing on the dominant of his face as he begins to run in the opposite direction afraid to confront the reality of isolation. Juxtaposing long, medium, and close up jump cuts of David running and various advertisements in Times Square create a feeling of paranoia and fear of being isolated in this new world. David is isolated in his own

life, yet he fails to realize it because of the flashing lights of his surroundings (Times Square) in a rich

lifestyle. A low angle circularly panning around David in the Christ crucifixion position cross cuts to the parallel shot of him waking up from the dream in a similar position. Not only does this foreshadow his death, but it illustrates the true fear the dream caused David. Feeling trapped he screams for a way out and the ability "to open his eyes" and see the faults of his own life. Editing demonstrates the confusion and paranoia of David's dream in contrast to the role of fear on the sub conscience.

Within Vanilla Sky, editing is used to discover a person's defined meaning of happiness. Throughout the film, David is asked the question, "What does happiness mean to you?" A series of sequence shots jumping between dialogue to reaction shots illustrate David's realization of what he created by entering the lucid dream. Although he desired to escape and create his own perfect world, all he was able to create was a fantasy. Yes, he has positive memories of it all, but is it happiness if it isn't real? In reality, the lucid dream is nothing more than a more efficient blinding. The jump cuts to flashbacks of his lucid dream move with the upward motion of the elevator as the floors pass behind him. The voice over of the tech support man adds meaning to the fast cut of these scenes. In addition, parallel editing fades from the scenes in the "lucid dream" to the real world examples that inspired them. By creating this nostalgic thematic montage, David's character is able to separate reality from the dream. Although their is so much beauty in the world which he created, remembering the unreality of it causes David to choose to "open his eyes". Happiness for David was in

the real world. Life, even a dream, is not all sweet. A person must go through the sour as well. It takes David his experience in a dream to realize what it truly means to live.Vanilla Sky utilizes editing to create a personal meaning of happiness.

Memento

Memento utilizes editing to explore how memory defines a person's truth, yet it is largely unreliable. Leonard suffers from a condition known as anterograde amnesia, which inhibits his ability to create new memories post his accident. The films begins with a reverse motion parallel edited shot of Leonard un-developing a polaroid, re-loading an already shot gun, and returning the glasses of the corrupt cop, Teddy, who he just killed. In addition, this scene is a flash forward as the jump cut to the black and white story line of the film transitions back to prior events. The unique editing of the film allows plot points to be portrayed as Leonard learns them adding emphasis to the meaning of memory on a person's identity. Utilizing flash forward showcases that allow the film is not edited chronologically ideas are portrayed in relation to their thematic importance allowing for multiple interpretations (just how memories of the same event can be interpreted multiple ways.) As Andy Klein, film critic, states, ""Memento” is a movie largely about memory — the ways in which it defines identity, how it’s necessary to determine moral behavior and yet how terribly unreliable it is, despite its crucial role in our experience of the world." Within the opening scene reverse motion and tilt angels create a feeling of disorientation and confusion just as Leonard feels constantly. The establishing shot of the polaroid allows the audience to receive a first impression of the un-reliable narrator. The audience begins to realize as the film progresses that allow Leonard has tattoos, notes, and long term memories which he defines as his truth, what really makes them true? Although Leonard's condition is an extradordinary circumstance, memory can never be truly reliable from anyone because it is defined as an element of 

perception, and perception is never consistent. Klein furthers the notion of Leonard being an unreliable narrator confessing that although his memories are intact, "there’s no reason to believe that "intact" is the same thing as "accurate."" Photographs trigger memories. The reverse motion fluttering of the polaroid being un-developed demonstrates the unreliability of Leonard's own mind. Although his pictures serve as a way of remembering, they can only trigger so much. Reverse motion suggests how Leonard's memories work. Even if he tries to go back through a memory again, reverse his way through it, he still won't have the capability to remember. The memory will fade just as easily as the polaroid. Memento's editing adds meaning to the truth and unreliability behind memories. 




In addition, Memento utilizes editing to emphasize the relationship between memory and its importance in allowing redemption from grieving. Within this scene, the audience finally pieces together the truth (or interpretation of the many ways the film can be perceived.) Through the dialogue close up shots to jump cut flashbacks of the distorted memories of Leonard's past, the torture which Leonard endures as his memories blend with Teddy's is created. He is a man whose sole purpose in life is to find John G., the man who murdered and raped his wife, and to a certain degree Teddy is right. Leonard can spend the rest of his life searching for John G., but he will never be able to remember the revenge necessary for him to move on. As Klein states, "Grief is an emotion largely based on memory, of course. It is one of “Memento’s” brilliant tangential themes that relief from grief is dependent on memory as well — and that is one of the chief hells our unfathomable hero is subjected to." The audience pities Leonard in his constant search of retaining a memory of revenge which is impossible for him to recall. Leonard's decision to make Teddy his next culprit emphasizes recognition of his fate, no matter how brief. Although he will never be able to feel the relief of gaining revenge after the loss of his wife, it gives him something to live for, so he continues to search. The brilliance of the editing lies in intertwining a plot line of black and white sequences prior to colored ones, yet they are transitioned throughout the film through jump cuts. Prior to the scene above, Leonard's polaroid of Jimmy intertwines the two plot lines. It is appropriate that the two plot lines would be intertwined in the developing of a photograph considering the significance of the first scene with the parallel editing of a similar shot. Killing "John G." (Jimmy) should bring Leonard relief, but only so much can be remembered from a photograph when the memory behind it slips away. Piecing together the story as Leonard does allows the audience to move along with his story in a more realistic context to his condition. Memento's editing allows the audience to realize the importance of memory in relieving grief. 

Works Cited

"Everything You Wanted to Know about “Memento”." Saloncom RSS. Web. 9 Nov. 2014. <http://www.salon.com/2001/06/28/memento_analysis/>.

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Across The Universe

        

Within this scene of Across the Universe, movement is utilized to portray the emotion of anger and loss of Jude, Lucy, and Max. The musical genre and this scene use stylized shots and music as a convention to symbolize emotion. From the first frame, Jude's cigarette smoke moves upward in a close, medium, tight shot to symbolize Max's heartbreak of feeling his girlfriend slip away. His face is completely in the shadows of darkness entrapping him within the emotion of the moment. Using a panning point of view shot, the camera moves with Jude's head turn to a new scene of him pinning the strawberries upon the canvas. The sharp contrast of the darkness and the bright red strawberries appearing like hearts, both within the song and on the canvas, serve as kinetic symbolism for Jude's heart being broken. The movement of the strawberry dripping on the canvas as the long shot moves toward the audience elongating the canvas and blurring Jude's face serves as an additional convention of separation from love. Within the same scene, a extreme close up tightly framed shot of Lucy conveys similar emotions. Again she is entrapped within the loss of Jude and Max within the darkness and shadows around her as a single tear moves down her face. A movement as simple as a tear rolling down a face can convey so much feeling. In addition, the montage uses found film of the Vietnam War layered and flickering over Lucy's face to portray the kinetic symbolism of her thoughts and worries for her brother. A similar tactic is used within the scene with 

extreme tightly framed close ups of both Jude and Max's faces. Their faces pan in a cyclical motion as jump cuts of found footage of bombs going off coincide with the movement of strawberries being thrown at the canvas. All of this red serves as the kinetic symbolism of the character's anger, heartbreak, and the violence of the war. "Strawberry Fields Forever" uses movement within this scene to portray the emotions of anger and loss for the characters.

The opening scene of Across the Universe uses movement to foreshadow the plot and portray Jude's isolating emotion. An extreme loosely framed long shot finds Jude's back on the beach in complete isolation. The only movement is the waves rolling in as Jude sits in complete stillness. The loosely framed shot usually suggests freedom, but Jude could not be more constrained by his loss of Lucy. The water represents the emotion and deep psychological reflection which Jude seems to be experiencing as he reflects on the good times and now separation he has with Lucy. The camera cuts to a medium close up shot as it slowly zooms in with Jude's head turn towards the audience. The dominate of the darkness of Jude's sweatshirt and hair contrasts greatly with the cooler colors around him. The only motion in the close, tight shot is Jude. It allows the audience to focus on what he is feeling through the haunting lyrics conveying Jude's emotion. Eventually reaching the extreme close up shot, the audience finally sees the tightly framed constraint of the character. Although not aware of who this character is, the audience can understand his pain through the intimate close up into his facial expression movement. The scene cuts to a new song "Helter Skelter" which is increasingly more violent and intense. The movement becomes violent with

the song representing the kinetic symbolism often used in the musical genre. Waves move from right to left suggesting a psychological abnormalcy as layered cuts foreshadowing the riot crass with the waves.  Having the waves crashing down represents the demise of Jude and Lucy's relationship and the angry which comes in ending a relationship. Using movement, the opening scene foreshadows plot while portraying Jude's emotions about losing Lucy.