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.

Snatch and Amelie

Within Snatch, movement is utilized to display the hyper masculine characteristics of the gangster film genre in contrast with the characters feminine attributes to show how masculinity and femininity are not defined by genders. From Mickey's first fight, derogatory feminine terms are used to describe him to emphasize the weak objectification which the majority of the characters in the film associate with femininity. Lateral movements and extreme close up shots pan with Mickey's movements as he is being thrown down by Gorgeous George. These camera movements increase the speed, anxiety, and suspension of the fight scene. Guy Ritchie, the director, uses anticipatory shots to increase the suspense of the violence by not showing the affect of violence and instead, pulling away. Mickey comes back to hit Gorgeous George in one punch as the background is in slow motion around him while he remains in fast motion. The significance of this scene is how Snatch demonstrates the low regard many of the characters, such as Gorgeous George, have for human life. They show characteristics of greed, power lust, and a need to show strength. Mickey demonstrates restraint in the anxiety of the fight to emphasize how he is the only main character to have regard for human life. Although mercy is often regarded with femininity, Mickey is the character to win the fight and comes out on top in the end of the film as well. Originally in the scene, the camera moves from left to right as it does when Gorgeous George hits Mickey suggesting the psychological normalcy which is associated with this movement. When Mickey comes back to hit Gorgeous George, the punch is from left to right. This adds to the idea that although Mickey is associated with derogatory feminine terms by all the characters, femininity should not be associated with negativity considering he is the one to win the fight. The jump cut shot of Tommy fearing his life as the slow motion tear moves down his face adds to the apprehension and reality of the characters masked masculinity. In addition, throughout the film there are murky colors, decay, dark grays, and dilapidated walls. Each frame is also fairly empty to demonstrate the excessive violence and disregard for human life the characters exhibit.

With the dark humor of the film satirizing masculinity, there is a greater emphasize on the faults of the masculine actions of greed and power with the characters little regard for human life. By Mickey coming out on top, movement emphasizes how masculinity and femininity are displayed in both genders.







Within Amelie, movement is used to demonstrate the feminine characteristics of the film which contrast greatly from Snatch, but are still utilized to demonstrate the masculinity and femininity which both genders exhibit. As Amelie moves down the street in this scene, the fast motion and shaky handheld camera movement allows the audience to view the world in all its beauty through Amelie's eyes. The very lyrical movement emphasizes the beauty of her surroundings and the metaphorical meaning of giving a blind man the opportunity to see all he is missing. The film focuses on these moments of being and existence through noticing the aspects of life that may be passed over, but create something of substance in memories. Fast motion cuts of a baby laughing, a dog playing, and bright colors and flowers surrounding them all emphasize the feminine characteristics of love (even if it may be a love of life) and a want to help/nurture others. The frames within Snatch are often barren and display the little regard for embracing life which the character's exhibit and oppose greatly with the female lead of Amelie. Although Amelie is a female lead, she demonstrates many characteristics normally associated as masculine. Within this scene, the close up tightly framed camera movement is oppositely used as a form of freedom and expression versus constraint and entrapment. The camera pans with Amelie's movements because she is taking charge of

the situation and has power over where she leads the man. The opposite use of close up tightly framed shots emphasizes the control and understanding Amelie has of the beauty of life around her. Although mostly hand held camera movements are used during this scene, dolly tracking shots allow for the journey to be captured more accurately. Throughout the movie, Amelie's journey to love is shown through her character development into realizing the importance of her own happiness and confidence. Her face is often completely in the frame to demonstrate the control and identify of self which she gains by the end of the film. The film reads like a book from left to right in order to show the character development in a more lyrical context. Amelie utlizies movement to create a feminine movie which also embraces the role masculinity and femininity plays within both genders.

Mise en Scene in The Secret Life of Walter Mitty

     Life deserves to be lived. Although it appears to be such an exaggerated proverb in today's society often passed over because of its generalized truth, as Oscar Wilde states, "Most people exist, that is all." A life lived solely for existing is a life not lived at all. Capturing life within a frame is the goal of many cinematographers. Mise en scene communicates through its visual orientation the meaning behind the work allowing a film to capture the essence, or lack thereof, of life. Within The Secret Life of Walter Mitty, mise en scene is utilized to showcase the importance of embracing life through observing a person's surroundings instead of sacrificing life and having blind absorption in the monotony of day to day obligations.

     Walter blindly sacrifices life for the duties and responsibilities of day to day obligations through the mise en scene of the film to point out the importance of embracing life. The opening medium tightly framed shot of Water's apartment demonstrates the lack of life which he emulates. The subsidiary contrasts of the apartment in highly symmetrical designs, dull/lack of color, and lines of blinds/books behind him all showcase the sense of entrapment in a lifeless existence. Having the dominant be Walter's eyes in close ups, which are constantly in a dream like state, adds a dramatic context to his constant state of absorbing into himself unaware of his surroundings. In addition, the public distance of proxemic patterns which the camera often keeps away from Walter exemplifies his inability to connect as his eyes never fall straight into the camera. The closed frame includes all information in the confinement of the shot to emphasis Walter's ability to look closely (at a computer screen), but not seeing the flaws of his own life. Having a closed frame allows for an anticipatory setup of a life which is constantly in motion with no time to

truly see. A.O Scott of the New York Times states how Walter suffers from an "excess of maturity" and a sacrifice in "a life of duty and drudgery"(Scott). Focusing in on elements of his life such as the balancing of a checkbook suggests his life has become nothing more than dull and boring expenditures. Altering the aspect ratio of the film to widescreen and letterboxing unintentionally brings the closed frame more into its tightly framed confinement of dull obligations. In addition, the irony of a man who works at Life magazine passing elements of greatness in the covers which he prints and quote of the company each day demonstrates a want for the character to escape his own confinement. In the confined space around him, Walter is surrounded by color and the celebration of others living their lives when he is tightly framed into his daily obligations. Even as Walter passes the subsidiary contrast of covers of Life magazine the dominate remains upon him to emphasis the importance of finding the will to live. Parallelism allows the audience to view Walter's full evolution in a similar scene in the Life building with a very different Walter. Mise en scene is utilized to demonstrate the confinement of Walter's life of obligations which keep him from embracing his life.

     Through mise en scene, Ben Stiller (the director) showcases Walter's evolution from sacrificing to  embracing the world around him, and through doing so, highlights the importance for all people to
embrace their own lives. When Walter travels to Greenland in the hopes of retrieving the missing photo

from Sean O'Connell, his character begins taking risks and observing the beauty of the world around him. In a cinematically stunning skateboard journey down a hill in the chase to find Sean, long, loosely framed, and open form shots create a feeling of freedom and openness to the character which was lacking. The fluidity of open space and countryside behind him while he embraces a side of his personality which he thought forever lost showcases the importance of taking the risk to embrace a person's life. Walter's physical appearance and coloring become brighter and more alive as the dominant contrast of his eyes become more personal and engaged. Aleatory conditions of the shooting of the frame allow for a more realistic view of the beauty which Walter is finally seeing. Ignoring classical cinema, the shot puts less emphasis on the individual and more emphasis on the scenery to draw attention to the beauty of embracing life. Continuing on the journey, Walter finally encounters Sean on the top of a mountain facing challenges and life's beautiful craziness like he never imagined before. Walter's proximity to Sean suggests a connection with people where he was previously detached. A further change in physical appearance is seen in Walter through his change in values by a red jacket, growing facial hair, and letting go of his perfectionist cleanliness. Space is completely open, little depth, and very loosely framed in order to evoke a sense of freedom in the character. Iris and masking are not used in order to create the most realistic perception of life possible. The visual weight of this shot is heavier in the lower section of the frame to create a greater sense of balance and equilibrium which mise en scene strives to create. It leads the eye towards Sean's camera which has been the cause of Walter's journey the whole

time to emphasis the character's later realization of how the impact of the journey was greater than gaining the photo. When Sean sheds light on the photo he shares, "Beautiful things don't ask for attention." Through this line and the mise en scene of the scene, the audience understands how important embracing life is. A person can find "the quintessence of life" in day to day to actions just by taking life in and not allowing it to become monotonous. Through mise en scene, Walter's character evolution leading to him embracing life encourages others to do the same.
   
     What the human race always strives to find is meaning. Often times that meaning can be found in embracing a person's life. Capturing the human experience as something beautiful through the contrast of tightly framed shots to long, loosely framed shots suggests the importance of recognizing this beauty. Too often people become caught up in day to day duties and obligations which blind them from seeing the importance of capturing their own "quintessence of life." Life does not need to be a constant state of risk to be embraced. Adventure can be found in daily life through seeing the beauty of things "which don't ask for attention."

Works Cited 

Scott, A.. "He Can Balance a Checkbook, but Not His Imagination." The New York Times. The New York Times, 24 Dec. 2013. Web. 19 Oct. 2014. <http://www.nytimes.com/2013/12/25/movies/the-secret-life-of-walter-mitty-stars-ben-stiller.html>.
   
   

Mystic River

Within this tightly framed shot of Mystic River, elements of mise en scene contribute to Jimmy's entrapment. Surrounded by two rings of police officers, Jimmy struggles to escape the enclosement to locate his assumed dead daughter. The director, Clint Eastwood, utilizes intimate proxemic patterns and extreme close ups to increase the audience's emotional attachment to Jimmy's heartbreaking realization. Starting with a high angle and moving to a bird's eye shot, there is no doubt of the power the police officer's have over Jimmy through his constant struggle. Eastwood focuses in on an extreme close up of Jimmy's face blurring the police officers around him in order to increase the intimacy and emotional attachment between the audience and Jimmy's pain over the loss of his daughter. The intimate proxemic patterns increase the proximity to the character and allow the audience to feel Jimmy's emotion as much as he does. In addition, the territorial space and depth in this frame is used to further emphasize Jimmy's entrapment. As Louis Giannetti addresses, "Space is a medium of communication" and the tightly framed elements of this shot emphasize Jimmy's inability to escape to see his daughter, but more importantly to escape his own loss and need for revenge later on in the movie (Giannetti). Little depth is used in order to add to the dominate contrast of Jimmy's face. The shot moves to a bird's eye view circular view of the father and switches to a similar

circular frame of his daughter's entrapment in death. Furthermore, the quarter turn of Jimmy's face throughout this frame increases intimacy to the character. The audience feels more invited into the emotional depth of Jimmy's heartbreak because of almost addressing the audience directly in eye contact. In this shot, Jimmy's emotional and physical entrapment is utilized by Eastwood to introduce the character's emotional motives throughout the film.




Mystic River utilizes mise en scene in order to demonstrate thematic moral flaws of humanity. As A.O. Scott of the New York Times writes on the film, " the basic moral distinctions we depend on in our efforts to make sense of the world (and to survive its random, inexplicable cruelty) are hopelessly and fundamentally flawed " (Scott). From the beginning, the parallelism used as Dave is entrapped within a car by both the molesters and then the Savage brothers suggests how

innocence can not always be saved. The tightly framed shot and the dominate contrast in Dave's face with the blurred subsidiary contrasts of those who entrap him, emphasize a childhood innocence which is forever lost by the second time the scene arises. Lines of moral distinctions are constantly being questioned. Within the first parallel shot, the dominate contrast of the molesters ring is supposedly suggesting a religious man considering the cross he wears on his hand. Although Dave is entrapped, normally suggesting his guilt, those who entrap him are always to blame. Dave's innocence as a person and in committing the crime of killing Katie each time he enters the car adds to the idea that innocence can not always win. Although people normally believe those to blame will always be brought to justice, that is not always the case. The affect it will have on the innocent is long lasting, as seen through Dave never recovering from entering each car. Justice is further questioned by Jimmy

killing Dave. In the scene when he speaks about the murder to Sean, Jimmy walks down the street in a very openly shot scene. He appears to be free, but Jimmy moves his arms outward in a Christ position symbolizing his realization of all moral lines he has crossed as a character. In a way, he has sacrificed himself for the sake of his family representing the openness of the frame. Morally, murder should not be condemned yet his character is set free. Within Mystic River, lines of moral distinctions are constantly being redrawn in order to demonstrate their flaws.

The Royal Tenenbaums

In this medium tightly framed shot of The Royal Tenenbaums, mise en scene is used to highlight the symbolic meaning behind the shot. Locating Chas and Royal in a confined space, such as a closet, further entraps the characters in this tightly framed shot with no open spaces. Everything is filled. Having a profile shot of both characters suggests their etnrapment within their own life and thoughts due to their unawareness of observation through this profile eye level angled frame. The subsidary contrast in the frame is the games highlighting the visual confusion which surrounds Royal and Chas further entrapping them into their unhappy lives. For Royal, the games Risk, Operation, and Monopoly all allude to the entanglements of his lie about his sickness in the hopes of regaining a relationship with his family which appears to be already lost. For Chas, Risk, Operation, and Monopoly still have the common theme of danger to them which he feels paranoid in his inability to escape after his wife's death. Chas's lower angle/height from his father represents a vulnerability and dominance which Royal has over him despite his un-fatherly qualities. The dominant of the lightbulb in the center of the frame turning on and off alludes to the further confusion of the family situation around them where they are unable to find a constant of light or
darkness/ happiness or sadness. Having the lightbulb at the top of the frame suggests a dominance over the characters. Not only is the lightbulb a dominance over the lighting, but the characters are weighed down by their own entrapments and "game" of a life which they feel unable to control. In addition, placing the important visual element of the boar's head outside of the frame suggests Royal's own separation from the family because of his isolation in recent years. The boar's head appears to be a metaphor for Royal in this regard. As Wes Anderson has said, "It's all here, it all exists here, " each shot truly symbolically balances and defines the characters in the framing of the scene.



In this shot, the dysfunctional family of the Tenenbaums is displayed through the mise en scene. The tightly framed shot again suggests the entrapment each character feels within their own life. Each character has some sort of inner dilemma which is plaguing them and constantly follows them through each frame. The only loosely framed component of the scene, which doubles as the dominant in the center/viewfinder of the camera, is the chair at the head of the table which is missing its occupant, Royal. This not only symbolically represents the loss of Royal as a part of the family (father's are often thought of as the head of the family just as the chair is at the head of the table) but, also the loosely framed component alludes to Royal's role later in the film. Although Royal was the reason for much of the dysfunctionality of the family to begin with, through faking his impending death Royal saves the family from their own entrapments allowing them all to be content in their lives. The subsidiary contrast of the proximity of the glasses of milk and water on the table through an eye level shot looking up upon the family, suggests the physical/mental barriers many of the characters have built up entrapping  them in their own unhappiness and disconnecting them from the family. Having Margo and Henry at the end of the table is tactful as well because they both are outsiders in this seemingly connected family both hoping to feel a sense of belonging within it. Richie's locatation at the kid's table draws attention to how all the children are living in their past with the way they dress, their stagnate lives, and inability to move on from their preconceived notions of their father. Furthermore, Wes Anderson pays close attention to details in order to capture the symbolic importance behind each character's mentality in order to make it obvious for the viewer.

Photography Essay

            Photography is a catalyst to film. Through a cinematic shot, the director and cinematographer collaborate to visually create images in the film which capture its essence and symbolism. As Dorothea Lange has said, “ Photography takes an instant out of time, altering life by holding it still.”  Cinematographers work to capture the form of an image to symbolically represent its content in order to “alter life” in the context of a film. Through the utilization of photography, filmmakers have the ability to explore ethical implications by the presentation of cinematic shots. In this manner, highly debated issues of ethics are introduced to a wide audience in the creative outlet of film. Ethical dilemmas such as morality, love, and honor are questioned within The Usual Suspects, Eternal Sunshine of the Spotless Mind, and Gladiator, in order to utilize various photographic techniques to convey each film’s ethical message.

        

Within The Usual Suspects, morality is questioned through the 
success of the villain justifying immoral 

actions and is demonstrated through the photography within the film. From the opening shot, the overbearing dominance of the villain, Keyser Soze, is introduced in order to establish his persona. Through the usage of low camera angles and close up shots, Keyser’s height increases as the camera pans upward on him urinating on the fire from above. Low key lighting establishes the film noir through the usage of shadows and darkness to further showcase the villainess behavior of Keyser. High contrast lighting of the fire surrounding the characters adds to the hell/devil metaphors, which Keyser emulates. Flames in the background surround Keaton entrapping him in high angle eye level shots of him glancing upward at Keyser. The photographic techniques are used to add to the mystery of the film and cause the audience to piece together their own predictions of Keyser’s identity. This is crucial in establishing the backwards-moral code which this film showcases. Having the audience question Keyser’s identity causes sympathy to play out for the other characters of the film making it easier to justify the opening scene later on. Keyser’s dominance causes the audience to glorify his immoral actions by the end of the film instead of fear them because of his revealed identity changing the perception of the scene. Film student Adam Clowry shares this perception of justified immoral actions by the statement, “ While the plot of The Usual Suspects is important, even more important is the manner in which it is told” (The Usual Suspects: An Analysis). Having a non-linear plot ensures the unpredictability of Keyser’s identity allowing the audience to sympathize with the other characters, especially Verbal. Verbal is characteristic innocent. His meek mannerisms, limp, and fear throughout the film cause him to appear the least likely of evil. As such, the audience believes in Verbal , the all trusting narrator of the film, and as Clowry says , is essential to the “manner in which it (the story) is told” (The Usual Suspects: An Analysis). The audience cheers for immorality because the audience falls in love with Verbal not Keyser. Furthermore, the scene when Keyser’s identity is revealed the audience’s identification with Verbal justifies his unethical actions. As Verbal limps down the steps of the police station, the long shot follows him down the street as characteristics of Verbal disappear. When Verbal passes the camera, the shot switches from eye level to low angle amplifying the understanding of Verbal’s identity as his limp disappears. The following scene is essential in the evolution of the film. It causes the audience to glorify Verbal’s actions as intellectual and epic. Although Verbal has killed, manipulated, and caused harm to many in the process, his immoral actions are forgotten because he is not Keyser the villain, but Verbal the character the

audience has grown to love. Naturally the underdog, the realistic/classical cinema element used in the film causes the audience to identity more with Verbal because he is so characteristic of the everyday man. Realists shoot the film without much manipulation in order to capture Verbal in a more relatable context to justify his immorality by the end of the film. Through the use of various photography techniques within The Usual Suspects, morality is questioned and immoral actions justified.

            Within Eternal Sunshine of the Spotless Mind, photography techniques are used to question ethics through manipulation of love by technology demonstrating how all relationships, even the painful ones, are worth having. Through the loss of Joel’s memories of Clementine, the audience sees how Joel has the unique ability to fall in love with the memories all over again. By having the opportunity to view a relationship backwards, the audience sees the importance of retaining the memories of lost loves not only for the bad, but for all the good. When the house crumbles around them, Joel’s final memories of the two fall apart as well. The conflicting forces of Joel and Clementine are shown in their cool and warm colors. Joel’s calmness, tranquility, and boring qualities are contracted with Clementine’s passion for life and love, impulsivity, and anger. The realist lighting has a symbolic importance of the memories slipping away as darkness in the background contrasts with the spotlight following Joel in the foreground which he is unable to escape. The light suggests there still is a hope of love even when darkness comes to take it. A blurred filter begins to fill the screen as the memories fall apart with the house. Medium shots pan to Joel’s feet then face emphasizing his remorse and nostalgia over their relationship. Through this scene, the audience sees the unethicalness of losing the memories of love through the regret and closure which the two possess. Expressionists use the formalistic cinema of the house crumbling around Joel and Clementine to portray the importance of having a relationship even if it ends. Love is worth saving even as a house crumbles around it. The audience feels the closure and doesn’t want the relationship to end proving the unethicalness of manipulating love through technology. In an analytical essay, Ph.D. student Kelley L. Ross states, “Much of the power of Eternal Sunshine of the Spotless Mind is that the process of forgetting itself appears to reveal that there was enough there, that there always was enough of an affinity, that even a great deal of work would be worth the effort to renew the relationship”(Eternal Sunshine of the Spotless Mind).  Through brining up

the unethical nature of removing memories, the film proves the power of keeping those memories in the hope of renewing love again. The risk of love is worth taking even if it all does fall apart because of its hope. Hope in love is constant. Even if the same relationship does not resurface, there is a hope in finding love again and learning from past mistakes. Finally, the parallel train scene from the beginning and end of the film showcases how painful it is to watch when the characters no longer remember their relationship. Realism is used to capture the realistic aspect of their love before the audience sees it fall apart and come back together again. It defines the relationship as something real before creating a formalistic statement of their love. Even natural lighting, the realist light preference, is used to capture their love realistically. Furthermore, the characters find love again despite their memories of each other no longer existing. Joel and Clementine decide that although their relationship ended once in turmoil, it is still worth having. They both still have a hope in their love. Eternal Sunshine of the Spotless Mind uses the importance of having a relationship even if it does end, to justify the immoral action of erasing love through technology.

            Within Gladiator, honor is questioned in order to redefine its meaning through the usage of various photography techniques. In the opening scene, Maximus is preparing and experiencing his final battle before returning home. A deep focus eye level shot pans in on Maximus contemplating the battle he is about to engage in. Long/medium oblique angle shots follow the battle in order to capture visually the anxiety of the moment at hand. Cool low key colors of the surroundings contrast the warm high key colors of flames which surround the battle. Through the usage of slow stock, these colors are captured vividly contrasting the fast stock often used for documentary style filming. The immense amount of harm and killing showcased in this first scene is used as a comparison for honor’s evolution in the film. Maximus feels fighting is necessary in ensuring the greatness of Rome. He kills because he has to. The opening scene is grotesque and intense because the audience sees the affect war has on its soldiers. It opens the question is war worth the lives it costs? Honor appears to be the number of bodies which a soldier kills, but is killing really an act worth praising through the glorification of war? Rob Wilson compares the Roman Empire within Gladiator to Pax- America by stating, “Ridley Scott’s Gladiator is situated and decoded not just as a representation of the Roman Empire but as a blasted allegorization of the Pax Americana itself in its modes of moral innocence, Euro-civililizational ratification, soft hegemony, and hegemonic technologies of sublime spectacle” (Gladiator). Wilson points out the pure hypocrisy of killing for sport and entertainment out of a need for glorified honor which, in a different context, violence plays a role today. The people of Rome find entertainment in the gladiator games and consider it an honor to die for Rome. As Maximus soon realizes, he was killing for Rome all along only to see the city’s current state was not worth fighting for. What is honor then? A final scene of the film

occurs when Maximus kills Commodus in the games. The medium shots pan cyclically surrounding Commodus and Maximus by guards and the fans of the games. From the perspective of a man who has seen death constantly as a soldier, the unnecessary death displayed in the games seems ludicrous. The true honor is seen through Maximus knowing when to kill and when to not. He remains a good man despite his loss of family, home, and title. Commodus dying proves to the audience how crazy the games truly are, by killing the man who re-started them. Maximus’s death shows that all killing comes with a cost. It is not something to be gloried, but mourned. Within Gladiator, honor is redefined in order to make a statement on what it means to kill using photography techniques.

            Ethical dilemmas are constantly debated. Within The Usual Suspects, Eternal Sunshine of the Spotless Mind, and Gladiator ethical issues of morality, love, and honor are questioned in order to portray their deeper meaning. Through the use of photography, cinematographers are able to capture scenes with their ethical implications. With the power of photography in film, a cinematographer has the rare opportunity to truly “alter life by holding it still” (Dorothea Lange). 

Works Cited

"Eternal Sunshine of the Spotless Mind." Eternal Sunshine of the Spotless Mind. N.p., n.d. Web. 27      Sept. 2014. <http://www.friesian.com/sunshine.htm>.

"Gladiator ." Rob Wilson . N.p., n.d. Web. 27 Sept. 2014.                       <http://www2.ucsc.edu/aparc/Rob%20Wilson%20for%20APARC/Gladiator%5B1%5D.pdf_1.pdf>.

"The Usual Suspects: An Analysis." A Lowry. N.p., n.d. Web. 27 Sept. 2014.     <http://tnlproductions.wordpress.com/2011/11/27/the-usual-suspects-an-analysis/#comments>.

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