Final

Everyone wears a mask to fit into society, but you never truly live until you learn to take it off.

 Reel Injun
     John Trudell is a man who was able to take the mask off. As such his eyes are open to the world around him, and he has compassion for others plights. Those who have yet to take the mask off are only worried about themselves, and what others think of them. John Trudell shows that with the mask removed, his perspective is very different. "I'm just a human being trying to make it in a world that is very rapidly losing its understanding of being human" (Trudell). Trudell recognizes that in this world too many people have masks on, and don't understand how to live a full life anymore. Everything is about appearance, and not about being true to oneself. The world is putting to much time and energy into making others like them for someone they are not. Trudell is an artist, and he uses the mediums of poetry, music, and acting to portray his emotions. John Trudell has his mask off, and urges other to do the same in order to make a better world. "We must go beyond the arrogance of human rights. We must go beyond the ignorance of civil rights. We must step into the reality of natural rights because all of the natural world has a right to exist and we are only a small part of it. there can be no trade-off" (Trudell). This quote is about taking off the mask and realizing that every thing on this earth deserves respect. It shouldn't be a trade-off of doing good for some rights, and taking away from others. Native Americans worshiped the earth, and all things on it. Trudell shares this belief, and it has helped him break away from social conformity. The mask that has been forced on Native Americans is one of the savage warrior, though many tribes are peaceful by nature. Trudell doesn't like the fact that the stereotype is there, but he also isn't for changing it. As he said in Reel Injun "We're too busy trying to protect the idea of a Native American or an Indian- but we're not Indians and we're not Native Americans. We're older than both concepts. We're the people. We're the human beings" (Trudell). Before Europeans came across the Atlantic Ocean that was exactly how Native Americans viewed themselves. Sure they had different tribes, but no matter what tribe someone belonged to they were part of the people. Basically what Trudell is saying here is there should be no stereotypes, and no masks. It's find to identify with a certain culture of group of people as long as someone is true to who they really are, and views themselves as part of the human race first and foremost. Like Martin Luther King Jr. Trudell believes in peaceful protest. He believes that if violence is not the reaction the oppressors will come to understand their lack of compassion and humanity. "No matter what they do to us, we must always act for the love of our people and the earth. We must not react with hatred against those who have no sense" (Trudell). This quote applies both to Native Americans, and humanity as a whole. Those who have no sense are those who have yet to remove their mask, and live blinded by fear and hatred. By taking the mask off, and freeing the soul oppressors will take notice, and shortly follow. In the civil rights movement in the 1960's the peaceful protests were met less and less frequently with violence because the oppressors came to their senses and realized their inhumanity. Taking the mask of, and living as a human being frees the soul and others will take notice.


Press Pause Play
     One of the best things to do in life is to take off the mask, and appreciate the diversity in the world. Music is one of the easiest areas to do just that. There are hundreds of websites overflowing with music, and concerts all the time in almost every city in the world. In Ireland this trend is prominent, as the Journal of Music suggests "Every local community, it seems, is its own musical community, with several self-sustaining micro music communities within it – choral, musical theater, traditional, classical, pop, rock, hip-hop, electronic, avant-garde, opera, brass band, and much more – and the live music they are interested in listening to is often the music of their community, their children, their school, their neighbors, their friends, or the niche interests of a small group" (Quinn).  Ireland is not a very large country, but there is tons of musical diversity there. This trend is even more so in the USA. Though every community has music going on almost all the time, many citizens don't notice the diversity of it. "Performances of niche music often take place in the same town or city on the same night and clash with each other. Sometimes, it appears that communities are not aware of each other’s activities" (Quinn). This is a disheartening fact. Though the people may love the musical niche in their community, it isn't too difficult to drive to the next town over, and see what they have to offer. Doing so will likely open their eyes to a whole new world that they may enjoy just as much, or even more than the one they came from. Luckily with the advancements in technology musical diversity is easier to come across. Becoming an artist is easier than ever, and everyone who does it has a different message behind their work. As Seth Godin says in Press Pause Play, "People don’t become artists because they want to become rich. They become artists because they have an idea to share. Or an emotion to share" (Godin). Will software like Ableton for musicians, inexpensive cameras for cinema and photography, and an arts and crafts store in almost every town anyone can become an artist. Not only that, but they can share their work with the world via Youtube, Soundcloud, Tumblr, or art festivals. Creating art is the act of breaking out of the mask, and sharing a belief or idea that is unique to the person. The world of art is rapidly expanding, and artist are excited. "Almost everybody I meet in the world of art, music, literature or creative expression, everybody is equally excited and afraid. Nobody really knows where their next pay-check is coming from, but they’re really excited about their ability to create and share their work" (Moby, Press Pause Play). With the expansion of the art world people are taking off their masks to express themselves as they truly are, and in turn appreciating the diversity of the work of others in their field and beyond. With the world of art expanding from elite culture to the general population masks are being removed by the thousands, if only for the time it takes to create their work. Even if it isn't very good, creating art, sharing it, and viewing the works of others removes the masks and helps people live full lives by appreciating the uniqueness and diversity of every person in the world.

Media
     Every human being wants to feel like they belong to a group, and that is the motivation to put the mask on, and wear it at all times. Humans are social creatures by nature, and if they don't fit in and feel isolated, depression is soon to follow. Rifkin describes this as an emphatic drive. "The first drive, the drive to belong, is an emphatic drive" (Rifkin). Everyone wants to fit in, and that is the main drive behind everything they do. There are multiple groups with which humans have affiliated with throughout history to gain the sense of belonging.  At first "Communication only extended to the local tribe; shouting distance, empathy only expanded to blood ties. In hydraulic agricultural civilizations script allowed us to extend the central nervous system to alienate time and space bringing people together. Theological consciousness  de-tribalized humans and we began making associations  with religious ties... the industrial revolution of the 19th century made markets which create the fiction of the nation state...why stop here?" (Rifkin). Humans have expanded their desire to belong, and compassion towards others throughout their time on earth. From tribes to religions to nationality. Rifkin's question is why stop here? Why not expand the human emphatic drive to every living thing? If humans are able to do that then there will be no reason to wear a mask. Everyone would fit into the world simply because they are human beings. Every person could be themselves and belong simply because they are alive. If humans can't take that next step however, "If it's impossible to imagine then I can't see how we are going to make it" (Rifkin). Humans are destroying the world. Depleting it of it's resources, and wiping out the animals. If the emphatic drive can not be expanded to every living thing, and the world as a whole very soon then the end of the human race and most life on earth is nearing. The earth has enough to support every man's needs, but not every man's greed. "Empathy is grounded in the acknowledgement of death and the celebration of life. It's based on our frailties and imperfections" (Rifkin). If humanity can realize that ever living thing lives by these same rules, then they can extend their empathy to protect all of them.  Empathy is based on human frailties and imperfections, so there is no reason for someone to put on a mask as empathy will only be greater towards them. If everyone celebrates life, and extends their empathy towards every living thing regardless of how different it may be, the masks will disappear, and the world will be saved.

Craigslist Joe
     Joe is a man who is true to himself, never putting on a mask, and he proves that by doing so others will care for you. He spends the entire month of December living off the goodness of other people on Craigslist. He travels from California to New York, and back again with only the clothes on his back, and a computer. "Some say we have lost the sense of community that used to carry us through tough times" (Garner). Joe proved these people wrong with his documentary. He survived solely on the goodness of other human beings. He made human connections between many different people from an Iraqi family to a dominatrix simply by being his true self. When they met him, and saw that he had no mask they immediately trusted him, took theirs off, and gave him what they could. Craigslist Joe is a perfect example of how being a true, maskless human being can open others up to being themselves as well. Zach Galifianakis produced the movie, and he is a maskless human being himself. That quality is what brought him so much success. “I love to do shows in unlikely places, because the audience’s expectations are less fixed." (Galifianakis). He does shows in unconventional place, and does unconventional things. He does this to catch the audience off guard, and have them break out of their shell. He never even scripts his acts, he just goes with the flow and is true to himself. Just like technology is redefining the arts, Galifianakis, and others like him are redefining comedy. "A typical hourlong set might meander from carefully composed, conceptual one-liners à la Steven Wright to profanity-drenched tirades against members of the audience to slapstick to solemnly tacky musical interludes (Galifianakis is an able pianist) to Andy Kaufman-esque attacks on the genre that seem less concerned with eliciting laughs from the crowd than with confounding its notions of what comedy or, for that matter, entertainment ought to be." (Wray). His unpredictable manner does wonders for getting people to break out of their shells, and laugh. Because he isn't wearing a mask, he makes it much easier for others to take off theirs. Zach, and Joe are both maskless human beings, and they show how being true to the heart makes someone more likable, everyone around them much more open. 

Smoke Signals
     Forcing a mask or a stereotype on someone, or a group of people greatly diminishes their self esteem. Native American have been forced to wear a mask ever since Europeans started taking over the Americas. Native Americans are put into the stereotype of aggressive, alcoholic, stupid savages. Because of this many of them live their lives as such. "Thomas, don't you even know how to be a real Indian? How many times have you seen "Dances with Wolves" anyways? 100... 200 times? Oh jesus Thomas, you have seen it that many times?"(Victor, Smoke Signals). The fact that a Native American is accused of not knowing how to be what he is is preposterous. Thomas is his own person, and regardless of how he acts, he is still a Native American. The mask has been forced on their entire culture to such an extent, even they believe it to be true. The mask even separates them from the land they used to own.  " "You guys got your passports" (Velma). "passports?" (Thomas). "Yeah, you're leaving the rez and going into a whole different country cousin." (Velma). "But... but it's the United States" (Thomas). "Damn right it is! that's as foreign as it gets. Hope you two have your vaccinations." (Lucy)" (Smoke Signals).  The masks that are put on groups of people, and held there long enough force them to change who they are. These masks are put in place by social treatment, and the media. "Since the beginning of the moving image, Hollywood has created and appropriated its very own image of Native America that was always made by non-Native Americans for their own political point of view towards the masses." (Erye). Native Americans have never had a say in what they want to be portrayed as, only the racist white men did. In older movies Native American actors even made fun of their white counter parts because accuracy wasn't  important enough for the white men to learn the native language. Recently American media has been getting better about accurately representing Native Americans, and their culture, but the mask is still there. Even though movies such as The Lone Ranger try to show Native Americans in a better light, they fail. Chris Eyre is a Native American who has removed the mask forced on his people, and as such he has a better perspective on the negative portrayal of his culture. "There are a lot of Native people who seem irate over Depp's portrayal of "red face." I was recently asked, "Is Depp's Tonto offensive to Native people?" I thought to myself, two things. One, if a Native person is offended by this Tonto character they must not recognize how unbelievable this character is, and two, if Native people think this is their opportunity to change other people's minds regarding negative representations of Native characterization I would say, "Go see another movie!!""(Eyre). Though a mask may be forced on some one, or a group of people they can choose whether or not to wear it. Forcing a mask on others is unforgivable, but it is always up to the person if they want to go along with the stereotype. Those who do are generally miserable as they are not true to themselves, but those who refuse to put it on like Chris Eyre, and Thomas Builds-the-fire in Smoke Signals tend to live much happier, and fulfilling lives.

Seven Pounds

Seven Pounds

By Derek Plott

P.5

            Seven Pounds is a fantastic movie that is full of symbolism and duality. It is an incredibly deep, emotional film, and the cinematography goes along with the mood perfectly. There is so much more to it than what’s seen from an entertainment perspective. Everything in the movie is representative of the diegesis from lighting to focus to costumes. Upon analyzing the film it can be determined that every bit of the cinematography is full of symbolism, duality, and metaphors. Everything aligns visually to go along with the plot line. Ben Thomas is haunted by the fact that he took seven lives in a car crash, including that of his fiancé, and he gives his own life to make up for that incident. The main focus of the movie is redemption, and the delicate balance of life and death. Seven Pounds is about Ben resetting the balance of life and death by giving up everything, and the artistry of the film shows the duality of many things: life, visual symbolism, as well as the metaphorical meaning of Ben's final acts.

            The concept of duality is shown in almost every single aspect and scene in Seven Pounds. The jellyfish Ben keeps as a pet is a prevalent example of this. The jellyfish is a beautiful creature, the most beautiful in the world according to Ben, but it is also deadly. When Ben has given away everything he has except his heart and eyes he chooses to commit suicide using the jellyfish. In a bathtub filled with water and ice the tentacles of the jellyfish wrap around Bens’ arm, and intertwine with it shown in a close up shot with dim lighting, and dark colors (Seven Pounds). Bens’ life comes to an end by the hands of his only true companion. The dim lighting, and dark colors represent his life coming to an end, and fading away. The tentacles intertwined with his arm show how both lives are intertwined after the crash. Ben knows how he will end his life, and that was the purpose of the jellyfish. Since the crash, both beings floated through life, going through the motions, but never truly living. The jellyfish only ate, and Ben only arranged who would get his organs so both have a singular purpose in living. Another representation of duality in Seven Pounds is Bens’ house. It is a place he lives in, but it also represents his soul. The house is beautiful from the outside, just like Ben is handsome, and charming. On the inside it is lifeless, just like his soul. When Ben is moving out you can get a good idea of the representation of this. A shot with a shallow depth of field, focusing on a somber looking Ben who is sitting on his couch surrounded by packed cardboard boxes in dim lighting (Seven Pounds). This shot shows Ben giving up the last thing he has from life before the crash. Moving out of the house he shared with his fiancé forces him to leave behind all the memories he has there, and lose his soul. The somber look on his face shows the remorse he has, and the hard act of letting go of the last worldly possession that made him who he was before the crash besides the jellyfish which represents his life. The packed boxes are his memories being stashed away, and the dim lighting adds to the dark mood. The shallow depth of focus with objects blurred in front of the camera cutting out the bottom part of the shot produce a feeling that this is a private moment and the viewer is unwanted yet still observing. Duality in Seven Pounds is also represented by water. Water is essential for life, but it can also bring about death. In the beginning of the film Ben is swimming in the ocean back towards his house in Malibu. A long shot from the reverse god’s eye perspective shows Ben swimming through the ocean with light flooding down around him from the sun into the water; a light blue color surrounds the dark shape of Ben (Seven Pounds). The water represents his memories that are always around him constantly reminding him of his old life.  He is swimming in the ocean just like these memories are swimming around in his head. Blue is often used to portray a feeling of sadness, and the blue represents the grief inside of him. It is brightly shaded because many of the memories he had were good which only hurts him more.  The lighting from above symbolizes the life he still has, and the fact that he’s dark shows that he is already dead inside. The camera having a reverse god’s eye angle shows that instead of being god looking down on him it is the devil looking up. This is representative of the fact that the balance of life and death is in the negative for him, but when Ben is dying the god’s eye is reversed, and looking down on him because he reset the balance. The ocean is a serine place for him, and when he is there he reflects on the fond memories he has, yet it is a creature from the ocean that brings about his death. Duality is a huge concept in Seven Pounds, and it adds a lot of meaning to the film. In addition to duality, there are many examples of visual symbolism that evoke emotion from the viewer.

            Visual symbolism is everywhere in Seven Pounds. The sets, shots, costumes, directing, and editing all work together perfectly to show parallels, flush out characters, and set moods. These things make the viewer connect more to the film, and make it seem more real. A great example of this is the parallel between Ben’s suicide, and the car crash. In the car crash, Ben’s fiancé is wearing a dark purple dress, there was shattered glass, and crushed metal, and seven people died. When Ben commits suicide it looks very similar. God’s eye view, medium shot, Ben is in the bathtub wearing a pink shirt turned purple by the water with a look of agony on his face; the shower curtain is pulled down and crushed on top of him, ice cubes are on the bath tub rim and floor, and the lighting is dim with everything shaded blue (Seven Pounds). In this shot Bens shirt has turned the same color as his fiancés dress, he is in agony just like at the crash, the ice cubes look like shattered glass, the curtain looks similar to crushed metal, and the bath tub is shaped like a coffin. Everything in the scene looks very similar to the crash, and the bath tub looking like a coffin shows that he is soon to join the others that died. The blue tint is darker on the walls at the top of the frame, and lighter on the walls symbolizing that he is finally going to be rid of his sadness and pass on. The reason everything in the suicide scene parallels the car crash is because it shows that Ben really died in the car crash, but his body kept on living. The god’s eye view is representative of Bens’ life ending and his accent to heaven, as well as contrasting the reverse god’s eye in the beginning symbolizing that he has reset the scales of life and death, and redeemed himself. On top of setting parallels the film also does a great job of visually flushing out characters, and showing contrast between them. Ben and Emily are both portrayed very differently, and the scenes are designed to establish who they are and create contrast between them. When Ben comes to Emily’s house as an IRS agent, and they go inside after walking the dog the shot shows the contrast very well. The shot is in deep focus with Ben dressed in black and grey at the bottom right corner closer to the camera, and seated at a table with light illuminating half of his face while Emily is standing dressed in bright pink garbing a cup from a cupboard farther back and to the left while fully lit by the light (Seven Pounds). This shot is in Emily’s kitchen where everything is brightly colored and well lit. She is in a bright pink shirt, and generally smiling throughout the scene. This is all meant to show that she is full of life and happiness. Ben on the other hand is dressed in dark grey and black with a shadow on half of his face. This represents the darkness inside of him, and the half of his face that is towards Emily is well lit as it is portraying the face he is putting on for her; one of happiness and charm. This character coloring is the same in almost every scene. Ben is darkly colored, and Emily is always bright, same with their surroundings. Another example of symbolism is when Ben finds out what type of man Stewart Goodman is. Initially Ben wants to give Stewart the bone marrow he needs to survive, and he goes to the nursing home to see what kind of man he is. Ben only gives his gifts to people he finds to be genuinely good at heart, and finds that Stewart isn’t one. Ben talks to Inez, and she tells him that Stewart is punishing her for not taking her pills by not letting her bathe. Ben gets angry, and takes it out on Stewart. Medium close up shot in shallow focus, Ben is dressed in a grey suit with a black tie, a look of anger on his face, and light shining on the top of his hair, his hand is around Stewarts throat and he is shoving his head into glass which breaks; Stewart is dressed in a grey suit with a red tie, and he’s mouth is open from pain (Seven Pounds). The shattered glass symbolizes Stewarts shattered hopes as Ben will no longer give him bone marrow or a tax extension. Stewarts red tie shows the malice and greed he possesses. The medium close up shot with the shallow focus puts all the attention on them and what’s going on. Though Ben is in dark colors showing his grief, he is also poorly lit to intensify the feeling of anger and betrayal. The light shining in his hair creates a halo effect as he is essentially playing the guardian angel for Inez by bringing her to the bath and punishing her tormentor. This interaction also has a sense of irony. Stewart’s last name is Goodman, and Ben is looking for a good man to donate to, but in reality Stewart is far from being a good man. Seven Pounds is full of symbolism in every scene, and the crew did an amazing job of everything from the sets to the lighting to the costumes, and everything else in the scenes to bring out more emotion from the viewer, and make every little thing have meaning. Not only was the cinematography brilliant and symbolic, but so was the writing, and the symbolism behind each of Bens’ gifts.

            Ben took seven lives in the car crash, and to reset the balance of life and death he gives life to seven people. Every gift Ben gives has symbolic meaning behind it besides resetting the scale of mortality. Lungs are necessary to life. They bring in and filter oxygen from air, and breathe out CO2. Everyone has a pair of lungs that keep their life going. Ben gives one of his lungs to his brother who had lung cancer and would’ve died without the transplant. Ben’s only brother was with him throughout his whole life, enriching it just like blood is enriched by the oxygen from the lungs. Ben gives one lung to his brother; his lung is removed from its partner in Ben, so that Bens partner in life, his brother, may live. Ben donates bone marrow to a young boy named Nicholas who has bone cancer. The bones are the foundation to the body, providing it structure and support. Nicholas is a little kid who is dying, and without the transplant will not get to live a full life. The bone marrow Ben donates to him symbolically gives him a new foundation to live a complete life, just like bones are the foundation of the body. Ben donates one of his kidneys to a hockey coach for underprivileged kids named George Ristuccia. The kidneys filter out waste from the blood, and produces important hormones used to stimulate red blood cell production, regulate blood pressure, and maintain calcium levels in bones. George does all of these things on a metaphorical level for the kids he coaches. He gets them of the streets in the bad neighborhoods they live in and onto the ice, essentially filtering them out of the waste of the area. He gives them something to live as decent human beings for, and focus on symbolically producing red blood cells, and putting calcium in bones. He gives them a meaning to live, like red blood cells give life, and a foundation to build from and fall back on like bones give structure, and stability to the body. He also helps them keep a level head like the kidneys regulate blood pressure. When Ben is watching a hockey practice some of the kids get in a fight, and George breaks them up, and calms them down with a moving speech telling them to keep their heads on their shoulders and don’t let things get to them. One of the final things Ben gives, and does so with his death, is his eyes to Ezra, a blind, vegan, meat salesman. Ezra lives a simple life, and doesn’t ask for anything, he just tries his best to be a decent human being. He always sees the good in other people, even though he can’t actually “see” anything. A scene that exemplifies this is when he is in the café eating pie, and drinking coffee. Ben has been following him that afternoon, yet Ezra doesn’t know it. In the café Ezra is been talking to a waitress offering her son free piano lessons, but she brushes him off.  A medium shot with dim lighting, Ezra is seated at a table dressed in a pink dress shirt with a brown jacket looking at the waitress who is holding a coffee thermos standing to the right of the screen talking with Ezra, but not looking at him; she is dressed in a pink and white uniform with the back of her body cut off by a pillar, and her elbow sticking out behind it; the lighting is more full and colorful behind the pillar (Seven Pounds). Ezra is seated, and the waitress is standing symbolizing the fact that she thinks she’s above him. Ezra’s clothing portrays him to be open, and the pink shirt shows caring, but the brown jacket shows his plainness. The white of the waitress’s garb shows her to be pure and angelic as Ezra sees her. There are shadows on the waitress’s face showing her pity for him, and shame of being associated with him. Ezra’s face is well lit showing optimism. The black background behind Ezra symbolizes his blindness, and loneliness, while the brighter scene behind the waitress shows the eventful life she has and what she is looking forward to away from Ezra. Though most of the space between them is dark, there is a light hanging from the ceiling in-between and behind them by the waitress’s head showing hope that if Ezra can be perceived to be on her level things could work out between them.  After the waitress leaves Ben goes up to talk to Ezra. Ben asks him if he is going to ask the waitress out, Ezra looks abashed, and replies “I don’t think she sees me.”(Ezra, Seven Pounds). This quote and the entire café scene show that Ezra sees other people and is always good to them, but they don’t notice. Though Ezra is blind, he is the one who isn’t seen. This is why Ben gives him his eyes, so that he can see, and more importantly be seen by others. The only gift Ben gives that isn’t an organ is his house. Ben finds who he wants to give his house to through a woman called Holly. Holly is a child services worker whom Ben had previously given part of his liver to. The liver has many functions such as bile production for digestion, blood detoxification, nutrient storage, immune system health, and metabolism. Holly metaphorically does all of these things with the parents, and children she works with. Bile production by helping them get out of bad situations, blood detoxification by helping getting rid of bad influences, nutrient storage by giving them when they need it, immune system health by helping them stay on the right track, and metabolism by making sure they keep moving forward. Ben gives Holly part of his liver, which she symbolizes, and she helps him find Connie Tepos, who will receive his house. Connie is a mother of two who lives with an abusive boyfriend in a rundown neighborhood. Ben contacts her, and tells her he can help, but she pushes him away. Later, after yet another beating, Connie calls Ben, and tells him she wants his help. He obliges, and gives her the house. The house represents Ben’s soul, and he gives it to a woman who has two children, and lives in an abusive home. Her soul is crushed, and he symbolically gives her his own to help restore it. “I’ve always believed this place can heal the soul. I hope that proves true for you.” (Ben, Seven Pounds). Ben says this to Connie when he gives her the house. The audio is played as Connie and her kids arrive at the house, and enter it. The 7^th and last gift Ben gives to reset the balance of life and death is his heart. He gives his heart, both literally and metaphorically, to Emily. At the time of his suicide Ben is in love with Emily, yet she has a failing heart, and won’t live long without a transplant. When Ben comes over to Emily’s for dinner they have an amazing time, and end up making love. Immediately after the scene where they are in bed together, it cuts outside. A medium long shot focusing on the empty table where they had dinner; they table is still set, and it is raining with dim lighting everywhere except the table which is well lit, and inside the house (Seven Pounds). This scene represents the memories they made tonight, and the ones that will never come to be. The table is well lit as the memory is fresh, but it is raining to symbolize the sadness to come. The glasses and the candle make a heart shape in the table, though it is hard to see. The candle is still burning, showing that they are both still alive, but the rain will soon snuff it out as the fire of life inside Ben will soon be snuffed out because of his grief. Ben gives his heart to the woman he loves, so that she can live, but as the shot shows, they will never make the memories together that they want to. Ben gives seven gifts to repay for the seven lives he took, and each recipient metaphorically represents the gift that they received.

            Seven Pounds is an incredibly symbolic movie. It has duality, visual symbolism, and metaphorical meaning engrained in almost every scene. The artistry in the movie is phenomenal and every little thing in it has meaning. The duality of the jellyfish, the house, and water all add a dimension to the film that makes it more moving. The symbolism of all of the colors, costumes, sets, and actions set the mood perfectly and add more depth to the storyline. Even the gifts Ben gives metaphorically represent the recipients. The film Seven Pounds is beautifully done and subconsciously triggers all sorts of emotions and connections in the viewer. Seven Pounds is a fantastic example of wonderful cinematography and has a moving storyline that is supported by all elements of the picture. 

4/28 Music Video Artistry

     We saw many music videos in class this week. With artists from Toby Keith to Eminem. Every video had the terms we are learning about wonderfully displayed. I knew you were trouble when you walked in by Taylor Swift had a lot of good examples of the term. The plot of the video was Taylor always knowing the guys she wanted to be with would be trouble for her, but she still wants them. The scene and sequence that illustrates this is when she keeps flashing back to her previous relationships, and then forward to the present where she is broken from being broken up with. The narrative genre helps to get the message across to the viewers and convey the emotion she is feeling.

     Eminem is a great artist, and the video Stan exemplifies it. It is based on a real life experience Eminem had, and all the best songs come from real experiences and feelings. Eminem is the auteur for this video, and he does a great job. He sees himself in Stan, and can't help but relate to his plight. That is the diegesis of the video. There are all sorts of terms in it from flashback to shot types to mise-en-scene. The video is wonderfully done. We saw many videos in class this week, but those two were the ones i connected with the most.

Mad Cinematography Men

The decor in this scene of Mad Men shows prosperity, and wealth. A table full of food, ornate wall paper, men in suits, crystal glasses, and fresh, beautiful flowers. Everything in the room speaks of money and comfort. Money is power in American society, and Don Draper has guests over which he is trying to impress. It only makes sense that the decor of his house emulate power to go with his desired image.

This image from Mad Men is of the employees celebrating after landing a large contract. High key lighting is used here to show joy, and the fulfillment of a hope. The High key lighting brings positive energy to the room and the lack of shadows shows the lack of doubt with the characters. They were successful and can put their doubts to rest.

The costumes used in Mad Men clearly show the roles of the characters. Don is in a sharp suit showing him to be powerful, influential, and in charge. Betty  is in modest garb that hides her womanly features, and is pink. this shows innocence, and obedience. Sally Draper, the daughter, is dressed in the white of innocence, and baby blue of childhood. she is looking up to her father, as is her brother dressed in the classic garb of a young male; a t-shirt and shorts.

Mad Men utilizes deep space with this scene. Don is in Hawaii on vacation with his wife, yet no he is alone at a bar drinking. The camera focuses on him an his sorrow while the background is blurry and going on in the distance. It represents Don's feeling of isolation and being lost on his path in life unable to find happiness. The drink in front of him and the ashtray represent the only releases he has in life, and the only things that bring him happiness.

Three point lighting is used here to draw attention to Joan. She is dress in red as a symbol of her power as the head woman in the office. She is being pointed out by her boss due to her ability, and the three point lighting makes the viewer pay attention to her, and only her in the shot. It makes a more intimate connection.

This image from Mad Men shows contrast exquisitely.  Don and Joan are lit up focusing the viewers attention on them, while the background is dark taking away from it's presence. At this point in the show Don was in a dark place, and Joan is bringing him up again which the contrast alludes to. Dark and somber in the background to represent how Don was feeling, then bright on him a Joan for how his mood is changing from her presence.

This shot show angle of framing very well. It is Peggy's first day at work as a secretary, and Joan is the head secretary, and chastising her. This angle puts Peggy at a much lower position in the frame than Joan to show Joan's power over her.

This Mad Men scene is a good demonstration of long shot. Don is the center of the focus, but he is relatively far away which allows for a scene to take place during movement without re-framing. At this point in the show Don has yet another great idea, and is striding down the hall to share it with his partners.

This image is a medium close up shot example from Mad Men. It is a medium close up because it needs to show three characters and their level of affection towards one and other. Roger Sterling is the babies father, though no one but Joan and Roger know, and Joan is the mother. Roger is being introduced to the son he can't claim for the first time, and shows a look of inspection and hidden endearment. Joan is studying his reaction with a smile playing on her lips because she hopes the child's father will like him.

This shot displays depth of focus. Joan is being taken forcibly by her husband, even though she doesn't want it. Her eyes facing the camera create intimacy towards her and makes the viewers heart go out to her. They use depth of focus here with the chair in the forefront of the scene because it creates a sense of hidden criminality; something that is wrong, but shouldn't be seen. This fit perfectly with the culture of the show because men take what they want, and woman have no real power. if a man forcibly has sex with his wife, society will turn a blind eye, as if it were hidden, as it partially is behind the chair, but that does not lessen the woman's suffering from the act.