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There is no denying the fact that One Wonderful Sunday is an exquisitely composed, gripping and sometimes frustratingly slow, micro-scale love story that unravels in the times marred by tumultuous and in a sense devastating social and political upheaval and change. The one essential feature that marks the experiences of the young couple on a Sunday, at times trying to engage in affordable recreation, and resorting to a mock rehearsal of their discernibly doomed dreams, is the persistent physical and emotional dislocation they have to grapple with. The landscape through which they pass is typically symbolic in the sense that it is marked by the charred ruins of an old world, interspersed with the enticing and glossy advertising signs indicative of an unavoidable transition to a new order. Amidst this confusing and unsettling background, the two lovers try to yearn for an emotional and mental space where their dreams could have some sort of relevance and scope. With the orphans haunting the ruins of a devastated Tokyo, the gumption of the broke and cold couple to somehow make the best of the grim situation in which they are placed, indeed grabs the admiration and fancy of the viewers, no matter the age or time in which they are placed.
This masterpiece by Kurosawa also brings out the historical relevance of those times in a circuitous and subtle way. Though nowhere in the movie one come across the allied troops, yet there presence lurks in the backdrop in the form of tell tale signs like a litter basket labeled “trash” placed unintentionally in one corner of the screen. These symbols of allied occupation do stand out as being imbued with multiple meanings, pointing towards irrevocable historical changes. Placed against this gargantuan scenario marking international level military and political plans, the musings of the young couple in the movie stand out as movingly innocent and somewhat depressing. In a
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The film’s historical context is related to the Afro-American history of slavery, exploitation and racial segregation. The cinematography gives due importance to the visual description of the sad plight of the protagonist, who represents the African Americans.
A ballerina dances on her toe, her entire body balanced on the tips of her feet where she appears weightless and fragile. The ballet is the essence of femininity, not to downplay the efforts of male dancers, but more often the male is the frame, the female the picture in a dance that challenges the body to move against gravity and become the appearance of something supernatural.
This self-realization or the revelation of the secret of life forced him view death as a dilemmatic situation in life. On the other side, the movie Ikiru by Akira Kurosawa deals with the passionate life and enlightenment of Kanji Watanabe, the protagonist.
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Therefore, we will make use of the ideologies of understanding human behaviour portrayed in works of two notable filmmakers.
These two filmmakers include Akira Kurosawa and Kenji Mizoguchi. This paper has endeavoured to study the above premise through an analysis of the function and meaning of film composition as portrayed in the film making of these two filmmakers.
This day was an important day in the history of Northern Ireland. The catholic community of Northern Ireland believed that they were a target of discrimination by the state authorities. These Catholics in response to their beliefs started a Civil Rights Movement. The
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The beginning of the film sets its dark tone, as we see a wedding party. While a wedding should be a
She achieves this by drawing our interests from the immediate location or setting of the painting i.e. the café concert at the Folies-Bergere and away from the entertainment and pleasures of the theatre to a wider
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