Tuesday, October 29, 2013

Double Indemnity/L.A. Confidential Stills

For L.A. Confidential I used still number 33 of 99 (https://picasaweb.google.com/ctrova/LAConfidential?authuser=0&feat=embedwebsite#5527359609216827362) and for Double Indemnity I used number 19 of 49 (http://picasaweb.google.com/ctrova/DoubleIndemnityStillShots?feat=embedwebsite#5524227295306645682)
In these two shots, both Walter Neff and Bud White have similar perplexed looks on their faces. Both the shots are pretty extreme close-ups but the one of Walter is more of a close up shot. All of the lighting is focused on Walter in the Double Indemnity shot and only part of Bud's face is illuminated by the light in the shot from L.A. Confidential. Both of the characters are clearly the center of the image. Walter Neff has more of a perplexed look on his face and Bud looks as if he's figuring something out.

Monday, October 21, 2013

Zahras Paradise Journal

Section 1
2. Images
There are many differences in the lighting in the shot at the bottom of page 10. The darkest part of the shot is the background and to illustrate one of the characters shadows. The dog is the lightest because it is a white dog. The ground is also very light aside from the grassy areas. It is also dark on the main characters beard.

Section 2
2. Images
Foregrounding and back grounding-
Khamenei's is the most priveliged part of the image and is the largest. He also draws the most attention because he is the biggest and takes up the majority of the shot coming from the left side. Is arm is emphasized in the foreground because he is presenting his campaigning speech in front of everyone. The crowd is emphasized in the background because they are listening to the speech and looking at khamenei's. I looked at the shot at the bottom left of page 54.

Section 3
3. Words
Words, or lack thereof
The contrast I found has to do with basically everyone in the novels love of Allah. Throughout the novel, there are many references from different characters about how they love and praise Allah. At the beginning of chapter 11 when Hassan is finding information about Mehdi, many references to satan are made and they call the copy shop "the house of sin". On page 143, the language that most stands out is the phrase "research project" when it is used to describe the information that Hassan is going to receive. That phrase stands out because it is in bold and the project is information he's going to find about his brother. The image speaks for itself when the publishing empire is referred to as a house of sin and Hassan just kind of stares blankly. I think it was a good choice because no words are really necessary besides the ones already said.
What are the things Sepideh can't say and why can't she?

Section 4
1. Frames
Size and Shapes of Frames
The biggest parallel that stuck out in this section is the constant referral to technology, especially computers and how much they help the search of Mehdi especially when Sepideh allows Hassan to look through Mansoor's computer and gets access to the Islamic Republic's judiciary. The largest frame on pages 168-169 takes up way more than half the pages combined. We get the view of inside Hassan's computer when he is hacking and getting information about the prison. The size of this frame shows us how important the information is and how much of it there is for Hassan. The smaller frames show Hassan opening up the files about the prison and then the next frame show the files as Hassan is looking at them to give us his point of view.
Why are there large heads used to describe the prison files?

Section 5
1. Frames
Organization of frames
One of the parallels in this section was about memories and bringing up the past from earlier in the novel. There was a whole page dedicated to Zahra's memories about Mehdi in chapter 20 (page 18). The average page in this section is packed with frames of different sizes but there are a few pages that are taken up by one frame that is much larger than the others. When a page only consists of one or two frames it encourages me to read faster because usually there isn't a lot of dialog with not a lot of frames. If a page has a lot of frames that are packed with dialog I feel more inclined to read that page more slowly and carefully. I think these choices are saying that the bigger the frame, the more important it can be especially with visualizing the novel.
Why is Zahra saying such long, confusing phrases at the end of chapter 2 when she finds out about Mehdi?