It's a million gray areas " as famous English film director and producer Ridley Scott once said. Ridley Scott uses color to portray images in his works, similarly to how author Herman Melville employs the color grey in Benito Cereno to show the uncertainty and unclearness throughout Benito Cereno. Herman Melville begins Benito Cereno by describing the setting with everything shrouded under the color of gray which prevents the characters in the story from seeing the truth. The color grey is a prevalent symbol throughout the novella. Greyness when used in Benito Cereno represents the uncertainty in human nature. The climate of grayness in Benito Cereno foreshadows an undercurrent of danger and a warning of threats ahead. The battle between the whites and blacks leave a dull gray tone throughout the story that portrays the fight between colors that is not easily resolved. The color grey used by Melville foreshadows the uncertainty between blacks and whites, which causes the traditional standards of race and social hierarchy to be questioned. Furthermore, the color grey masks the truth from Delano. Melville uses the color grey to illustrate that one should evaluate their stance on the subject of slavery. Slavery was a very controversial topic prior to the civil war when this novella was published. Melville's writing examines the grounds of slavery through the readers questioning of race relations. Throughout the novella Melville attempts to contest ones stance on slavery and force one to see the anti-slavery point of view.
Gray is a color located somewhere between the ranges of black and white. Gray blankets the environment on the ship and its surroundings to lead one to foreshadow the impending doom and the boding evil that lies ahead. The gray landscape sets the stage to show the tensions between the black slaves and the whites. Delano turns a blind eye to the slave mutiny on the ship and follows the master and slave relationship where the traditionally the white man has power over the black man.
Grey out into the open. ... Grey dies. ... In a flash of light, it is revealed that Duddits is an alien and is able to use his alien powers to kill Mr. ... Grey dies. ... Once you sort out the differences between the book and film and judge how accurate of an adaptation it is, there is one final question: can the movie stand on its own. ...
It seems as if he uses the book to create the movie based on every word that the author has set (Nuwer 1). ... The film takes any hint of combat or action from the books as an opportunity to flesh out a full-on battle sequence, and stories the book covers briefly or offscreen (Robinson 1). ... Book: Quite a merry gathering Movie: Oh, they're quite a merry gathering, once you get used to them. Immediately it becomes clear how much the film coincides with the book. ... Approached by his friend wizard Gandalf the Grey, Bilbo finds himself joining a company of thirteen dwarves led by the leg...
It gets right everything that the previous film had trouble with. ... If you"re going to see X2, you need to either be familiar with the comic book series on which it's based or have seen the original film. ... It doesn't help that his own son is a telepathic mutant, and one of the film's most disturbing undercurrents is the way Stryker uses him as a captive weapon against other mutants. ... Jean Grey (Famke Janssen), Storm (Halle Berry), Cyclops (James Marsden), and Rogue (Anna Paquin), to save the day. ... While the first film often felt sudden and restricted, X2 works on a...
The film takes a dark turn as a supernatural being from a horror story she read to her son, 'The Babadook,' begins to plague her. ... The only contact the two have within the first few minutes of the film is within a sequence where Samuel is terrified of 'monsters' in his bedroom and therefore Amelia has to check in the closet and under the bed for them, he is shown to be clinging to her, however she does not touch him back. ... To add to the overall negative feeling of the pair's relationship extreme close up shots of Amelia's face are frequently used, emphas...
The film is hilarious, unlike the book, which I find rather dry. ... However, even with all the cuts, the film is aptly dramatic, with poignant arguments based on emotion and playing on desires and humour. ... In order to fit the movie into the time frame of a film, the director had to cut many lines and speeches as well. ... However, he has a habit of using exactly the wrong word to convey his meaning. ... In the film, Benedict, not Don Pedro, addresses the camera. ...
This is of supreme importance to any argument on the film, as it implies that all of the themes which can be drawn from the film are intentional, and there was very little in regards to "grey areas" created in the process of adapting book, to script, to film. ... Details the intensity of their discussion's regarding important themes of the film, and states that they believed the strength of the book was primarily its plot. ... The intended use of a scrapbook in particular is interesting, as it highlights the significance of The Overlook Hotels past, more fully than does the ending in th...
The story in the movie is almost identical to that in the book. ... Nick, being close to Daisy, is used by Gatsby to reunite himself with Daisy. ... Jordan in the book is slender, erect posture, small breasted with grey eyes. ... Fitzgerald and Coppola use symbols throughout the book and film. ... The characters use them to brag about their wealth. ...
In the film Basquiat, nineteen-year-old Jean-Michel Basquiat is a street artist living in the cold runt streets of Brooklyn, New York. ... While recovering from his injuries, his mother brought him Grey's Anatomy just to keep his attention. The reading of this book seemed to be dominant in his future of becoming an artist. ... Basquiat had many people to inspire him; such as, Cy Twombly because just like Jean he used words and symbols as well. ... He repeats the main color yellow on each panel, but he also uses colors like black, blue, and red. ...
Richter's earlier abstract works are more colorful than his more recent works, in which grey and white tones often dominate. ... " "Like Manet and Goya before him, he makes skillful use of this 'color' that is in fact none.... Large oil-on-canvas pieces, these show latticed rows of light- and dark-grey blobs whose shapes repeat as they race across the frame. When angled horizontally, they suggest strips of film bearing identical sequences but running at different speeds, all of them too fast for any image-content to be made out. ... Since 1972, Richter has exhibited, ...
