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Culture: A Panoramic View of Some Horrific and Barbaric Practices

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Culture: A Panoramic View Of Some Horrific And Barbaric Practices
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Essay on Culture: A Panoramic View of Some Horrific and Barbaric
Cry Freedom manifests characteristics from Essay A Panoramic Horrific several genres but one might describe it as a dramatised political documentary exhibiting some of the conventions of film biography - already seen very effectively in Essay, Ghandi - and the political spy thriller. Sir Richard Attenborough has based the film on Essay on Culture: A Panoramic Practices real life characters, principally Steve Biko and white South African editor, Donald Woods. He uses this factual base to fulfill two main purposes: firstly, to tell a story of the relationship between Steve Biko, banned political activist, and Donald Woods: secondly, to make a statement about the dominant political ideology of white South Africa (as it appeared at this period) and to present us with an oppositional ideology which we are being very clearly invited to acknowledge in a sympathetic manner. The narrative structure adopted by lobe the director is clearly classical in nature but employing flashback techniques to rearrange the chronological sequence of events. The actual historical period covered by the film spans three years but is selectively telescoped into under three hours of Essay A Panoramic Horrific and Barbaric film. Framing not only allows us to read the significance of and synopsis, attitudes of characters but also directs us towards the codes being set down in the mise-en-scene. For example, when Biko is Iying unconscious in prison, the whole focus of our attention is on the naked figure Iying on a stone floor, caged like an animal. Nothing else intrudes into the frame; it is what is left out of the mise-en-scene that is important here - no extraneous and distracting detail, nothing to alleviate the literally naked power of the image. The very low level lighting works with the mise-en-scene to enclose this scene in a highly dramatic manner. The markedly contrasting use of Essay on Culture: Horrific and Barbaric Practices mise-en-scene within the Woods house on New Year's eve where the lounge is a very comfortable room, expensively furnished, complete with piano, television set and decorative ornaments, captures the on Components easy lifestyle which they have, in part, chosen to abandon. The interior of Kruger's house takes this idea of comfort one step further with its lavish furnishings that suggest a history of gracious living that has been passed from one generation to the next. The furniture is old, solid and entrenched in its setting, much like the Afrikaaner residents that inhabit the A Panoramic of Some house. The mise-en-scene within the black dwellings, on the other hand, is spartan in comparison; simple wooden table and damage to frontal lobe, chairs dominate the set and around these a cluttered scene suggesting cramped living conditions. This narrative could have been told in an infinite number of Essay on Culture: A Panoramic View of Some Horrific and Barbaric ways, depending on the director's choice of montage and Essay on Components Units, editing techniques. The opening sequence of the film is a good illustration of how carefully constructed montage works. The dreamy, peaceful dawn sequences are followed by a number of fast cut, noisy, chaotic sequences which, in turn, give way to the sleepy awakening of on Culture: A Panoramic View Dr. Rampeli, then match cutting back to the aftermath of Crossroads. These frames have been carefully sequenced to build atmosphere, pose narrative possibilities and balance pace. In order to Supply illustrate the two parallel events that are taking place - Donald Wood's night journey to his rendezvous point and Essay A Panoramic of Some and Barbaric Practices, his family's morning journey to the "beach" (in fact, to Wendy Woods's parents) - match cutting is used regularly; for example, when Donald Woods arrives on lobe New Year's eve in a small town, Auld Lang Syne is being sung, then we cut to the Woods's house and View of Some Horrific and Barbaric Practices, the family is awaiting the count down to the New Year before they too sing Auld Lang Syne. To Frontal. Here, then, an aural link helps to convey the idea of parallel events. Another example of a match cut linked aurally would be when we go from Crossroads to Dr. Rampeli's radio and hear a report on the night's events. The verbal link helps to establish time having past so that we can return to Crossroads at a later stage with a sense of continuity of time. Lighting is likewise a vital tool in creating atmosphere and cuing an audience's reactions. For example, the opening lighting of the shadowy half light of dawn creates a black and white image, colours which are themselves symbolic. This black and white effect persists through the images of the approaching police vehicles, suggesting the Essay of Some Horrific and Barbaric Practices colour of newspaper print. Much of the film is shot externally so that the bright, sunlit areas of white gardens and open landscape are sharp and clear in contrast to the nighttime visit that Biko takes Woods on when street lighting from above is used to convey black shadows and a flat, bleached look to Woods's lit face as he passes under a light. Biko's black face remains in shadow as though emphasising that this is his natural camouflage. In this scene, a young child's eyes are lit from the side in Essay on Components, close up to capture his fear. Inside the shabeen the light is harsh, unnatural and garish. View Horrific. In contrast, the internal lighting in Woods's house is bright, warm and cheerful, particularly on New Year's eve or when Donald Woods is telling his children about his trial. In the courtroom, Biko is lit from behind and from the left hand side, creating a halo effect. To Frontal. Perhaps one of the most powerful uses of light is in the shots which capture the Essay A Panoramic View of Some Horrific Practices first meeting between Biko and Woods when the camera breaks a general technical rule and cuckold, shoots directly into the sun but through the on Culture: View of Some Horrific and Barbaric swaying branches of a weeping willow tree. The fractured light breaks through the tree from behind which Biko steps, saviour-like, caught in a shaft of argumentative golden light which blinds Woods. Light is being used here to create a powerful icon. Darkness is used very effectively as a symbol throughout the film - a darkness which is suddenly penetrated by the sharp glare of car headlights or torches; for example when Crossroads is raided or when Woods meets up with the black minister who is helping him to escape. Essay On Culture: A Panoramic. This contrast between dark, confined places and brightly lit space of the synopsis of wuthering natural landscape is used to reinforce the powerful message of inequality Lighting is A Panoramic and Barbaric, complemented by Supply Chain Literature sound, particularly music and dialogue, which also assists in View Horrific, reinforcing the ideology of the film. The film opens with a black screen and the sounds of cicadas and other noises associated with a tropical country. There is an eerie expectancy in synopsis of wuthering, this soundtrack. Then we hear voices speaking in on Culture: View and Barbaric Practices, what most people would recognise as an African tongue, in this case a Bantu dialect with its distinctive clicking sounds. This is followed by damage peaceful early morning images which, in on Culture: Horrific and Barbaric Practices, turn, are followed by a threatening, loud, rumbling sound whose source the audience does not see until a few seconds after the harsh, metallic sound of the telex-type credits and the clicking sound accompanying the photo-journalistic shots of the looming trucks induces a feeling of fear and alarm. Of Gulf Of Tonkin Resolution. The latter changes to horrified confusion when a plethora of sounds accompanies images of assault; running feet, smashing glass, shrieks, screams, angry orders being shouted, a baby wailing, the roaring din from the Essay A Panoramic Horrific Practices destructive trucks - all these create a feeling of shakespeare chaos and Essay on Culture: A Panoramic Horrific and Barbaric, panic. This scene cuts immediately to initial, stunning silence before we see Dr. Rampeli slowly awakening. She switches on the radio which gives a report on the events we have just witnessed. The bias of cuckold definition shakespeare this particular medium is Essay A Panoramic View of Some Horrific, clearly highlighted when the announcer indicates that "no resistance" was met. We then cut back to Crossroads where images of a razed landscape are accompanied by the deep-throated rhythmic sounds of singing African voices which convey a plaintive note of of wuthering heights suffering. Music plays a very important role in the film; there seem to be three different principal musical motifs, one suggesting pain and suffering, one suggesting tension and danger, the last conveying national pride and victory. For example, when Biko takes Woods into the township at night, the tense strings and the insistent drumbeat reflect the danger that Biko talks of. But when Woods becomes "converted" to Biko's philosophy the swelling voices of the African chorus accompany him as if to underline his empathy with the "cause". Again when firstly Woods, then his family make it across the bridge to freedom, the swelling sounds of the triumphant motif are heard. Essay On Culture: A Panoramic Horrific And Barbaric. Finally it is heard as the aircraft crosses safely into cuckold "friendly" airspace, and the closing list of dead prisoners rolls to the accompaniment of the African Anthem Perhaps the most moving use of music, however, is at Biko's funeral when the African Anthem, Nkosi Sikelel' i Afrika , is sung unaccompanied by the mass of Essay A Panoramic View of Some Horrific mourners. Essay. Attenborough has used the on Culture: A Panoramic of Some wonderful natural ear for harmony that Africans have to powerful effect. It is through the sound of dialogue, however, that the film's potent themes are revealed. In our first meeting with Donald Woods, his liberal, anti-government stance is made clear when he says he wants "the police blamed for that raid", referring to Crossroads. But also stressed are the ideological differences between himself and definition of tonkin, Biko. He sees the latter as adopting a dangerous, extremist stance - " some black nutcase" talking of of Some and Barbaric "black supremacy" and advocating "black consciousness". Once Dr. Rampeli enters the scene, this stance is further underlined when he refers to Biko as a "sensationalist pushing black prejudice" and shakespeare, accusing him of Essay on Culture: View of Some Horrific and Barbaric "building a wall of black hatred". Dr. Rampeli defends Biko whom we have not met as yet, accusing Woods of "putting words in his (Biko's) mouth". A sense of bitterness at Supply Chain Literature, the injustices meted out by a white government comes across in her reference to her education as a "token of your white paternalistic concern". In these two scenes, therefore, the dialogue has carefully established two rather imbalanced viewpoints - Woods who thinks Biko is racist and Rampeli who seems to be damning all whites. It is through the powerful use of dialogue that these imbalances are seen to of Some and Barbaric Practices correct themselves. Much of the background to Biko's own philosophy is given while "on the move" - for example, when he is Supply Chain Literature Essay, conducting Woods round the Essay on Culture: View of Some and Barbaric "centre" and its gardens that Biko has helped to establish. Attenborough has been wise enough to realise that this kind of informative dialogue would tend to be lost in a static setting. But as it is, there are visual images to text absorb while the dialogue runs. The gap between the two men is captured very effectively by placing one on either side of a path, across which they attempt to communicate. The reasons for the black man's sense of injustice are explained very powerfully when the two men walk through the on Culture: View of Some Horrific and Barbaric squalid, narrow streets of a black township. Biko explains the disadvantages of being a black child when he says: "Smart or dumb, you're born into this and smart or dumb, you'll die in it." But the full power of Biko's persuasive oratory comes across most keenly at argumentative text, the football match and, in particular, in the dramatic setting of the courtroom where the Essay A Panoramic of Some Horrific and Barbaric actual words spoken are taken from a transcript of the real trial. Of Wuthering Heights. His explanation of "black consciousness" has power and reason when he explains that "black has always had negative connotations - black sheep - " etcetera. It is Biko's words that dominate the film, despite the fact that the man disappears from the film at Essay A Panoramic View Horrific and Barbaric Practices, a relatively early point. We return to them in the latter part of the narrative in the form of flashbacks when Donald Woods remembers key statements like: "Just say that justice will be done. Let's hope it will not be visited on the innocent." In a film as dramatically powerful as Cry Freedom , it is not surprising to argumentative text find a number of key symbols appearing. For example, the Essay on Culture: Horrific beautiful wide angled shot of the flock of birds rising from the rich brown and green of the African veld has a number of symbolic connotations: flight, itself, hope, escape, freedom etcetera. The white Mercedes belonging to Donald Woods, his garden pool, Kruger's imposing house - all are powerful symbols of white affluence. Even the deserted beach seems to symbolise the irony of a white population representing 15% of the total South African population monopolising 87% of the land and its natural resources, such as beaches and definition of gulf of tonkin resolution, its coastal waters. Other symbols include the View of Some Practices close up of the shackled hands, fists clenched in defiance, that are carved into cuckold shakespeare the lid of Biko's coffin; the close up of the dead Steve Biko's feet and the attached identity ticket, symbolising his apparent worthlessness - a mere object to be labelled; the close up of the padlocked gates that guard the Telle bridge; the Essay View of Some bridge itself, spanning a river that separates and divides peoples; the heavy rains that symbolise both destruction and regeneration and that closing image of the list of damage prisoners and their fates that rolls up like a powerful accusatory symbol of all that is inhumane and evil in mankind. The characters themselves are perhaps the most important symbols; Biko, the saviour-like figure, sitting amidst his "disciples" after the on Culture: A Panoramic of Some and Barbaric rugby match, preaching his gospel; Woods, the intelligent, compassionate and courageous individual fighting a corrupt system, symbolising the strength of man's spirit and his capacity for sacrifice. This appears to be how the Essay Units key participants are represented. But what of other representations? Other blacks are represented in a very sympathetic light - perhaps even idealised; they are seen as intelligent, wise, good humoured and on Culture: A Panoramic View and Barbaric Practices, proud of their racial history. The black minister/priest who risks his own life to of gulf resolution help Woods escape, the wise, good humoured old man who drives his battered car to the Telle bridge, Woods's maid, Evelyn who expresses genuine affection for Essay on Culture: A Panoramic of Some Practices the children and goes about her work with dignity and willingness of spirit, the black journalist, Mapetu who loses his life trying to establish the truth to print in Woods's newspaper - all these images suggest a very sympathetic representation. The only Supply Chain negative image of black people we have is Essay A Panoramic of Some Practices, of black policemen whom we are intended to argumentative see as having been corrupted by the white system, allowing themselves to be exploited by on Culture: A Panoramic View of Some Horrific Practices the white man to impose white-made laws on argumentative their fellow black men. Apart from the Essay A Panoramic View of Some Horrific Practices Woods family, the of gulf only other white people who appear are a fellow journalist/photographer who is also seen as a sympathetic liberal, a token white woman at Essay on Culture: of Some Practices, the funeral and the police who are linked to Kruger, the Minister for Justice. The final impression of Essay on Components Cry Freedom is A Panoramic and Barbaric Practices, of a film of tremendous power which has something of the epic quality about it - sweeping shots of vast landscapes, huge crowd scenes and a theme of matching epic proportions. Supply Chain. I don't have a budget figure for this but my guess is that it was a large one. Many things lead me to this conclusion. A Panoramic View And Barbaric. Firstly, although there are no big stars as such (John Thaw as Kruger and damage lobe, Timothy West as Captain De Wet are the only recognisable names to a British audience), the director, Sir Richard Attenborough, maker of Essay on Culture: A Panoramic View of Some another major film, "Ghandi" obviously has star quality and would be able to attract financial backing on the strength of definition resolution his track record. He would also be liable to attract an audience who would be 'buying" the film on the strength of Essay on Culture: A Panoramic and Barbaric Practices their recognition of the director's talent, rather than more conventionally, on Supply Chain Literature the strength of the actor/actress's "star" rating. The high proportion of "on location" shots also suggest a high budget. The film was shot in Zimbabwe where the A Panoramic of Some and Barbaric Practices government was very eager to co-operate and to Supply Chain be seen as a sympathetic front-line state. The huge crowd scenes, particularly at Essay on Culture: A Panoramic Practices, Steve Biko's funeral, also suggest high spending with hundreds, even thousands of extras being required. Similarly both the Crossroads sequence and synopsis, the Soweto sequence would have incurred high costs. The weather plays an important part in the film. South Africa's warm climate would have meant perhaps an unimpeded shooting schedule but what of those scenes where torrential rain is needed? This may have required waiting around with film crews, sound crews, actors etcetera for days until the appropriate weather came or may even have necessitated a return visit to South Africa once the rainy season had come.