Eternal Sunshine Of The Spotless Mind Film Studies Essay

Eternal Sunshine Of The Spotless Mind Film Studies Essay In this analysis of the style and structure of Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004), the following research question shall be addressed: how does filmic style and narrative structure evoke atmosphere, define character, and provide cues that generate audience reactions? It will be argued that the film constructs a bittersweet tale of love using an unconventional and fragmented narrative structure; portraying the effects of memory erasure by immersing viewers within the subjective world of the protagonists mind. Eternal Sunshine tells the story of Joel Barish and Clementine Kruczynskis passionate, yet often painfully incompatible romance. From its humble beginnings at a beach party, their relationship blooms over the period of about two years, but ultimately fails. When Joel learns that Clementine has undergone a surgical procedure on a whim to remove all memories of him, he is so wounded that he tracks down the doctor and demands the same operation immediately. Midway through the procedure, however, Joel begins to regret his impulsive decision, realizing the importance of his past, as well as the inevitable loss of some of his most cherished memories with Clementine. The first five shots of Eternal Sunshine are highly significant in terms of both narrative structure and stylistic implications. The film begins by fading-in from black to a deep focus close up of an unshaven Joel, awakening the morning after the memory-erasing procedure (though this narrative information is not revealed until much later). The off-screen sound of a car door closing rouses him, and it is later discovered that this noise comes from the memory technicians departing after the operation. A variety of shot lengths are used in this opening sequence to communicate information about Joels facial expressions, body language, and surroundings. Ultimately, the act of waking coupled with the natural morning sunlight creates an atmosphere of a new beginning, although it is one tinged with a sense of loss. The use of hand held cameras simultaneously evokes the illusion of realistic footage, and viewers are invited to question why Joel awakens this way, establishing a narrative enigm a concerning past events. Joels waking expression is rather vacant, conveying the barren emptiness of his now spotless mind. The shot is illuminated from the right, and upon opening, his dark hazel eyes are drawn to this light source as he utters a sigh. The next medium shot is an eye-line match that frames Joels window, using an upward tilted perspective from his bed. The morning sunlight shines through, providing the only lighting for the scene and signifying a new beginning. The exclusive use of natural lighting additionally suggests an existence devoid of memories, as the atmospheric lighting techniques that accompany memory throughout the film are absent. Subtle, non-diegetic music; sound that does not have a source within the story world (David Bordwell and Kristin Thompson, 330), also commences here, with a triple meter bass ostinato accompanying guitar chords. A straight cut introduces the next medium close up of Joel sitting up in bed, tracked by the camera. He sighs, rubs his forehead and begins to remove the bedspreads, which provides a match-on-action transition into the next shot a long shot of Joel moving towards the end of his bed. The dà ©cor of the space is very plain and uninspired, heightening the atmosphere of emptiness. A piano melody enters above the guitar as sunlight engulfs Joels darkened silhouette on the end of his bed. Before the next shot a short ellipsis is implied, and it commences outside as a medium long shot of Joel, now shaven and dressed in dull winter clothing. Sunlight momentarily shines directly into the lens before the camera tracks him to his car, revealing a large dint on its side. Confused and irritated, Joel thuds his briefcase upon the car bonnet as ambient background noises of children playing blends with the music. Although no dialogue is spoken in these shots, the sparse instrumentation and minimalist structure of the background music serves to heighten the mood of an existence that is somehow lacking essence. Hence, the opening shots be gin to define Joels character, whilst providing cues to evoke an atmosphere of a somewhat empty new beginning. Eternal Sunshine is essentially a love story, and a clear binary opposition a category with two mutually exclusive parts that depend upon each other (Graeme Turner, 104) is established between Joel, who is introverted and withdrawn, and Clementine, who is extroverted and eccentric. This opposition allows the characters to effectively compliment and conflict with each other, thus forming the basis of the narrative complication. Despite this somewhat traditional aspect of the story, the manner in which the narrative is structured is by no means conservative. In Film as Social Practice IV, Turner notes that conventional narratives begin in a stable point of equilibrium, which is then disrupted by some power or force motivating the protagonists quest, usually ending with the restoration of equilibrium (107). Eternal Sunshine, however, follows no such structural formula, and events are presented in a fragmented, non-linear fashion. Indeed, the film actually commences after the relations hip, moving from the present to a series of reverse order memory flashbacks and flashbacks within flashbacks, before finally returning to the present (whilst constantly interweaving secondary plotlines involving the Lacuna team). Another opposition of sorts is therefore established in the narrative itself between memory and present events, with the complicated structure serving to disorientate viewers and portray the complex nature of an individuals personal memories. In Postmodern After-Images, Peter and Will Brooker state that resistance to linearityà ¢Ã¢â€š ¬Ã‚ ¦ [is an] archetypal postmodern technique (58), and thus Eternal Sunshine uses a postmodern narrative style to communicate its story of memorys role in love. Throughout the film, myriad elements of the mise en scene evoke atmosphere, develop character and provide audience cues. Firstly, colour and costuming serve to accentuate the binary opposition between Joel and Clementine. Joel is only ever seen wearing very dull colours, foregrounding the reserved nature of his character, and he often blends into large crowds. On the contrary, Clementines eccentricity is revealed by her kaleidoscopic clothing choices. Also, the colour of Clementines dyed hair acts as a symbolic indicator of the state of her relationship with Joel, changing chronologically from green, to Red Menace, Agent Orange, and finally Blue Ruin. Green is traditionally a colour associated with new life, and it suitably marks the beginning of the relationship. The deep red dye appears to symbolize a climax of romantic passion, and indeed many of Joels best memories are from this colour stage. Orange perhaps embodies a diluted, fading version of this passion, while blue denotes an atmosphere of sadness and depression, appropriately appearing at the point of the relationships ruin. In one particularly symbolic scene, a crane shot frames Joel and Clementine lying together on the frozen Charles River. Some distinct cracks are easily observed in the ice beneath them, indicating the fractures that will inevitably appear in their relationship, and this notion of an intrinsically flawed romance adds to the bittersweet tone of the film. Finally, many elements of the mise en scene are skillfully utilized within subjective shots to portray the erasure of Joels memories: characters suddenly disappear, text on signs and letters fades or vanishes, objects are deleted from shots in fragments, and facial features are smeared. For example, in the beach-house scene, Joels memory of the event literally crumbles piece by piece in his mind. The use of atmospheric lighting is one of the most important filmic techniques employed by Gondry to construct the subjective memory scenes in Eternal Sunshine. In the present, lighting is generally either natural or realistic, but memory shots adopt a more unique lighting approach, emphasizing this narrative opposition. Firstly, low-key lighting and darkness often play a major role in such scenes, with lights either gradually fading to black or suddenly turning off to represent the removal of memories. The most prominent and effective use of atmospheric lighting, however, is a clearly recognizable spotlight effect that pervades memory scenes and becomes a lighting motif throughout the film. This peculiar device ranges from a small, torch-style light, through to a very large and powerful spotlight reminiscent of a helicopter searchlight (the best example being in the Charles River memory scene). The spotlight effect seems to serve a dual function: in one sense, it represents an intru sive, artificial intervention in Joels memory (implying the operation procedure), and he and Clementine are often trying to escape its glare. Also, especially in darkened scenes, the restricted glow of the spotlight could represent the limits of remembered detail in Joels mind, as is argued by Jason Sperb in his article Internal Sunshine: Illuminating Being-Memory in Eternal Sunshine of the Spotless Mind, when he states: The spotlight signifies the limited perception of Joels remembering, which remains in and of the present. He cannot again completely experience the moments he thinks he remembers; Joel can only see limited illuminations, fragments in his imagination vaguely informed by his understanding of the past (7). The circular shape of the spotlight could also bear some importance, perhaps signifying the cyclic nature of Joel and Clementines relationship. Finally, throughout the film, this and other lights occasionally turn red to imply a state of urgency or alarm. Hence, the combination of the elements of the mise en scene succeeds in creating atmosphere and crafting the effects of memory erasure within Joels mind. Perhaps the most striking element of cinematography in Eternal Sunshine is the almost invariable use of hand-held cameras. This imperfect, sometimes clunky technique often creates the illusion of genuine home video footage an aspect that undoubtedly increases the authenticity of subjective memory scenes. As Ellen Kuras (the films cinematographer) stated in an interview, the camera movement is not always the most gracefulà ¢Ã¢â€š ¬Ã‚ ¦ with the entire film shot handheld, we ended up using sled dollies, wheelchair and chariot dollies, but no traditional dollies at all (John Pavlus, 2). In terms of movement, the camera often wanders freely, glancing around objects and tracking characters using mobile framing. Such techniques are most evident in memory scenes, and some scenes in the present utilize more conventional framing, perhaps serving to accentuate the stark juxtaposition between memory and the present. In the scene where Joel and Clementine meet on the train, initial long and me dium shots become more intimate medium close ups and close ups as the awkward tension between them reduces and they begin to feel more comfortable conversing. Similarly, clever tricks of size perspective are used in the childhood kitchen scenes to achieve the illusion that Joel is child-sized. Cinematography techniques are also exploited to convey the effects of memory erasure in subjective scenes, and the most notable of these are disorienting blurring effects and racking of focus, where the lensà ¢Ã¢â€š ¬Ã‚ ¦ [is] refocused at various planesà ¢Ã¢â€š ¬Ã‚ ¦ adjusting perspective relations (Bordwell and Thompson, 243). Finally, speed of motion is also occasionally altered within memory scenes, with normal and reverse fast-motion effects used (for example, when Joel is sketching the skeleton picture) to suggest an atmosphere of distorted temporality. The soundscape throughout the film is similarly used with great effect to evoke atmosphere and provide cues that generate audience reactions. Firstly, an internal diegetic voiceover is sometimes used, with Joels diary entries narrating certain scenes from both the present and within memories, encouraging viewers to sympathize with his plight. Some clever sound-image relations are also present, for example, when Joel hastily decides to squeeze through the doors of a leaving train, his voiceover ironically declares that he is not an impulsive person. Similarly, in a memory scene, Joel yells, its all falling apart to Clementine, as a car actually falls from the sky in the background. Indeed, a series of interesting sound techniques are implemented within memory scenes. For example, off-screen voiceovers of the memory technicians working in the present are often heard, reinforcing the fact that certain scenes are occurring subjectively within Joels mind. Effects such as degrading the sou nd quality, slightly asynchronous sound, which à ¢Ã¢â€š ¬Ã‚ ¦occurs earlier or later than the events which we see in the image (Bordwell and Thompson, 337), and the use of a digital deleting sound-effect all serve to depict the erasing of Joels memories. Finally, in film, the rhythm, melody, harmony, and instrumentation of the music can strongly affect the viewers emotional reactions (Bordwell and Thompson, 325), which applies throughout Eternal Sunshine. For example, a playful woodwind scherzo accompanies Joel and Clementines meeting on the train, adding to the flirtatious tone of the scene. Similarly, a chromatically sliding cello often signifies disturbing moments, and the dissonant yet beautiful broken guitar chords in the beach-house scene serve to heighten the bittersweet atmosphere and affect the audiences emotions. The final stylistic element that requires analysis is the use of editing throughout Eternal Sunshine. Continuity, which is the style that generates the illusion of a smooth, unbroken continuity across cuts by focusing our attention on story and characters and away from style (Budd, Craig and Steinman, 112), is rather varied in the film, with certain memory scenes and most present scenes adhering to the conventions of this style. For example, in the dining dead scene, a series of shot-reverse shots and eye-line matches are used to depict Joel and Clementines tense conversation. Such techniques give the scene a paced interest and offer balanced character perspectives, whilst remaining easy and natural for viewers to follow. Also, a montage is used to convey a large quantity of information to viewers in a short amount of time when Joel goes home to gather all Clementine-related objects. Unlike scenes in the present, continuity is often radically altered in subjective scenes. For example , when Joel tries to turn Patrick around to face him in the bookstore, a series of quick jump cuts repeatedly prevent the action. Also, jump cuts are often used to suddenly change memory locations, or to entirely erase characters (especially Clementine) from scenes. Finally, it is necessary to examine the films closing scene and its implications. The ending, although slightly ambiguous, seems to be a rather tragic prediction of Joel and Clementines future. The final shots observe the couple walking away together along the snowy Montak beach, suggesting the possibly of a happy ending. Suddenly however, quick jump cuts loop and replay their actions multiple times, indicating that their relationship is destined to continually fail and recommence in an inevitable cycle of love and pain. Thus, with particular attention devoted to the opening shots, it has been argued that via its mise en scene, cinematography, sound, and editing, Eternal Sunshine successfully evokes atmosphere, defines character, and provides cues that generate audience reactions. Ultimately, these stylistic elements, in conjunction with the fragmented narrative structure of the film, subjectively portray the effects of memory erasure within Joels mind, whilst constructing a bittersweet tale of an inevitably failing romance. List of Works Cited: Eternal Sunshine of the Spotless Mind. Dir. Michel Gondry. Focus Features, 2004. Turner, G. Film as Social Practice IV. London: Routledge, 2006. Bordwell, D. and Thompson, K. Film Art: An Introduction. Fifth Edition. Boston: McGraw Hill, 1997. Budd, M., Craig, S. and Steinman, C. Continuity Style Editing. Consuming Environments: Television and Commercial Culture. London: Rutgers University Press, 1999. 112-123. Brooker, P. and Brooker, B. Postmodern After-Images: A Reader in Film, Television and Video. Sydney: London, 1997. Sperb, J. Internal Sunshine: Illuminating Being-Memory in Eternal Sunshine of the Spotless Mind. Kritikos. 2 (2005):1-12. Pavlus, J. Forget Me Not American Cinematographer 85.4 (2004):1-3.

career paper ( preschool teacher) -- essays research papers

History   Ã‚  Ã‚  Ã‚  Ã‚  Preschool is something very important for toddlers. Preschools were established in Europe around the late 1800’s. They were later introduced to the United States in the 1920’s. According to the Encyclopedia of careers and vocational guidance 9th edition â€Å"preschools expanded rapidly in the united states during the 1960’s†. Job Description   Ã‚  Ã‚  Ã‚  Ã‚  Preschool teachers usually instruct children usually until they reach the age of five. They conduct activities designed to develop social, physical, and intellectual skills needed for primary school. During an interview I was told many things on the subject. â€Å"You need a lot of patience† said Esther Rodriguez a preschool teacher. There are many tasks needed to be done. While researching I came across plenty of information on the internet, Echoices says that some typical tasks are â€Å"planning individual and group activities, and monitor activities to prevent accidents and conflicts between children†. Nature of Work   Ã‚  Ã‚  Ã‚  Ã‚  Preschool teachers play a very important role in the development of children. In the Encyclopedia of careers and vocational guidance 9th edition states that â€Å"a preschool teacher’s primary responsibility in the social development and health of each child†. Preschool teachers design activities that build on the children’s native abilities and help them develop skills and characteristics that will help them grow. What children learn a...

Political Cartoon Analysis Essay

World War II was a time of great social turmoil in the United States, not only because of its active role in the war, but also because of the radical changes taking place in society. As an effect of the Jim Crow laws, people were beginning to speak up against segregation and demand equal rights. During this time, many activists and political reformists used different forms of social media in order to present their ideas regarding racism. In 1942, Dr. Seuss published this political cartoon in the New York PM newspaper as a way to address the issue of racial discrimination by urging change in the war industry. Because the war industry did not value the use of black labor in the war effort, the main idea presented in this cartoon is that both white and black labor are required to achieve real peace and equality in society. Seuss uses symbolism, his characters, and text in order to effectively portray his message to his audience, the people of the United States. Seuss uses Uncle Sam and the satirical character â€Å"War Industry† in order to represent the two conflicting viewpoints on the issue of racism. While Uncle Sam represents the democratic American ideals of equality, â€Å"War Industry† symbolizes the group of people, companies, and racial mindsets that support racial segregation. In this cartoon, Uncle Sam represents the goal of the American labor force: to incorporate the use of all men, regardless of race, in order to fight for the nation. However, the War Industry representative symbolizes a more prejudiced, racist mindset. His top hat and cigar reveal that he is of a wealthy class, which separates him from the common laborers and working class. He is seen to be playing only the white keys on the piano, which demonstrates the use of only white labor in the war efforts. His short hands represent his reluctance to incorporate black labor into the industry because of bigotry and racial stereotypes. Although Uncle Sam is not violent or imposing in this cartoon, his expression reflects sternness and forcefulness, showing his urgency to incorporate black labor into the war industry with a non-violent, practical approach. In addition to the use of his characters, Seuss uses text in order to convince his audience of his ideals regarding racism in the war efforts. The quote near the top of the cartoon states that â€Å"real harmony† can only be achieved by using both white and black labor in the war efforts. Not only does Uncle Sam advocate for equality, but he also wants to see the success of the war industry. He uses this appeal in order to address the desires of the wealthy class. By using the word â€Å"harmony†, he means both racial equality in society, as well as improvements in the war industry. The white keys on the piano are labelled â€Å"White Labor† which far outnumber the black keys. This represents the idea that black labor is seldom used in the war industry. Seuss wants to show his audience that, using both black and white labor force will improve the condition of society. Lastly, Seuss’s use of symbolism further demonstrates his message of racial equality in the war effort. The piano itself is a symbol for the distribution of work in the labor force amongst whites and blacks. In addition, the cobwebs on the black keys symbolize the rare use, or no use at all, of black labor during World War II. In addition, there is a uneven distribution of smoke coming out of the pipes of the piano. This shows that the instrument, or labor force, is not being used to its full extent. While some parts of the piano are stressed, others are seldom used and are neglected. This applies to the labor force in America. By not allowing blacks to work in the war industry, the full potential of America’s working class is not being used. In conclusion, Dr. Suess’s political cartoon addresses the issues of racial segregation within the American society. This political cartoon was widely controversial in its time because of its political stance and radical ideas that oppose the Jim Crow laws and the upper class of society. Although this cartoon did not directly cause a dramatic change in society, it advocated for a very important idea in American history, the issue of equality of all people.

Using Green Energy to Help with Global Warming Essay

Green energy is a type of energy we use daily. We have many types of energy including Coal, oil, wind, electric, wind, solar geothermal, water, natural gas, biomass, nuclear, and hydrogen. Out of those 12 energies, only wind, solar, geothermal, water, and biomass are renewable and are green. While4 of the remaining, coal, oil natural gas, and nuclear are non-renewable and are not green. Lastly, the remaining 2 energies, electricity and hydrogen are secondary energy sources. (English Online)Based on the graph below, we can lower the lifecycle of greenhouse gases and stop pollution that causes global warming (Union of Concerend Scientists).Graph: (IPCC) By shifting from coal and fossil fuels to green energy, we will save energy, and our coal†¦show more content†¦Anyone who relies on the USA for trade and alliences will not be able to be supported by the weak US Army and will not be import or export the products with the USA. 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OpenEI Transparent Cost Database Plant Type Levelized Cost of Energy (USD/MWh) Overnight Capital Cost (1000xUSD/kW) Fixed Operating Cost (USD/kW) Variable Operating Cost (USD/MWh) Capacity Factor (%) Max Median Min Max Median Min Max Median Min Max Median Min Max Median Min Wind, onshore 120 60 20 2.60 1.57 1.13 60.00 10.95 10.95 23 6.45 5.02 50.4 38 18.4 Wind, offshore 200 100 70 8.00 3.05 2.16 180 14.28 14.28 40 21.18 13 54 43 27 Solar PV 590 280 150 9.50 5.10 2.50 110 32.03 6.44 0 0 0 28 21 15.48 Solar CSP 300 200 60 8.09 5.74 3.20 142 55.72 7.80 25.50 .10 .10 65 31.16 21.84 Geothermal Hydrothermal 140 60 40 5.94 2.82 1.63 229 155.41 68.33 0 0 0 95 85 75 Blind Geothermal 100 6.85 222.98 0 0 0 95 Enhanced Geothermal 130 130 60 7.25 7.00 1.78 199.69 199.69 134.05 40 30 5 95 84.6 80 Small Hydropower 140 4.50 130 0 0 0 50 Hydropower 120 20 20 4.00 1.32 0.50 75 13.14 12.72 5.94 3.20 2.42 93.2 93.2 35 Ocean 210 220 230 11.34 6.00 4.50 100 0 0 0 25.5 Biopower 170 70 10 7.66 2.62 0.36 369.28 66.63 12.00 29.12 4.61 .01 85 84.04 75 Distributed Generation 480 140 50 9.80 1.80 1.31 80 16.58 16.03 51 7.37 7.12 75 Fuel Cell 150 150 140 7.00 4.64 3.80 850 5.65 5.50 47.92Show MoreRelatedLack Of National And International Policy Agreements Towards Global Warming1392 Words   |  6 PagesLack of national and international policy agreements towards global warming worsens the environment in which polar bears live. 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