Sunday, July 21, 2019

Odour Of Chrysanthemums | Analysis Of Themes

Odour Of Chrysanthemums | Analysis Of Themes Odour of Chrysanthemums, by D. H. Lawrence, once again is full of themes and motifs. One could study this text and come up with many different interpretations. Lawrence also seems to reference rolls of sex in his story. Lawrence stresses the essential separation of all people, particularly the separation of men and women. This is indicated by Elizabeth Batess emotional distance from all those around her, with the exception of her daughter, Annie, and with the way in which characters talk at, rather than engage in dialogue with, each other. Recognition of the separation of all people and particularly of men and women, for Lawrence, must take place in the dark, through the sensual channels of dimmed sight, muffled odors, and touch rather than through intellectual understanding. Elizabeth Bates recognizes the apartness of her husband by gazing on and touching his still-warm body. She recognizes that he is now apart from her in the world of death, just as during his life he was apart from her in his sexual difference, his masculinity. Similarly, his son John, who resembles his father, is described as being separate from his mother in his shadow y darkness and even in his play-world. Finally aware of the infinite separation between herself and her husband whom she had known falsely, Elizabeth will submit to life, her new master, as she had not submitted to her husband by acknowledging his essential otherness. Death also plays a big role in Odour of Chrysanthemums. The delivery of Walter Batess dead body at the Batess home introduces the storys climactic final phase. This phase addresses the relationship between death and life, in light of a consideration of the relationship between men and women. From the beginning, darkness and gloom and a sense of dread seem to hang over Elizabeth Bates. In the first paragraph, the mine and its train are presented as life-destroying forces which startle animals and cramp human lives. Knowing the dangers of underground work, Elizabeth Bates and her neighbors seem to be aware that Walter Bates may have died in the mine. These different elements foreshadow the focus on death at the conclusion of the story and the way it will inform the future life of Elizabeth Bates. While Walter Bates has probably been dead for the first part of the story, a period coinciding with Elizabeth Batess anxious anticipation of his arrival, the story shifts into a mythic dimension with the stark presence of his half-naked body. The two women kneeling by the untouched and still body conjure up images of the scene of the Virgin Mary holding the body of the crucified Christ. Encountering the dignity and finality of death, she realizes that she has been misguided in her futile attempts to criticize and change her husband. The story implies that she will spend the rest of her life attempting to incorporate this realization, achieved through an encounter with death, into her life. She will live, the story implies, anticipating a meeting with her husband in the realm of the dead. Lawrence also writes about the difference in social class. Odour of Chrysanthemums is set in a rural mining village, and there are strong indications that Elizabeth Bates considers herself socially superior to her husband and his working-class friends who labor underground; however, by the end of the story, through her mythic encounter with his dead body, she comes to value her husband, and by implication, to ignore his class position. Elizabeth Bates is described as a woman of imperious mien, who scolds her son when he tears up the flowers because it looks nasty and appears to censure her fathers decision to remarry soon after being widowed because it violates social propriety. Unlike her neighbors, she does not use the local dialect, an indication of class position, but she is not above criticizing one neighbors unkempt house. Unlike other miners wives in the community, she refuses to demean herself by entering the local pubs to entice her husband home. She is distressed when her c hildren mimic their fathers habits and preferences. Most significantly, however, Elizabeth Bates indicates her disdain for the social position of her community by fighting against her husband and his values. Probably lulled into marrying him by his good looks and his lust for life, she now resents him for making her feel like a fool living in this dirty hole. She seems to despise the manual nature of her husbands work, indicated by her unwillingness to wash the residue of pit-dirt from his body when he emerges from his shift in the mine. Awaiting his return, she angrily says she will force him to sleep on the floor. However, her attitude dramatically shifts when she learns about the accident. She even entertains a fleeting, deluded notion that she may transform her husband morally while nursing him back to health, but her illusions disappear when the dead body of her husband is carried into her home by miners supervised by the pit manager. Viewing the body lying in the naive dignity of death, she is appalled and humbled at what appear s to be her husbands new distance from her, but she slowly comprehends that their former connection was based solely on an unnamed attraction above and beyond the conditioning of social class, and the lure of compatible personality, common interest, or shared experience. She now acknowledges that their relationship was part of a different order of experience, which belonged to a mythic dimension. It is a dimension which includes the physical work of the dark mine, the sexual attraction of the body, and the mysterious world of the dead. The story ends with the laws of this new mythic dimension overriding Elizabeth Batess former concerns about social class. Control Room | Documentary | Analysis Control Room | Documentary | Analysis Documentary film analysis of â€Å"CONTROL ROOM†. In March 2003, American and British forces invaded Iraq with the intention to overthrow the regime of the dictator Saddam Hussein, and the Gulf War erupts. The countless military troops and thousands of journalists from all around the world, descend upon the region in order to secure potential news coverage. â€Å"Truth ultimately finds its way to peoples eyes and ears and hearts†. This is the sentence, uttered by Secretary of Defence Donald H. Rumsfeld, and is heard midway through â€Å"Control Room† Jahane Noujaims bristling documentary about Al Jazeera, the satellite news network during the war. You can only hope that Mr. Rumsfeld is right, though his words inevitably call to mind the proverb, that in war, truth is the first casualty. (Scott, 2004; Jehane Noujaims â€Å"Control Room† another high profile entrant in the current sweepstakes of anti-Bush, anti- imperialist documentaries. As in her â€Å"Start†, Noujaim focuses less on abstract issues and more on the personalities of the players as they react to events taking place. She was born and raised in Egypt before moving to America and that is probably one of the reasons of her unusual access and trust on both sides. Al- Jazeera (one of the most popular channel in the Middle East with over 40 million Arab viewers) was launched in 1996. This observational documentary records the wide range of opinions that surrounds the Qatar television news network during Iraq invasion. Turning up at the stations headquarters in Qatar, Noujaim got to know reporter Hassan Ibrahim and senior producer Sameer Khadar, both from Al- Jazeera channel network, whose sympathy to her project enabled its success. Most of ordinary people including journalists, who come into view in the documentary film are doubtful, to say the least of the Bush administrations policies, but they also stick to a journalistic ethic of objectivity and fairness, trying to navigate between their political allegiances and the code of their craft. (Walters, New York Times 2004) This particular documentary film is made of conversations of journalists and different people involved in the news industry. Though there are shots of dead civilians and bombardments with meat corpses, it is not the main subject in the film. The main subject is the real documentary shots showing people, journalists and their reaction to the events, their conversations and their actions. The shots of innocent Iraqi civilians being killed make the viewer feel very sorry for everything that is happening to them and their families. There for, the complete documentary film represents American military troops in the cruel and very ‘devil light. An Observational documentary mode: This film uses a ‘fly on the wall technique to observe the Al Jazeera journalists (and other media organisations) as they record stories and interact with the U.S. military media spokespersons. The main commentator in the name of Al Jazeera is the senior producer Sameer Khader. Conversation between the two organizations, which are Al Jazeera and US Central Command, is embodied in the interview between two individuals Hassan Ibrahim and the American press officer Lt. Rushing. Their conversations focus around conflict and the reason of the war, agendas and images and privy to many debates about neutrality and objectivity.In the observational documentary, the camera crew is not normally seen. The people who are being filmed are meant to forget, that the camera crew is there, this is aimed to give to the audience a â€Å"slice of reality†. (Predovnik, 2009 http/socio-political-documentaries. suite) The observational mode (as technology advanced by the 1960s and cameras became smaller and lighter, able to document life in a less intrusive manner, there is less control required over lighting etc, leaving the social actors free to act and the documentaries free to record without interacting with each other). ( Despite being seen as the most direct form of documentary film, there are a number of problems inherent in the genre, which has caused to be viewed with some suspicion. One of the main problems centres on the extent to which `verite` can be seen as offering a `real` or `true` picture of the subject it is involved in. Lukacs, for example has claimed that the cameras attention to the `here and now` is an inadequate mode of knowing. Events and objects are all caught in process of change and networks of causal relations that require representation, if the `true` story is to be understood. Lukacs claim, however that â€Å"the extensive totality of reality is beyond the scope of any artistic creation†. In short, he is implying that `verite` is incapable of offering a true picture of its subject, because as an approach to documentary it is so limited in its scope. (Praxis international issue: 1/1986 p 82-94) Within the context of this piece of work, I am going to look on how editing can and does affect my documentary film. Editing can be defined as the art of being able to tell a story by connecting a series of shots together to make a sequence and thereby having a series of shots put together make a whole film. When editing is done well, it creates a continuity of sequence, which can make the film interesting and watchable. The way in which the camera is used, its many movements and angels of vision in relation to the object being photographed, the speed in which it reproduces actions and the very appearance of person and things before it, are governed by the many ways in which editing is fulfilled. (Rotha, 1966:79) In this particular documentary film, I have focused on the details of the opening scenes in the different aspects, whether it is a sound, camera angels or emotional influences, and if to pay attention, it is easy to see and understand the scenes and the way that the director expresses the key moments by using very sad music, dialogues and actions. Dialogues between the journalists and some other people related to the war story within the film are very crucial and important in order to follow the story. Those conversations give you a brief explanation of what is going on and who is probably the victim in the story. However, director of the film knew how to send a message to the viewer and most of all what kind of message, by finishing it all with a very clever and very provocative angle of editing in this film. There are two scenes in this film, which I would like to highlight. One of them is when, on the fifteenths minute of the documentary, the director has showed us the archive footage of ordinary, unarmed, innocent people being humiliated and attacked by the U.S military troops right in their houses. The second scene, when the statue of Saddam Hussein being removed on the square and when people shown to us, are very cheerful about it, in my opinion, gives a very strong evidence of what director was trying to say in this documentary. Most importantly, when several journalists give us their thoughts and views about the moment, when this is all happening on the square, is vital for the whole structure of the film. That is probably, the essential part in order to understand and make your own `truth` about this documentary film. By the end ofâ€Å" Control Room† documentary, viewers make their own conclusion. In fact, in this documentary, we have been given a `truth`, which every single viewer will decide for him/her self. We are also presented with filmic evidence, in which Al Jazeera is keen to show both sides of an argument and engage in lots of discussions, including the airing of an American perspective. In my view, the editing of the shots and conversations, along with interviews, wounded pictures of children, played a key role in this documentary. Bibliography A Portrait of Al Jazeera, Scott A. O, 2004; 09/12/2009 www. Ben Walters, Film Notes, New York Times 2004 Politics of War Predovnik, 09/12/ 2009 http/socio-political-documentaries. Suite Rotha, Paul 1966 Documentary Film, 3rd edn, London: Farber Documentary modes; 1935 09/12/2009 Praxis international issue: 1/1986 p 82-94 An Introduction to Television Documentary (1998) ; Richard Kilborn and John Izod: Manchester University Press

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