Our perception of these issues is shaped by distinctively visual techniques such as visual and aural imagery, stage directions, parodied humour, camera angles and lighting. Misto provides distinct visuals of the acts of injustice committed against vulnerable groups as a constant reminder to the audience of their inflicted pain and suffering. The projected image of Australian and British female prisoners dressed in rags from camp-style beds in Act 1, Scene 6, portrays their filthy environment during their imprisonment.
This scene is reinforced by dim lighting on the empty set to create a foreboding atmosphere and draw attention to Bridie as she enters the set to promote engagement with the audience. Furthermore, this is enhanced by the deafening sound of a machine gun fire and cries of women on a diegetic sound track. This creates a poignant visual of the Japanese officers taking part in injustice against innocent women to portray how human life is depicted as worthless and expendable. Misto depicts through distinctive visuals that such acts of injustice against women were also inflicted by the British Empire.
Their ignorance is conveyed through colloquial language, ‘the British were a bit thick’ to criticise their resistance in evacuating their women. The neglect of Australian nurses is also portrayed through dialogue, ‘Japanese destroyers had been sighted in the area’ to convey that the carelessness of the Empire put innocent women in jeopardy. This creates a menacing atmosphere and shows the viewer how the neglect of their government causes women to be captured and put through terrifying ordeals. This is further enhanced through the repetition, ‘it was the thirteenth of Friday.
... a woman should act. The main struggle is between how the American woman should act and how the Asian woman should act. However ... , the behavior of the Asian woman seems to ... mother not only believes that this is how women should act and it is a part of their ... It is true that all people are created different, and thus no two cultures ...
Friday the thirteenth’ to exemplify the danger that the women were in by alluding to a supersticious event. Injustice committed is shown in the play by both the British and the Japanese to allow the audience to understand that they are equally hostile. Misto effectively shapes our perception on the injustice of war through distinctively visual techniques to portray the mistreatment by both nations and to show how no one is safe. Similarly, the short film ‘Mankind Is No Island’ also uses distinctively visual features to convey the injustice that is faced by the homeless living in Sydney and New York.
The short film is constructed entirely through camera phone shots to create a dialogue about society’s attitude towards the homeless. The low angled shot of a heart-balloon powerfully symbolises love and hope in both cities. This portrays the composer’s suggestion that such hope is forfeited. The high level shots are contrasted with the eye levelled shots of homeless people to depict how they are being ignored and neglected by society. The placement of the camera on a public seat forces audiences to emphasise with their plight.
The deflation of the balloon rolling along the street in the end symbolises the fragility of hope and emphasises a sense of worthlessness. The use of a soft melody which transitions into a fast-paced melody, ‘…mothers, boys, father’ engages the audience and forces them to feel a sense a empathy by alluding to the family they may have once had. The music complements the visual action and dialogue of the film and illuminates multiple interpretations of society such as hope, injustice and ignorance. These distinctively visual techniques alter the way we perceive society and entices us to question our sense of humanity.
It conveys how society is ignorant and neglectful, however individuals are able to help if they are willing to. In the same way, the play explores interpersonal relationships as a distinct visual that is amenable to change similar. The strain in the relationship is shown by their departure after war as Bridie loses connection with Sheila and experiences abandonment and betrayal in the tone of disbelief ‘… I couldn’t believe you would leave me ’. Misto uses the interlocking narrative of the two women as a dramatic device.
... within his play. Firstly the images transport the audience to the world which these women are describing ... helps recreate the events on the boats for the audience. “Some mothers clutched their children and cried. ... the city and indeed the attitude of British Society at the time. The image of a sign ... ‘two-shots’ or shots where two heads are shown in close-up range are used generously as a visual feature. ...
The stage direction, ‘SHEILA takes the shoe-horn out of the drawer and throws it on the bed’ indicates Bridie’s anagnorisis about Shelia self-sacrifice during the Japanese invasion. Bridie’s eloquent announcement that Sheila in the imagery ‘… a beautiful, kind and brave young women… she is – the other half of my life’ portrays her love for her friend and their reconciliation is shown through the visual of the stage direction ‘Squeezes Sheila’s hand and tries to smile gently’ demonstrating to the audience the strength of their relationship and hence showing that surviving throughout the war depended on friendship and loyalty.
Their comradeship is symbolised by the shoehorn, as Bridie uses it to keep Shelia awake and from drowning. At this moment, Misto uses the shoe-horn as their will to live. As they drifted through the ocean the two women began to sing the hymn ‘Jerusalem’ which creates a biblical allusion of hope and strength. The mateship between the women in the play changes the way we perceive the world through the use of distinctively visual techniques. Van Genderen conveys survival in distinctively visual ways to portray the experience ofhomeless people.
A montage of homeless people sleeping on the streets forces the audience to feel compassionate and question society’s perception of homeless people. A close up shot of a weary, tired-looking face of a homeless man with saddened eyes portrays the pain and suffering the man is forced to endure, thus making the audience understand the difficulty of surviving every day without support. The repetition of the phrase, ‘no standing’ symbolises how the homeless have nothing and portrays the obliviousness that society seems to have towards them.
The low angle shot of a statue of Jesus symbolises hope and power because he is a great biblical figure. This allows the audience to understand that they have to ability to help, while also indicating a sense of hopelessness and loss of spiritually when it comes to helping those in need. These texts effectively uses distinctive visuals to convey distinctive experiences thus changing the way we perceive the world. Our perception on issues of injustice,hope, survival and mateship is shaped by distinctively visual techniques such as visual and aural imagery, stage directions, parodied humour, camera angles and lighting.
... of Homelessness," Pascale does a fair job of showing her audience that homeless people are not being treated very well. She informs us ... that there are criminals right under your nose, but homeless people scattered here and there is definitely noticeable and it bothers ... were called. That would have fortified her point that homeless people are not being treated fairly by showing the prejudice against ...