In advertising there has been criticism aimed at Ads depicting women’s body parts being cut off, as if to dehumanize them. Throughout Charlotte the camera/shadows have aggressively dissected the woman’s bodies in varies parts. Once again the blackest bar of shadow cuts across Miriam’s figure, casting an ominous 2nd Miriam luring behind herself. The shadows formulate the environment to feel obstructive. So much of the plot is drenched in the mysterious cloaking of shadow that it obliterates our senses. Aldrich uses his shadows to constrict our visual movement. Again as in Baby Jane we as spectator are being held within the constructs of the visual narrative as much as the characters themselves. We are suspended in some kind of time frame ourselves. ![]() The tinkling flutters of incorporeal music still tipping back and forth. Miriam is back on screen she’s looking around as if searching for something.
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