Textual Analysis essay

The various changes presented in the texts studied have been made evident in many different ways. For example “The National Picture” by Geoff Parr, the change in Australians attitude to racial differences has been conveyed, primarily the joining together of Aboriginal Australians, and European Australians.

Their place among white society in Australia today has been presented in a photographic form, to show visual images of the artists thoughts on what is believed to be reconciliation between the two races.

The idea is conveyed by a substitution of objects such as spears with surveying rods to show change over time, also the replacement of real animals with a skinned wallaby, and an esky, which today can be seen as a symbol of the typical Australian which has taken over indigenous cultures. This can be seen by the native aboriginal figures in the picture which appear to be fading into the background.

The portrayal of Lewis in “Cosi” by Louis Nowra shows his change and tolerance over time, and shows his gradual understanding and adaption to the settings in which he is placed, and shows his adjustments as he changes his perceptions and his way of thinking towards certain people, and most importantly, his views on life after his experiences.

Lewis is placed in an environment which juxtaposes his so called normal , non-institutionalised world.
Lewis’s perspectives on madness, himself, and what is important in his life is immediately challenged as he is placed in unfamiliar settings, and meets new and unique people, whom he has not encountered before.
Through the combined use of character development, dramatic structure, use of symbols, such as the darkened theatre, which represents the world of madness both in and out, in pitch black, or unknown.
This shows his journey of transformation and change of perspective towards his environment and those around him.

Various techniques are evident in “Sky High” by Hannah Roberts. Many symbols are used in the piece, and the use of a double persona suggest the contrasting perspectives between youth and age, with the clothesline being used as a symbol for change although its physical appearance remains unchanged. It also represents the carefree spirit of youth and acts as a form of sanctuary for the writer, as although the things around her change, the comfort of the old clothesline remains unchanged, still doing its ‘job’ without any interference or thought from anybody.

The writer has provided two views of change to portray the effects of ageing and the inevitable depression and sadness which comes with it, as she explains, “My hands, beginning to accumulate the lines, etched story of life in scars and wrinkles.” This shows her discontent in the realised fact that she, like her surroundings is becoming older, which she realises helps her to see things in a new and different perspective.
Throughout “The Matrix”, the main character, Neo’s perspectives, beliefs, and values of the world are constantly transforming. This is portrayed through his character, who is seen to be the action-like hero on a journey of discovery, between illusion and reality. Various techniques are used throughout the film such as use of powerful names, eg Neo, Trinity, and Morpheus to indicate change in identity, also colour to show blandness and the harsh realism of The Matrix, such as the blackness of the ship and the whiteness of the matrix void. Costume also plays a big part in conveying messages to the audience, with the use of glasses which can be seen to convey a sense of mystery, and the black suits which are seen worn by the agents to show their robot-like or manufactured place in the film. These techniques are also used for the purpose of the audience, by taking us on Neo’s journey in The Matrix, to discover what is ‘real’ and we find ourselves questioning whether change is real, or controlled by outside forces. It also helps to shape how we as an audience look at things from a different perspective to show how we and other people look at them, and how change can be conveyed through cinematography.

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