Ten Canoes for Politics of Representation-myassignmenthelp.com

Question: Discuss about theTen Canoes for Politics of Representation and Blacklines. Answer: The film Ten Canoes, which debuted at the Adelaide film festival, is a phenomenal example of how something simple can be something beautiful. The audio, visual and narrating techniques used I'm the film all further exemplify this and will be explained in the following. The prescribed scene in the film Ten Canoes encapsulates the viewer on a journey via the narrator. The scenes of a breathtaking ecosystem allows the audience to imagine themselves as passengers on a journey with the narrator steering the way ahead. In watching Ten Canoes the watcher is influenced by the closeness and instantaneousness of an occasion through the strategy utilized by the storyteller in unmistakably articulating the distinction between the 'I' and 'you'. Ambient sounds, and a salient focus on the narrators voice throughout, assists exceptionally to allow the viewers to embark. The playful tone of the narrator sets the mood for the storyline. The narrating creates an authentic viewing experience which represents significant components of the story. The story is further authenticated, again by the narrator, because he is an Aboriginal Elder. The natural outdoor setting is exemplified by the use of lighting as it is all natural hard and soft lighting, creating a serene and subtle effect of the outdoors. The ambient sounds of nature in the background of the narration allows the viewer to experience the essence of the outdoors and embody the dreamtime story being told. And this makes sure that the effect which is there creates a proper effect for the viewer to understand the further story line. Even the sound of nature and lighting makes sure that the audience feels connected with the whole narration and story line. The tracking shots used throughout the vast majority of scenes in the film are used to capture the viewer in the flow of the narrators words. Essentially, as the story continues, it visually allows the viewer to embody the entire experience and the story the narrator is telling. This becomes blatant in the transition from the Third shot to the Fourth shot, as the narrator begins his story; the third shot is a dark background behind a flower. As the fourth shot commences, which is a vibrant shot of a beautiful river bank, the narrator begins to talk. This shows that the story is about to commence, via both the narrators words, and the visual scene itself. This creates a rhythm that the viewer can continuously follow throughout the film. The narrator begins to flow his words, and within the scene, the river is metaphorically used to exemplify that the narrators story has begun. The use of Aerial shots and extreme long shots allows the viewer to become immersed in the space around them. And also this gives them the chance to get used to the sounds and the imagery around them which is the part of the other shots too. Moreover with the shot of the nature, it clearly depicts that the narrator even wants to set the tone and relate it with the upcoming story. Even when the narrator summarizes the cosmological backdrop in this story, then also the viewer travels via aerial shots and it is presumed that the narration is as per the land which he then mentions in his narration: This land began in the beginning. Yurlunggur, the Great water Goanna, / he travelled here. The random use of the oblique angle in the tracking shots, specifically in the Sixth shot, allows the viewer to physically feel as though they are in the canoe. This becomes more blatant through the scene itself, a backdrop of a swamp. There are a lot of changes and flow in the script regarding the important spiritual and cultural information. This is being done and shared in the passage of the script. This is imparted in the knowledge which has been expressed through the Yurlunggur which is identified as the being who shaped the land. To accentuate many points in the clip, there have been an indication in the scripts like breaks (/) and frame breaks (//) in the quotations from the film. This has been actually been done and even me as an analyst for the same can do it to actually make sure that there is a poetic addition in the same. This also focuses on the poetic standards and we are even attentive on the use of ellipses, repetition and metaphors used to actually focus on how its done. The clip mentioned here also focuses on an intimate relation with the narrator which has you always being involved. By this we mean is that the narrator has focused on this subtle technique of using you and I to make sure that the audience feels connected and the flow of the next clip gets maintained. Use of such aerial shots and everything also is the same technique which makes sure that this is present throughout the movie. In this contemporary Australian cultural production, this is often a facilitator in actually challenging the very stereotype kind of the stories and making sure that, many other kinds of different Indigenous individuals, to give them the chance to voice their stories. Ten Canoes is a similar representation for Yolgnu identity and their culture and help them express, the film and its narrator have invited so many shots and scripts to make sure that there is a proper script. The narrators bodily imperative is to make sure that there is a proper way to give many shots and proper script to let the story turn the way it should. References Henderson, Ian 2009, Stranger Danger: Approaching Home and Ten Canoes, The South Atlantic Quarterly, 108.1, p. 53. Langton, Marcia 2003, Aboriginal Art and Film: The Politics of Representation, Blacklines, ed. M. Grossman, Melbourne UP, Melbourne, pp. 109124.