Compare The Ways The Distinctively Visual Is Created In Crouching Tiger
X Compare the ways the distinctively visual is created in Crouching Tiger, Hidden Dragon and in one other related text of your choosing.
The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and immerse the responder in the different aspects of the texts.
The titular phrase “Crouching Tiger Hidden Dragon” comes from a Chinese philosophy that refers to keeping your strength hidden from others and warns that, because others may also be practising it, you never know when you’ll meet up with someone who is stronger and better than you are. Ang Lee presents images and reflects a crateful masterful synthesis of various forms of Chinese mythology and Taoist Philosophy. Crouching Tiger Hidden Dragon elaborates on partly through the use of the same fight choreographer, Yuen Wo Ping. In the scene where Jen steals the sword has a camera shot of an establishing shot, long shot, and overhead shot. It has a clicking sound and the lighting is shadowy distinctively suggesting elements of suspicion, danger and anticipation. Its lighting is insufficient to symbolise the dark side and the suspicion. Audiences are able to feel the suspense throughout the fighting scene. In Crouching Tiger, Hidden Dragon, it has a scene which has Shu Lien and Jen order to the sword and fight with each other. In this scene, the location is in the courtyard of the house, which means it is like a chamber of secret. It represents that both of them must have one will
The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and immerse the responder in the different aspects of the texts.
The titular phrase “Crouching Tiger Hidden Dragon” comes from a Chinese philosophy that refers to keeping your strength hidden from others and warns that, because others may also be practising it, you never know when you’ll meet up with someone who is stronger and better than you are. Ang Lee presents images and reflects a crateful masterful synthesis of various forms of Chinese mythology and Taoist Philosophy. Crouching Tiger Hidden Dragon elaborates on partly through the use of the same fight choreographer, Yuen Wo Ping. In the scene where Jen steals the sword has a camera shot of an establishing shot, long shot, and overhead shot. It has a clicking sound and the lighting is shadowy distinctively suggesting elements of suspicion, danger and anticipation. Its lighting is insufficient to symbolise the dark side and the suspicion. Audiences are able to feel the suspense throughout the fighting scene. In Crouching Tiger, Hidden Dragon, it has a scene which has Shu Lien and Jen order to the sword and fight with each other. In this scene, the location is in the courtyard of the house, which means it is like a chamber of secret. It represents that both of them must have one will