Essay On Sharrett's Exploration Of Modernity

After learning to drive recently, a noticeable feature of the act of driving is the way one observes their surroundings, the skills in manoeuvring the vehicle, remembering the rules of the road, and other aspects I have taken for granted as public transportation and my parents were those who had driven for me. Much like a passenger, cinema takes the audience to places through the use of the camera where they are presented with a specific and intentional perspective which creates a new reality for the audience. This deconstruction, in the exploration of modernity and the emphasis on mobility, reveals underlying ideologies, discovering previously unknown possibilities of existence and how they can be taken for granted. When one is accustomed
In Sharrett’s deconstruction of the bourgeois life in films suggest “as the most extraordinary art form of modernity, the cinema can claim its greatest accomplishments the subversive critique of various received truths, from conventional notions of sexuality to the operations of time and space, and the undermining of the very concept of being in the age of relativity” (130) indicating to me how modernity allows us to question old conventions. In a similar viewing of The Sin of Harold Diddlebock (1947), the camera pans upward to reveal a crowd running away but instead of following the panic, the camera pans to the right to reveal the danger, who is the domesticated Jackie the Lion also trying to run away interpreting to me both parties becoming shocked. The camera acts as a communication medium between the viewer and the actual recorded reality where effects, movements and other layers of noise can influence the messages between the parties. Therefore, despite specific truths given to us, the audience can create their own truths given their individual thought despite whatever intentional deception a film