The Shawshank Redemption Research Papers

Listening to the Self: The Shawshank Redemption and the Technology of Music

2024, 19th-Century Music

descriptionView Paper arrow_downwardDownload

DIBRUGARH UNIVERSITY JOURNAL OF ENGLISH STUDIES

2024

(Online)] has been providing a space for analysis, intervention and research across a wide range of areas related to English Studies. It is an annual blind peer-reviewed journal which publishes full-length articles on all aspects of... more

Grandpa Nakane arrived in Canada in 1893, wearing a “Western suit... and platformed geta on his feet. When he left his familiar island, he became a stranger, sailing toward an island of strangers” (21). As a skilled boat builder he established a shop on Saltspring Island. Grandpa Nakane brought his cousin’s widowed wife and her son, Isamu, and married her. Isamu, thus, became older half-brother of Naomi’s father, Mark Nakane (refer fig.1. and fig. 2.).

descriptionView Paper arrow_downwardDownload

Andy Dufresne`s struggles to reach self-actualization in Stephen King`s "Rita Hayworth and the shawshank redemption

by Agatha Asti Vidyarini

2023

I want to praise the mighty Lord Jesus Christ because only through His grace and blessings have I been given the ability to complete my education at the English Letter Department of Sanata Dharma University. I would like to especially... more

descriptionView Paper arrow_downwardDownload

White Supremacy and Structural Racism in “The Shawshank Redemption” by Frank Darabont

by erni rahmawati

2023, INFERENCE: Journal of English Language Teaching

The purpose of this study was to analyze white supremacy and structural racism in the film "The Shawshank Redemption". The method used is descriptive-qualitative to describe white supremacy and structural racism in the film.... more

Figure 1. White Supremacy based on Characters’ Appearances

Figure 2. White Supremacy on the Basis of Glorification of the Character

In this part, the writer uses the glorification dialogue table to analyze that the main white male character is predominant in the film based on the glorification by the supporting characters upon him. They glorification is divided into two levels: Visible Glorification and Invisible Glorification of the main character. It is important to notice that the actor chosen in this film is a white male actor, while the main supporting character is from black origin, and other supporting characters are from various ethnicities. From the monologues or dialogues that have been collected, and based on the visible and invisible glorification of the main character, the writer can present the percentage of white supremacy in the table and diagram below:

descriptionView Paper arrow_downwardDownload

The Impact of Endings

by carolina solis

2023

This presentation explores the importance of movie endings, and how an ending can impact the audiences’ opinion of a movie. I look at Ronald Bass’ Sleeping with the Enemy, and how he developed Julia Roberts’ character in a way that made... more

descriptionView Paper arrow_downwardDownload

Reflection and Introspection in the Film Scores of Thomas Newman

by Chelsea Oden

2023

Reflection and Introspection in the Film Scores of Thomas Newman The most transformative moments in life cause us to look both backward (reflection) and inward (introspection). Likewise, reflective and introspective moments in film often... more

descriptionView Paper arrow_downwardDownload

Why is Lighting Important for Television and Video?

by John Jackman

2023, Lighting for Digital Video and Television

If you're fairly new to television, video, and digital movie production, you may not really have a sense of why lighting is so important. After all, today's cameras are so light sensitive you can often get away without any additional... more

descriptionView Paper arrow_downwardDownload

The Trial and Incarceration of Andy Dufresne

by YOSRA K . Jonathan

2023, South Dakota law review

I. INTRODUCTION The Shawshank Redemption (1) had a relatively humble beginning. Stephen King wrote a ninety-page novella, entitled Rita Hay-worth and the Shawshank Redemption, one of four short stories or novellas, published collectively... more

descriptionView Paper arrow_downwardDownload

Andy Dufresne`s reaction toward his being unfairly treated as seen in stephen king`s Rita Hayworth and shawshank redemption

by daru kurniawan

2022

descriptionView Paper arrow_downwardDownload

A Study on Moral Values Represented in Shawshank Redemption Movie

by heni marlina

2022, Applied Linguistics, Linguistics, and Literature (ALLURE) Journal

This research analyzed Shawshank Redemption movie, a movie by Frank Darabont. This movie told about the struggling of Andy Dufresne who was accused of the murder of his wife and her affair. This research focused on moral value of the... more

descriptionView Paper arrow_downwardDownload

Imagining Prison Spaces: A Spatial Reading of The Shawshank Redemption

by Akshara, An International Refereed Research Journal of English Literature and Language

2022, Akshar

This paper aims to do a spatial reading of The Shawshank Redemption (1994) by Frank Darabont using the concepts of Thirdspace and Heterotopia. The study places the film in its historical context to understand the subtle political stance... more

descriptionView Paper arrow_downwardDownload

Spectral Clustering Based Technique for Key Frame Extraction for Video Summarization

by Darakhshinda Parween

2022

The popularity of digital video is increasing rapidly. To help users navigate in huge data base, the algorithms that automatically index video based on key frames are needed. One approach is to extract key frames based on clustering... more

descriptionView Paper arrow_downwardDownload

White Supremacy and Structural Racism in “The Shawshank Redemption” by Frank Darabont

by Gustaman Saragih

2022, INFERENCE: Journal of English Language Teaching

The purpose of this study was to analyze white supremacy and structural racism in the film "The Shawshank Redemption". The method used is descriptive-qualitative to describe white supremacy and structural racism in the film.... more

descriptionView Paper arrow_downwardDownload

Walking in a Unisex Salon, an Emerging Service Space in Urban India

by Sarika Wagh

2022

The objective of this paper is to explore the emergence of engendered beauty space, Unisex Beauty Salons in India. The paper sets out discussion on understanding the drivers of unisex salons, their distinctive marketing appeal and... more

descriptionView Paper arrow_downwardDownload

Ability as ‘performance’: analyzing the able-ness of ‘life’ through a critical study of The Shawshank Redemption and The Dark Knight

by Souradip Bhattacharyya

2022, Rupkatha Journal on Interdisciplinary Studies in Humanities

This article deals closely with the relation between the ability and state of being alive. It asks an elemental question: what does the word ‘life’ remind us of? While ‘life’ may generically be defined as the ability to do all that... more

descriptionView Paper arrow_downwardDownload

The Socio-Political Spike Lee; An Essay On Political Prejudice, Historical Crossroads And The Concept Of National Cinema In The United States

by Hussein Kamil Siddiqui

2022, IJCRT

This paper sheds light on the most important aspect of the development in Hollywood. The stories usually stem from racial impact and the course of history is an aid to the narrative development. The critical studies in Hollywood cannot... more

descriptionView Paper arrow_downwardDownload

Study on the cinematographic image composition: frame, light, and colour as expressive elements in Roger Deakin’s work

by Cea Navas|

2022

Cinema has become one of the most influential media in society since its origins in the 19th century for various reasons: its artisticaesthetic, technical, narrative-communicative character, etc. In this sense, the Seventh Art has become... more

Source: Prepared by the authors. Based on the Casasempere outline (2020) We examine Deakin’s photography direction through a mixed-method, using qualitative and quantitative techniques to “use the strengths of both types of inquiry, combining them and trying to minimise their potential weaknesses” (Hernandez-Sampieri, 2014: 532). We started the research with an initial hypothesis to attempt to verify it. We developed a sequential exploration following Casasempere’s (2020) approach:

Considering the use of the close-ups, the most used is the medium shot, which is used 78 times. The next most used is the long shot and foreshortened, 38 and 29 times, respectively. The most unusual is the torso (5 samples), and there is a lack of extreme close-ups. According to the coding carried out on the variable- framing types- in the film Fargo, during the first 32.50 minutes of the film, it was observed that close-ups were the most used. Specifically 170 times, regarding the total number, 296. The medium shot was the second most used frame- 30 times. The least used were the American shot, the insert, and the cover shot, which appear five times each.

Graph 2: Percentages on the uses of different types of close-ups

The police officer who will die later in the film also wears maroon (figure 3). Shortly afterward, two people observe the event, and it leads to a chase in which they are all killed, one of these witnesses is wearing a red coat. Another character wearing the same coloured sweater is Wade Gustafson (Harve Presnell), Jean’s father. This colour is relevant if we consider this character wearing this garment when Carl (Steve Buscemi) kills him (figure 4). Simultaneously, Carl, who also dies in the same way as the other characters, can be seen wearing similar clothing (retake figure 1). After the police officer is murdered, there is a car chase between two cars, which collide. In this scene, white, red, and black tones are reflected on the white snow (figure 5), and thus the landscape on the hill is tinted in red and black. Taking Heller’s studies as a reference (2008), we can verify that the author directly relates red to rage and black to death. Furthermore, he adds the mixture of these two colors, obtaining maroon, which is strictly linked to the concept of danger. Therefore, we deduce that it could also be linked to death.

n Fargo, this variable has a functional nature that provides realism to outdoor locations, landscapes where the light is mainly natural. In this way, the only intentionality observed is to make the story credible. However, one exception is when the police officer is killed, and the chase takes place, mentioned in the previous section. In this scene, the lighting becomes the protagonist, and we observe an intentional use of spotlights, which are reflected in the two kidnappers’ eyes. First use: the reflection of the light from the police car’s headlights after the officer's death shows Carl’s blood-spattered face. The purpose of spotlighting, in this case, is to focus the shot on his expression of horror after the event, increasing the drama in the scene (figure 6). Second use: during the car chase, this same type of lighting is used to show Gaear. Now, the ight is focused again on this character's gaze; it is focused on the highway and the car he is following to see the character’s behaviour and/or actions, his anger, and the absence of emotions (figure 7). Seconds later, when Gaear is about to pull the trigger to kill one of the witnesses, the car’s backlight is reflected on him, and the red coloured gun reinforces the notion of rage (figure 8).

Summer 1949. Ed Crane (Billy Bob Thornton), an introverted barber in a small Northern California town, is unsatisfied with his life. His wife's (Frances McDormand) affairs enable him to use blackmail to change his apathetic existence’.

Source: created by the authors During the first scene (42 minutes and 53 seconds), the analysis of The Man who wasnt there reveals that close-ups are the most used frames, which coincides with Fargo. Specifically, 247 times compared to the overall 346 frames.

Graph 4: Percentages on the use of different types of close-ups

Figure 11: Backlighting of rival characters Source: Photo. The man who wasn’t there

This type of backlighting will be repeated later, when Big Dave (James Gandolfini), Ed’s lover, tells Ed that he has received a bribe letter (figure 11). And it will be used again when the protagonist goes to her lover’s office (figure 12). The lack of lighting also characterises this scene. The intentionality to leave this image so dark increases the drama (a technique that coincides with the narrative: the dramatic tension is extreme and ends in murder).

Source: Fotograma, The Man who wasn’t there However, the predominant lighting in the film is mass lighting. By way of example, we can mention all the scenes in the hairdresser’s and outdoors, especially during the day (figure 15).

Graph 6: Percentages on the use of different types of close-ups

Again, beige (pale yellow tone) and blue is shown around Alejandro’s character. At first, he appears surrounded by a beige tone (it could have a connotation associated with betrayal: cf en table 3). Later, he is associated with the bluish range, when we believe that he is behaving honestly (the scene in which the beige jacket is removed and he is wearing a blue shirt), as he is preparing to arrest one of the cartel leaders. The audience is not yet aware of the operation’s ins and outs or that he is a hitman (Figure 18). As Alejandro’s true identity is revealed; he begins to wear darker clothing and is usually shown in semi-darkness. Finally, his clothing is black (figure 19). 3.3.3. Lighting

Figure 19. Image Alejandro (dark clothing) Source: Fotograma Sicario

Figure 17: the image of Kate (white t-shirt)

Source: Fotograma Blade Runner 2049 4. Conclusions and discussion

Figure 22. Backlighting prelude to the climax All these scenes in the work have been shaped through the lighting, which is no longer descriptive, making the staging entirely aesthetic, effective, and carefully constructed. This spotlighting is applied to isolate characters, for example, the scene at the bar, where the light focuses on the character Kate to separate her from everything around her, which reveals that she is lost in her thoughts (figure 21), mostly since the FBI has previously been seen prohibiting her from taking legal action against the cartel to prevent the failure of the operation. Likewise, the use of backlighting increases tension, and this expressiveness can be highlighted. We cite a crucial moment in the film when backlighting announces the raid that will take place in one of the tunnels used by the cartel for drug trafficking, hence the strength in its construction (figure 22). Deakins uses this technique again to highlight Alejandro’s figure, closing his arc of argument, ready to end the life of the cartel leader who murdered his wife and daughter (Figure 23).

Figure 23. Alejandro against the backlighting

Graph 8: Percentages on the use of different types of close-ups

Later, K receives a call. There is a bright sign with orange-yellow letters behind him, which can reinforce the idea of going ahead with the case (figure 26). As we have pointed out, this tone related to K’s character is maintained throughout the film. Another reference: his visit to the replicant factory, bathed in a yellow atmosphere (Figure 27). However, it is tinted in a golden colour, which matches the film’s text: the company is positioned as the most important in the world after saving the planet from catastrophe (Figure 28).

Likewise, yellow is consolidated when discovering that one of the replicants has had a child, a woman who Deckard was attracted to in Blade Runner (Ridley Scott, 1982). This tone becomes associated with these characters and even with other replicants presented against a golden ochre backdrop (Figure 29).

We found that the recurrence of yellow is seen throughout the whole story. There are two examples: the scene in the car; K and Joi (Ana de Armas) continue with the investigation. She is wearing a yellow raincoat that contrasts with the dark tones, even with black shades (figure 30), the closing image in which the protagonist finds Deckard (case closed), constructed in an orange atmosphere, intensification of yellow, this use of this tone seems to reach its maximum expression (figure 31).

Source: Fotograma Blade Runner 2049 Green is the colour that represents, among other concepts, life (cf in table 3: Heller’s studies outline this, and it is possible to associate it with the meaning of the film). Green acquires importance in Blade Runner 2049. We examine the work’s implicit message that asks the questions: what makes us humans?The answer is not the phenomenon of birth itself, as the film speaks about the mere fact of living, something that makes us human, and the act of making our own decisions

and being free. Deakins expresses the idea of freedom in the character Joi, who moves around autonomously in an environment bathed in this colour (figure 32). Similarly, when K suspects that he might be a replicant’s son, the image contains this pigment (Figure 33), It is also worth mentioning the forest scene, where we can see Deckard’s daughter and the replicant. Although it is a hologram, it does not live since it is enslaved, a state that breaks away from the film’s philosophy (figure 34).

Another remarkable colour in the film is white, associated with the truth (cf. in table 3). The room where Deckard’s daughter is confined is in this tone, and her clothing coincides with this chromatic range. This colour influences the meaning of the work; since she is the one who is looking for K, it is the key to his investigation. And something is striking in the composition of the images in the scene between K and Deckard’s daughter, regarding the use of this white, the first time the main character speaks to her, he does not know the truth. Here we can see that he goes outside to a partial snow- covered place (figure 35); later, when K finds out the truth, the same area is completely covered in snow (figure 36).

Source: Fotograma Blade Runner 2049 Finally, we must refer to the presence of blue. In this case, it is associated with the change that the characters experience when they begin to live. First, we see this with Joi (in a blue dress), a hologram that can only move around one room but will manage to move freely thanks to the machine K acquires (figure 37). Again this tone is used when K discovers that he is not the replicant’s son. His image is impregnated with a magenta light (figure 38), although by helping Deckard, he can make his own decisions, a scene in which the lighting that hovers over him is tinged with blue. (Figure 39).

Figure 39. The image in blue: K’s decision Source: Fotograma Blade Runner 2049

Source: Fotograma Blade Runner 2049 The lighting in Blade Runner 2049 has a double meaning; on the one hand, by being a science fiction film, its main objective is to shape and make the futuristic atmosphere believable. On the other hand, it provides a dramatic meaning that emphasizes the intentionality of the light. An example of this is to give the city of Los Angeles, where the action takes place, a depressing and post-apocalyptic sense, in keeping with a space full of neon signs, which are antagonistic in the dark environment, at the same time they are a representation of the excessive technologisation of a decadent society (figure 40), which is why artificial lights are also used. Following the same line of this treatment of the light as an expressive element, it is important to highlight various images in which Wallace (Jared Leto) appears. This character plays the villain and is shown in semi-darkness and sometimes even becomes a shadow or silhouette (Figure 41).

Table 1 ae © Deen © Te a a, as i. aaa IEE II IEEE EEE EE he frame shows the prevailing typology and, consequently, its expressive intention. It is made up of a total of 1,339. The gure and its duration differ in each of the works studied (cf Exact data in the Results section). It is necessary to clarify tha 1e selected works do not have the same length. Therefore, the study of this first variable is centred on the film's scene: letermined by the Field paradigm’) as this ensures that the amount of time analysed is as similar as possible in eact Im. The frame classification is based on those set out by Salt (2006) and Brown (2008). Table (1) allows us to gather thes« uthors’ typologies, a brief description, and its purpose. 2 According to Field (1979: 15), a script has 120 pages, which equates to approximately two hours. In other words, each page of the script means a minute on the screen. If we take this into account,and based on its paradigm the first act would be the first half hour of the film, the second act until 90 minutes and the third act until the end of the film.

Source: based on Salt’s (2006) and Brown’s (2008) classification of frames

Source: Created by the authors based on the different shots coined by the theories on frame and planning by Salt (2006) and Brown (2008)

descriptionView Paper arrow_downwardDownload

Struggle for Survival of Andy Dufresne in Frank Darabont’s Shawshank Redemption Movie 1994: An Individual Psychological Approach

by Intan Agustina

2022

The major problem of this study is how struggle for surviving is reflected in Shawshank Redemption movie based on individual psychological approach. This study analyses structural elements of Shawshank Redemption movie and Andy Dufresne’s... more

descriptionView Paper arrow_downwardDownload

The Trial and Incarceration of Andy Dufresne

by Kambaja Jonathan

2022

I. INTRODUCTION The Shawshank Redemption (1) had a relatively humble beginning. Stephen King wrote a ninety-page novella, entitled Rita Hay-worth and the Shawshank Redemption, one of four short stories or novellas, published collectively... more

descriptionView Paper arrow_downwardDownload

White Supremacy and Structural Racism in “The Shawshank Redemption” by Frank Darabont

by Erni Rahmawati

2021, INFERENCE: Journal of English Language Teaching

The purpose of this study was to analyze white supremacy and structural racism in the film "The Shawshank Redemption". The method used is descriptive-qualitative to describe white supremacy and structural racism in the film.... more

descriptionView Paper arrow_downwardDownload

Decoding Space in Shahir’s Parava: Interpreting Psychology

by athira subin

2021

Soubin Shahir’s debut directorial masterpiece titled Parava is a poignant tale about two soul companions who embark on a journey to discover the nuances of life and to learn to negotiate with it in their search for happiness. The film... more

descriptionView Paper arrow_downwardDownload

The Dynamic Interplay Between Agent and Structure in the Film The Shawsank Redemption

by L. Satya Limanta

2021, k@ta

A social phenomenon in society as represented in a film can be analyzed from many different perspectives. One of the theories that can be applied to do that is Giddens" structuration theory. It emphasizes on the duality of structure... more

descriptionView Paper arrow_downwardDownload

THROUGH THE EYES OF THE CINEMATOGRAPHER: ROGER DEAKINS, A CRITICAL STUDY

by Neerej Dev

2021, International Journal of Creative Research Thoughts (IJCRT)

The study analyzes the styles in cinematography adopted by Roger Deakins and attempts to understand if there is a signature style followed throughout his works. Roger Alexander Deakins is an English cinematographer known for his class and... more

For Lighting, Deakins has used the HMI light (Hydrargyrum Medium-Arc Iodide) so naturally in a way that the audience won’t understand if the light is natural or artificial. Deakins has used reflectors and lights through the windows mostly opposite to the camera so that the shadows fall in the direction of the camera giving a distinguished contrast between the dramatic essence of the scene. This was also done in this movie after a lot of thinking which implies to the dark side of the prisoners in the movie as a whole. Playing with shadows also created a mood board so distinct from the movie. This mood board was aptly recognized by Deakins, this also puts him as a master of silhouettes and lights in general. He can make a scene look more like a painting through just lights and shadows. The beating of prisoners in a scene was shown in silhouette which shows the inhuman nature of the guards towards the prisoners.

There was a prominent difference in Brooks and Red’s release from the prison’- as the camera angles where different. For Brooks the camera was placed outside of the camera facing him because he wasn’t accepting his freedom. Brooks was also standing on th shadows of the jail bar which in turn meant that his freedom out of the prison didn’t make a difference for him and he wasn’t acceptin it. As far as Red is concerned, the camera was placed inside the prison pointing outside which shows that he accepted the freedon They’ve done a good amount of pushing in by charging with a dolly to have an intimate connection to the character. Deakins has mastered lights in this movie in a way to emphasize the image of hope. This is where Deakins stands out from others, by doing the best in what he’s good at. To have this explained, there are three different scenes where Morgan Freeman meets an official three times for his freedom and in the first, there is no hope and hence there are shadows in the frame which shows a dark nature. In the second frame there is a moderate amount of light entering which shows that there is slight hope and in the third frame, the sunlight seems to hit his face directly which shows a sense of freedom. In another scene where Brooks is in the dark, shows a fact that he wasn’t happy with his civilized freedom. In another scene where Red was standing in shadows and Andy in light shows that Andy has his freedom revised and is believing towards it while Red was still in the disbelief and is hence standing in the shadows. As Andy moves towards the light, it shows his belief in freedom. Another scene where Andy is sitting in his cell with his face half- lit and when he turns his head towards the light, the scene depicts that he was too close to freedom. These are a few of the observations from the film which has changed the whole perception of the movie. Camera angles and camera movements of Shawshank Redemption are so simple and minimal but have such powerful impact on the audience which made it to the nominations for cinematography in the Oscars. When Andy was first entering the prison there is a low angle POV shot of Andy and in the next scene, the camera looks up at the towering prison, tilts back into darkness more and more as it was his last gasps of daylight. The shots of guards from the low angle show a sort of superiority of the power. In another scene where Andy was about to be pushed off the roof, it starts to show the film from a very high angle and to portrait the unbalanced nature of the scene, Deakins used the help of blocking through an unbalanced line which separates the building and the ground.

Blade Runner 2049 is a movie directed by Denis Villeneuve starring Harrison Ford, Ryan Goslin, Sylvia Hoeks and Jared Leto. Roger Deakins being the director of photography won an Oscar for this movie. The soundtrack was given by Hans Zimmer which in itself is a complementary factor that has garnered movie. It’s a sequel of Blade Runner, which a lot of appreciation for the movie. Blade Runner 2049 comeunder a neo-noir sci-fi is another cult directed by Ridley Scott. It was inspired by Philip’K. Dick’s novel. Main aspects that attribute the cinematography of this movie are the landscape shots and the use of lighting. Deakins has won an Oscar for this movie and this can itself prove a lot on light through techniques that are simply ba fact that he is one of a kind when it comes to visual beauty by portraying the essence of sed on camera and set knowledge. Coloursin this move: played a very major role in narrating the story according to the situation. As we know the movie shows a world:that posts the modern technologies. It conveys on how humans have destroyed land, atmos phere and all the other elements that make the world sane. A minimalistic approach to cinematography is probably the hardest of all as it requires the tiniest detail to. be finely displayed on the screen and Deakins has achieved that throughout the film. The amiikroeanac in thao mnie 7#oOFe oo Ae wat ha oattinc nt-the carnnt and hanna had tn ha Avr Sho «wat Tinaklinc had marieoatvad i+ When Andy played the music, the camera had a crane upward lit with ali the prisoners 1n the sunlight to show a sense of treedon that they’re feeling for a long time. The movie has a lot of transition in certain scenes which dissolves. Here, dissolve transitions ar been used to signify the passing of time. In the last scene, Andy is been shot from an angle on top to have an effect of giving it a perspective of heaven feels to it. The rai signifies to wash away his sins. He comes out dirty and with the freedom he’s clean with the help of rain in the shot. Close up anc slow zoom to the character indicates the intimate connection to the character from a formal perspective.

The cityscapes in this movie convey a lot about the setting of the script and hence had to be done the way Deakins had portrayed it. With the audio that Hans Zimmer has provided in the movie, Deakins has complemented it with the right amount of visual beauty.

The complete philosophy behind minimal composition is “Less is More”. This means that when you see a minimal frame, there is so much more meaning than you can cultivate mentally which is stunning. The space filled through minimal composition gives a feeling that is deprived of meaning but filled with emotions. When a frame is filled, people tend to lose focus on many aspects in a frame because of the abundance of detail. This movie has eliminated that and hence has provided a space to breathe throughout the film. Man with his innovations and out of the box thinking has done serious damage to the planet earth. This has depicted throughout t movie by giving the dull look of a dark era. The fog throughout some shots shows how the air is polluted and is unbearable. T constant amount of colour produced which keeps a particular colour balancing shows the impact of climate change and how certa geographical areas are contaminated by radiation. And, to show climate change on a drastically uplifting way, the movie shows wa that have been built to protect the city of Los Angeles from an inundation. The approach in which Roger Deakins has uplifted th condition of the uninhabitable world is by his foggy shots with a minimal composition which shows a texture of a world that forbidden. The very particular colours used to show fog depicts the kind of air the character breathes. Colour temperatures show t cold and unhealthy air that is present throughout. Following the rule of thirds has been a key element throughout this film. Th observation has been noticed with the kind of composition that has been followed throughout. The use of wide-angle lenses has be focused on in the movie by observing the landscapes in the movie. Use of wide-angle lenses has been used to show a sense | inhospitality. As the sketch of the location shows an empty big space, we can conclude on the eccentric use of wide lenses. As mu: as we’re focusing on landscapes, the characters are often placed in the centre of the frame as shown in the frames. Roger Deakins cinematography has been famous for the use of silhouettes and the wonderful minimal compositions. Each frame commendable for that factor. Silhouettes give a meaning that can only be felt and not explained and that has been present qui sharply throughout. The connection of the layers of a frame has been brilliantly executed through such minimal way of compositio

White is another important palette shown throughout the movie. It shows solitude, silence and death. With this, the frames had to mean everything that’s pale and meaning worthy to be evoked. A minimal pattern of composition through the movie gave off a generic pattern of fluid state throughout the movie. As much as white had to mean every other thing, it also represents a state of limbo. Limbo being an idea of suspended places out of space and time. Grey being another important colour used, is used to show a dystopic dead future. It shows the heavy nature of lifeless conditions in the movie. As much as the movie shows an empty polluted space, all these scenes are set up with a heave baseline palette of grey. Grey in a darker shade gave higher and deeper photographic meaning to the movie. With the intensifying pattern of grey with fog, it only gave away a wider perspective on the whole condition of the plot. niin. a. ee ee.) [dll] rr PI a n,n ee want to more about that place that was the aim towards it. There’s a surreal sense added to it by giving a sandstorm in the desert which alarms the sense of knowing and a way of clarity.

Blue-Purple is another colour used mainly in the palette. This colour sets the mood of the future but shows the colour of technology. The whole idea of it is to represent something sci-fi. A sci-fi mood is again created through the use of neon lights throughout the projections in the movie. All the realities that the movie shows which might be applicable in the future emits a sort of blue-purple shade and it completely gives off a futuristic vibe. The city especially is laminated with this tint and the holograms that come out are conditioned by this colour. When there is less population of colour in a frame, the frame is clearer and the viewers set the image clearly without any confusion. Roger Deakins being the master of lights has shown his brilliance through the frames filled with shades of lights in the movie. The movie either sets a dark tone or a bright one. Deakins brings the dark tones in the pictures to make the holograms look futuristic. The dark tones helped in creating the contrast between dark tones and neon/holograms which gives a vibe of cold light. For a scene in Wallace’s office, Roger Deakins used a circular apparatus with 286 moving lights mounted in two concentric rings. The incandescent lights create a dynamic lighting game in the scene. This helped him play with shadows and silhouettes. The Oscar winner Jared Leto plays the role of Wallace, the bad guy of the story.

Most of the shots that are seen on Deakin’s frame has been framed with something. A wide flat shot of the house andthe family with the road in the foreground gives a depth to a normally flat-looking scene. Deakins uses a lot of shapes because he frames houses in a way that the triangle fills the space and doesn’t leave any empty vague spaces. These wide frames are supposedly shot on a 24mm lens. His focus shifts in this movie create a very detailed meaningful approach to the scene. Deakins frames the cross in a silhouette form by exposing the bricks in the background and give the girl the focus by giving the frames different meanings. Meanwhile, he has previous ones. His relationship with Deakins has a classical touch to the movies as well. Most of the time the approach towards what they do has a similar structure and their equation goes hand in hand. This movie shows a tale of kidnapping and their approach to finding the kidnapper. It has a very cold touch with regard to keeping the weather and temperature. Deakins shows his brilliance through lighting and his minimal framing techniques. Deakins method of minimal but powerful framing helps the viewer connect everything to the story. Deakins as said in one of his interviews he is a man who believes in the story. He shoots the film to make the audience stay put with the story and not just the aesthetics. Deakins shot Prisoners with an ARRI Alexa Plus with Zeiss Master Prime Lenses and he also used ARRI Alexa Studio with Zeiss Master Prime Lenses. Deakins starts off the movie with an establishing wide shot of the woods which is very typical of him from a long time. Most of his movies have an establishing shot in the beginning to show the kind of location and set up of the movie.

particular scene within a glass window made the viewer connect to what’s happening outside through an inside perspective. Clever blocking of this sort leads to the character’s face being revealed in the mirror as the character turns around. This in itself speaks about

approach to the viewers. He’s seen to fill his frame with a lot of detail which makes it not evident throughout. This in return helps in making the viewer believe in the scene. His way of keeping a character being spoken to, on out of focus helps in creating depth. He frames darkness with light leaks which fill the frame with anticipation.. This way of composing something has to be very thoughtful and hence is a very impactful way of filming. helps to create a depth within the frame. An abundance of soft light sources 1s used to Justify the realistic nature and to complemen the characters indoor. The usage of children running through the empty spaces creates effective blocking to the frame as it adds on to many happenings it the scene which is natural in a house gathering. To gather a huge number of details on an ongoing activity he must’ve used an 18mn lens. Use of Steadicam being seen in while two characters move outside the street to reveal more about the environment. By this tim of the film, most of the colour tones are mostly muted and desaturated throughout the film. Filling the background with just on single mass of colours give a lot more contrast to the characters. Frame within a framing point of view gives a very creepy approacl to some scenes in the movie. Deakin is also seen filling the frame with a triangle angle which gives a very satisfying comfortabk

descriptionView Paper arrow_downwardDownload

Sinop Üniversitesi Sosyal Bilimler Dergisi ANLATININ TEMEL KAVRAMLARI VE SİNEMA Saliha EVLİYAOĞLU

by Saliha Evliyaoglu

2021

Öz 20. Yüzyılın ikinci yarısında, anlatının bir bilim dalı olarak ortaya çıkmasıyla birlikte alan çalışmaları sistematik bir hal almış ve disiplinler arası bir nitelik kazanmıştır. Klasik ve klasik sonrası olarak iki döneme ayrılan... more

descriptionView Paper arrow_downwardDownload

Freeing Every Last Man of Shawshank: A Reading of Frank Darabont’s The Shawshank Redemption

by Debaditya Mukhopadhyay

2020, Journal Article

Prison films depicting the escape of victims of erroneous judgement have gained a notable popularity amongst the move-watching audience. Majority of these films seem to be emphasizing that apart from the wronged protagonist, the rest of... more

descriptionView Paper arrow_downwardDownload

Movie review (The Shawshank Redemption)

by Tahshin Aumit

2019

It is a strange comment to make about a film set inside a prison, but "The Shawshank

descriptionView Paper arrow_downwardDownload

Who Moved My Cheese Johnson Spencer

by Omar Hamayel

2018

How to face changes in your life and carrer

descriptionView Paper arrow_downwardDownload

The Application of Critical Discourse Analysis in Literary Criticism: Challenges and Solutions

by Amin Davoodi

2017

Critical Discourse Analysis (CDA) deals with the idea that language is more than a simple means of communication and tries to analyze language as a social behavior to see how social/political power can be conveyed through language.... more

descriptionView Paper arrow_downwardDownload

The 10th International TELLSI Conference The Hope Key for the Redemption Lock

by Amin Davoodi

2017

This study aims to analyze the nature of “hope” in Stephen King’s “Rita Hayworth and the Shawshank Redemption”. Throughout the novella “hope” acts as a key to open the “redemption” lock. Characters of the story could be divided into two... more

descriptionView Paper arrow_downwardDownload

The Dynamic Interplay Between Agent and Structure in the Film The Shawshank Redemption

by L. Satya Limanta

2016

Hope is a good thing. Maybe the best of things. And no good thing ever dies. " ABSTRACT A social phenomenon in society as represented in a film can be analyzed from many different perspectives. One of the theories that can be applied to... more

One immutable, universal truth: Not one of them ... wouldn’t pucker up tighter than a snare drum when you asked for funds.

actions and when being asked s/he can also give a discursive clarification for the reasons (p. 3). Third, Giddens saw structure mainly as niles and resources (pp. 17, 23), where structure has a constraining power (through mules) but also gives opportunities or enables an agent to achieve her/his goal in her/his actions (through resources) (p. 25). Fourth, the concept of poweris to be understood not only as the ability to say no (p. 32), but its implication is also the ability to say yes. Fifth, the dimensions of the duality of structure can be described in the following diagram (p. 29):

Screenshot 2. Andy’s agency created a different atmosphere Screenshot 1. Andy’s agency and the risk of being pushed off the roof

inmates respected and supported Andy, even the prison guards protected him from being bullied by Bogs (a fierce inmate) and his gangs. This example shows that even though Andy’s agency can make a change on the relation of the inmates with the guards and among the inmates, it still needs the approval of Captain Hadley to accept Andy’s offer and to grant his request. This shows an interlocking relation between agency and structure.

Screenshot 4. Strong structure and agent’s negotiation with Warden Norton Screenshot 3. A very strong structure

Screenshot 6. An inmate broke loose of prison structure’s grip to start living a new life Screenshot 5. Prison structure’s grip on Red after 40 years of being institutionalized

that hope was a good thing, and no good thing could ever die. Finally, Red made the choice to go and meet Andy, otherwise he would have ended up in prison al his life. In the room where Brooks carved on the wal “Brooks was here”, before committing suicide, Red also carved a similar sentence next to it “so was Red”, making a different choice to keep up living outside prison although the conclusion was unclear to him at that point (Screenshot 6).

Screenshot 7. The stunning effect of music for the inmates in his being put in the hole (a stifling cell to give a punishment to disobedient inmates) for two weeks. This example shows how any effort of violating or undermining structure of domination (no matter how small it is) will result in a sanction, which is severe in Andy’s case.

system can be easily abused and it 1s so deeply ingrained that it can determine people’s behavior and life. When Andy met Warden Norton to follow up the story told by Tommy Williams, Warden Norton insisted on not finding the truth because of the two reasons mentioned earlier. When Andy persevered to get justice and pushed Norton by mentioning something about laundering the tax money, he was put in a solitary cell for a month (Screenshot 8). This cell effectively made someone suffer a lot so that Andy later on even admitted that he was guilty and quitted his idea of getting justice in line with the structure or system since he schemed his own way to find one. This example shows how the structure of the prison which gives a big power to the warden changes Andy’s behavior and belief in his helplessness. It can be said that this example shows the interplaying working of prison structure and Norton’s agency. Norton will not be able to exercise his agency if he is not taking the position of a warden in the prison structure.

Screenshot 9, Institutionalization of structure manager (which bothered him) and he said: “You don’t need to ask me every time you need to go take a piss. Just go” (Screenshot 8). This was exactly what Giddens (1986) said about the basic requirement of social systems: “The structural properties of social systems exist only in so far as forms of social conduct are reproduced chronically across time and space. The structuration of institutions can be understood in terms of how it comes about that social activities become ‘stretched’ across wide spans of time-space” (p. xxi). Further he said that the “fundamental concept of structuration theory” is routinization (p. xxiii). This is what Red experienced, which he called as being “imstitutionalized” for forty years (Screenshot 9).

Screenshot 10. Routinization as the grounding of social life

Screenshot 11. The effect of structure of domination to Boggs

descriptionView Paper arrow_downwardDownload

REFLECTION AND INTROSPECTION IN THE FILM SCORES OF THOMAS NEWMAN

by Chelsea Oden

2016

The most transformative moments in life cause us to look both backward (reflection) and inward (introspection). Likewise, reflective and introspective moments in film often align with important plot points. Separating music and dialogue... more