Thenarrative level of Ulysses is focused around juxtapositions(past-present) or diegetic sequences (mythemes moving forward thestory). The narratorprovide for bringthe storyline together with the whole mise-en-scene. In the openingscene, three men, Yanakis,Yanakis’assistant andAare seen andYanakis’ assistant istalking about the possibility of undevelopment three reel of Manakisbrothers, giving clue that what will be film about, then the camerapans left and tracks backward, seeing the man dies and the other manmoves to the rights, meanwhile, camera follows him that is called”unmotivatedmovement”. Headliner,A who appears about fourty yers, is seen, he is moving and again thecamera follows him, his last word in the opening scene is “ajourney”. Theship’s horn is heard, he looks deeply to ship with sorrowful melodyin the background and the camera tracks forward directly to the shipwhich is called “dolly”thenthe ship starts to sail and the camera remains stable, an example for”longtake”.Consideringthe the use of long take in the opening scene, expressing his deepyearn to home, life and demand to expose the undeveloped reels whichdisplaysthe past of the Balkans, isahope about the future and hope for the people ruined by the war,politics,ideologies.

Finally, after that scene, A’s journay literally begins. In the first sequences,in Florina,politicaland social conflicts and ideological distinction are demonstrated.Thereare lotsof poeple inthestreet, standing still under the rain with their umbrellas,the camera pans to right, meanwhile, the voices are coming fromsomewhere but sources can not be seen, that is called “nondiegecticsound”.People are just listening the movie but can not watch that probablyit is forbidden in that time. Thesceneshifts to frame in whichpolice separating demonstrators with torches, and other people withumbrellas.

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Angelopouslosuses his dominant technique that long takes and long shots, creatinga possible way to explicate and interprete his perspective throughtthe film and prompts the audience to observe and think deeply inevery aspects. He shots almost every significant and dramatic scenesin long shots. By doing that, the alienation and misery of theconsequences of the war laid down in the purpose of the film. His aimof use that is constructing uninterrupted integrity in whichtransition from present to his memories.

Angelopouslosstrews a lots of great and effective scenes to reflects the mood ofthe film which means also the atmosphere of the Balkans, sadnees,aloneless and desperate. Atthe border, A runs across an elder Albain woman who falls apart fromher sister 47 years after the civil war in Albania, she requests toride her to hometown. While they are tripping, the camera goes withthe tax ineyel level shot, refugeeare seen, walking on the empty roads with their bagajes maybe try tofind a shelter that another detail, showing conditions of people inthe Balkans in 1990’s. Then they finally arrive toKorytsaand the woman get off from taxi in desolate center of the city, thecamera tranks backward, moving away from her in long take shot,mixing with sorrowful soundtrack. Angelepouslosavoids empathic close-ups that would give the impression of anidentification with the character, He does not give the impression ofan inner life, of a hidden reality of emotions, The camera is alwaysset at deep focus, with almost parallel focalisations, replacing thusmultiple shots with multiple perspectives, Trackingthe camera backward, the completely empty and deserted streets drawthe attention, externalizing the alienation and solitude of theAlbanian women. Then the scene is cut and shifts to theother, two-shot of A and the driver, man pulls over and they start totalk about the situation of Greece, the driver says ” Do you knowsomething ? Greece is dying.

The medium shot(?) of the driver,standing up and climbing a stone, the camera tilts up, shots from theback of the men, creating a picture that a man stands in foggy anddark place just like trying to oppose the all struggles and he says “Hey! Nature, you’re alone ? I’m alone as much as you.” Andcontinuening as ” It is the end of road.” Just like almost everyperson in the Balkans, he loses his hope and is all alone.

Angelepouslos uses the colors to express his idea and creates theatmosphere of the film and feelings. Just like in that scene, theweather is the snowy and misty and and the colors are used to makethe audience feel melancholic. With these gloomy scenes,Angelepoulous tries to demonstrates the first proofs that devastatingway of the war. Also use of colors like grey black and white inalmost entire film andalso the use of lighting, mostly low-key lightclarifies his perspective to the story and his reflecting to theaudience. The colours of the night that we see in the early scenesset in Greece are gradually opening up to the gloomy atmosphere inAlbania, claustrophobic scenes in Skopje, the soft and gentle coloursof his childhood in Romania until they are filled with cosmicexuberance in the majestic scene of the statue of Lenin in theDanube. Cold and warm colours are used interchangeably in the scenesin Sarajevo, until the reality of death destroys all colours in themist or on the white screen where the original gaze was recorded. Theviewer sees the inner psychic unfolding of the collective adventurein a set of non-verbal signs.

Anotherscene begins with the eye-level and two-shot to medium close-up of Aand woman who has short curly hair, glasses, brown trencoat, achain-smoking romantic redolent of the French New Waveplayedby MaiaMorgenstern. They are travelling with the train from Albania toSkopje by the way man talking her about his purpose. Later, the womanget off the train, A stands on the entrance of the train, continuingto talk then the train starts to move and the camera follows it andpans to right, called…..

,creating “undercranking”.Hefinally arrive the Bulgarian border buthe isinterrogated by Bulgarian polices because of a problem about hispassport. He is taken to smalldarknees dungeon, the low key to A seems .

….

. Ina sequence shot of more than 10 minutes, the longest and mostritually meaningful of the whole film, we will observe to the rhythmof the music and dance the post-war years. Thesequences follow the other dramatic and memorable scene. The camerapans to left, a woman appears who A calls her “Mom”.

Theytravelling together by train and the scene shifts and they finallyarrive the family house Costanza, from the streets, the sound of theprocommunist partizans . A is seen as a child, understanding thatit’s flashblack and back through time- blending present and memory,slipping smoothly and disconcertingly into the past, It is A’sfamily house in New Year’s 1945. They waiting for the return ofA’s father, a prisoner in a German concentration camp.

Theeye-level master shot of the people in the saloon, finally the fathercomes , A finally meets his father, family.

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