narrative level of Ulysses is focused around juxtapositions
(past-present) or diegetic sequences (mythemes moving forward the
story). The narrator
provide for bring
the storyline together with the whole mise-en-scene. In the opening
scene, three men, Yanakis,
assistant and

are seen and
Yanakis’ assistant is
talking about the possibility of undevelopment three reel of Manakis
brothers, giving clue that what will be film about, then the camera
pans left and tracks backward, seeing the man dies and the other man
moves to the rights, meanwhile, camera follows him that is called

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A who appears about fourty yers, is seen, he is moving and again the
camera follows him, his last word in the opening scene is “a
journey”. The
ship’s horn is heard, he looks deeply to ship with sorrowful melody
in the background and the camera tracks forward directly to the ship
which is called “dolly”
the ship starts to sail and the camera remains stable, an example for
the the use of long take in the opening scene, expressing his deep
yearn to home, life and demand to expose the undeveloped reels which
the past of the Balkans, is
hope about the future and hope for the people ruined by the war,
. Finally, after that scene, A’s journay literally begins.

In the first sequences,
in Florina,
and social conflicts and ideological distinction are demonstrated.
are lots
of poeple in
street, standing still under the rain with their umbrellas,
the camera pans to right, meanwhile, the voices are coming from
somewhere but sources can not be seen, that is called “nondiegectic
People are just listening the movie but can not watch that probably
it is forbidden in that time. The
shifts to frame in which
police separating demonstrators with torches, and other people with

uses his dominant technique that long takes and long shots, creating
a possible way to explicate and interprete his perspective throught
the film and prompts the audience to observe and think deeply in
every aspects. He shots almost every significant and dramatic scenes
in long shots. By doing that, the alienation and misery of the
consequences of the war laid down in the purpose of the film. His aim
of use that is constructing uninterrupted integrity in which
transition from present to his memories. Angelopouslos
strews a lots of great and effective scenes to reflects the mood of
the film which means also the atmosphere of the Balkans, sadnees,
aloneless and desperate.

the border, A runs across an elder Albain woman who falls apart from
her sister 47 years after the civil war in Albania, she requests to
ride her to hometown. While they are tripping, the camera goes with
the tax in
eyel level shot, refugee
are seen, walking on the empty roads with their bagajes maybe try to
find a shelter that another detail, showing conditions of people in
the Balkans in 1990’s. Then they finally arrive to
and the woman get off from taxi in desolate center of the city, the
camera tranks backward, moving away from her in long take shot,
mixing with sorrowful soundtrack. Angelepouslos
avoids empathic close-ups that would give the impression of an
identification with the character, He does not give the impression of
an inner life, of a hidden reality of emotions, The camera is always
set at deep focus, with almost parallel focalisations, replacing thus
multiple shots with multiple perspectives, Tracking
the camera backward, the completely empty and deserted streets draw
the attention, externalizing the alienation and solitude of the
Albanian women.
Then the scene is cut and shifts to the
other, two-shot of A and the driver, man pulls over and they start to
talk about the situation of Greece, the driver says ” Do you know
something ? Greece is dying. The medium shot(?) of the driver,
standing up and climbing a stone, the camera tilts up, shots from the
back of the men, creating a picture that a man stands in foggy and
dark place just like trying to oppose the all struggles and he says ”
Hey! Nature, you’re alone ? I’m alone as much as you.” And
continuening as ” It is the end of road.” Just like almost every
person in the Balkans, he loses his hope and is all alone.

Angelepouslos uses the colors to express his idea and creates the
atmosphere of the film and feelings. Just like in that scene, the
weather is the snowy and misty and and the colors are used to make
the audience feel melancholic. With these gloomy scenes,
Angelepoulous tries to demonstrates the first proofs that devastating
way of the war. Also use of colors like grey black and white in
almost entire film and
also the use of lighting, mostly low-key light
clarifies his perspective to the story and his reflecting to the
audience. The colours of the night that we see in the early scenes
set in Greece are gradually opening up to the gloomy atmosphere in
Albania, claustrophobic scenes in Skopje, the soft and gentle colours
of his childhood in Romania until they are filled with cosmic
exuberance in the majestic scene of the statue of Lenin in the
Danube. Cold and warm colours are used interchangeably in the scenes
in Sarajevo, until the reality of death destroys all colours in the
mist or on the white screen where the original gaze was recorded. The
viewer sees the inner psychic unfolding of the collective adventure
in a set of non-verbal signs.

scene begins with the eye-level and two-shot to medium close-up of A
and woman who has short curly hair, glasses, brown trencoat, a
chain-smoking romantic redolent of the French New Wave
by Maia
Morgenstern. They are travelling with the train from Albania to
Skopje by the way man talking her about his purpose. Later, the woman
get off the train, A stands on the entrance of the train, continuing
to talk then the train starts to move and the camera follows it and
pans to right, called….. ,creating “undercranking”
finally arrive the Bulgarian border but
he is
interrogated by Bulgarian polices because of a problem about his
passport. He is taken to small
darknees dungeon, the low key to A seems ……
a sequence shot of more than 10 minutes, the longest and most
ritually meaningful of the whole film, we will observe to the rhythm
of the music and dance the post-war years. The
sequences follow the other dramatic and memorable scene. The camera
pans to left, a woman appears who A calls her “Mom”. They
travelling together by train and the scene shifts and they finally
arrive the family house Costanza, from the streets, the sound of the
procommunist partizans . A is seen as a child, understanding that
it’s flashblack and back through time- blending present and memory,
slipping smoothly and disconcertingly into the past, It is A’s
family house in New Year’s 1945. They waiting for the return of
A’s father, a prisoner in a German concentration camp. The
eye-level master shot of the people in the saloon, finally the father
comes , A finally meets his father, family.


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