The movie. Witness. trades with characters in struggle with the universe around them. Discourse the methods Weir uses to convey this thought of struggle.
In Peter Weir’s movie. Witness. several characters come into struggle with their environment. This is apparent through the usage of assorted techniques such as symbol. camera angle. and imagination. Samuel’s protective life as a kid in the Amish community is corrupted when he comes into contact with offense and the metropolis and experiences a loss of artlessness. By contrast. John Book faces many obstructions when he leaves his life in the metropolis for that of the sheltered life of the Amish and suffers convulsion when he falls in love with Rachel. who comes from a universe in which he can non belong. Similarly. the corrupt police officers. McFee. Schaeffer and Fergie find obstructions when they enter the universe of the Amish. looking for Book.
When Samuel is brought into Philadelphia it rapidly becomes obvious that he is in struggle with the environment around him and we witness his loss of artlessness at the railroad station. Weir utilizations sound and camera angle as a method of demoing Samuel’s confusion. From low angle shootings. viewing audiences can place with Samuel’s position and can appreciate his confusion. observing that all the kid can see is people from their middle down. walking past in all waies. Weir besides portrays Samuel’s confusion by holding many people speaking at one time. therefore making contrast between the bombilation of a metropolis and the peaceableness of his place. The manager uses filming good in this scene. Samuel’s struggle is apparent when he is confronted with a immense statue. The camera easy tilts upwards from a low angle until he can see right to the top ; he is clearly non used to seeing something of this size. Aside from making a exposure in Samuel. this contrast in size reveals his strangeness with his milieus. apparent by the look of awe on his face of childlike artlessness.
The following shooting is a bird’s-eye position from the top of the statue. it shows Samuel. who is dressed otherwise to the remainder of the crowd. standing still. in crisp contrast to the invariably traveling hustling metropolis crowd. The expression on Samuel’s face when he thinks he sees one of his ain people is that of exhilaration and comfort and his letdown is apparent when. after running up to this adult male. he discovers that he is non an Amish. but an Orthodox Jew. His female parent is cognizant of the dangers of this unusual universe and is maintaining her oculus on Samuel until he wants to see the lavatory. When Samuel walks into the men’s lavatories. the adult male rinsing his custodies ( who is subsequently murdered in forepart of Samuel ) turns about and gives the male child a friendly smiling. He so walks into a cell. As this happens two work forces walk into the bathroom. McFee and Fergie.
Mcfee nods to his spouse so puts a bag over the caput of the adult male rinsing his custodies. The following few shootings splice between Samuel’s oculus peering out of the cubelike in arrant horror and the liquidators cut downing this man’s pharynx. This intricate camera work stresses the fact that Samuel is watching and his daze reinforces the clang in the two cultures–the violent metropolis versus the pacificist ways of his Amish community. It is in this scene that Samuel’s life is changed everlastingly. as he witnesses this man’s bloody-minded slaying. Viewers no longer witness an guiltless kid. but a male child utilizing all his humor in his battle to last.
The scene where Rachel returns the concealed gun to Book. presents the clang of these two civilizations. through the usage of images and movie techniques. We foremost witness Rachel with her dorsum to the camera. at medium scope. rinsing dishes–a true domestic scene. She turns every bit John Book enters and laughs. Viewing audiences are so shown merely how out-of-place Book is in her community. apparent when we see him in her dead husband’s Amish apparels that are far excessively little for him ( a symbol that he can non suit into Rachel’s universe. and in peculiar. as her hubby ) . The camera reveals his embarrassment as it tilts to his bare mortise joints and so we see and hear Rachel laughing. but seeking non to in empathy for Book. When Book asks for his gun. the laughter on her face vanishes. .
The composing of this frame shows John looking pathetic in apparels that are far excessively little for him. in contrast to the apposition of Rachel looking really comfy and express joying at how he looks. This is disconnected right down the center by a doorcase. which besides show John’s struggle with the Amish community. Following John asks for his gun because he needs it to travel to the town. Her facial statement goes perfectly dead serious and she gets it from the closet. She picks up the gun by the grip with her index finger and pollex with the remainder of the gun swinging below.
Once she handed the gun to him. he asks for the slugs that Rachel has forgotten. which she gets out of the flower jar that she has kept them in. Her alteration in facial statement shows her struggle to guns and the usage of guns. Her challenging manner of keeping the gun displays that she thinks of them as dirty and burying the slug shows her deficiency of cognition about guns. Wholly this is a really uncomfortable scene toped off by go forthing the slugs in the flower. flower being a symbol of life and slugs being a symbol of decease.
When McFee comes to acquire John it is really clear that he is in contrast with his milieus through book. sound effects. character costume and filming. Narcotics agent McFee attempts to cut off John Book by traveling around the dorsum of the barn and as he does this. he steps right into a heap of droppings. His expletives are in crisp contrast to the Pacifist ways of the Amish. McFee is have oning a really smart suit. carefully picked to contrast to the Amish’s simple apparels. This difference is overdone when he steps in the droppings demoing merely how out of topographic point he is.