How visual techniques are used to develop deeper ideas in a visual text.
Samson and Delilah directed by Warwick Thornton, is a love-story drama that focuses on the lives of two teenaged Aborigines. These two Aborigines live in an isolated aboriginal community however when Delilah's Nana dies, circumstances force them to abandon their life in the village and head to Alice Springs in central Australia. This film follows their romance and Samson's addiction to petrol as they struggle to make their way in the world. Thornton's main purpose in this film is to expose the Australian community to the realities of life for Aboriginal youth. He uses the visual techniques of cinematography, props and makeup to present a range of slightly different messages that have all become a reality for aboriginal youth.
Cinematography is used by Thornton to develop the idea of the aboriginal youth's growing dislocation from their society and culture. This is shown through the camera work used in a particular scene where Samson first begins to feel a growing distance from his community and by extension, his culture. Three specific shots are used during this scene to emphasize this idea. A high-angle long shot overlooking the village with Samson's bottle of petrol in the foreground, establishes his growing isolation. Until now, Thornton had largely used close-up and mid-shots that showed the bond of the community. Now however, the first real long shot of the film shows us not only Samson's emotional but physical distance from his community. This cuts to a mid-shot f Samson sniffing his petrol which is his solution to the problem before another log shot, this time of Samson, is used. Samson is walking away from the camera, the audience his village and it shows the rejection of his culture. Throughout the scene, dischordant string music adds to Samson's feeling of rejection. Like too many Aborigines and especially their youths, Samson has begun to feel a dislocation from his society and like an outcast. Thornton understands that this is an important and growing problem so through the cinematography he has tried to make it stand out to show how significant this scene is. The camera work used during this scene contrasts with the rest of the film so far through the use of long shots and it sticks out to the audience helping portray its important message, that the aboriginal youth's dislocation from their culture has become a reality of their life and the audience are encouraged to think about this.
Props, specifically Samson's can of petrol, are used by Thornton to help the audience understand the lack of hope aboriginal youth experience and why they resort to substance abuse. For Samson, his life is dominated by petrol right from the moment when he wakes up. The opening scene of this film begins with a mid-shot of Samson waking up to establish that this is his story and help the audience understand his character. As the scene develops Samson's actions are slow and groggy until he sniffs his petrol and becomes more energetic. The can of petrol is the first prop we associate with Samson and he is thereafter constantly seen with it. Unfortunately for Samson, the petrol has become a reality of his life. It has become part of his routine, he cannot wake up without it and it even threatens to destroy his relationship with Delilah which is all he cares about. Samson's addiction is a representation of the aboriginal youth's growing addiction and the increasing amount of substance abuse. This has become a reality of aboriginal life and Thornton knows it. His own brother, who plays the role of the homeless Gonzo, lives on the street and goes to rehab. Thornton's goal in this film is to show Australian society and the world the reality of aboriginal life. Far from trying to hide Samson and the aboriginal culture's addiction, he is trying to expose it. Through Samson's continual reliance and contact with the petrol, the audience is assisting in trying to understand his addiction. His bitter experiences and his oppressed character are used in conjunction with the petrol to show why many Aborigines are drawn to substance abuse and why it has become a reality of their life.
Makeup is used by Thornton to illustrate to Australians the idea of constant violence on the streets of Alice Springs, being a reality of life for aboriginal youth. When Delilah returns from her kidnapping and presumably her beating and rape, makeup is used to really shock the audience and underline the violence that occurs in Alice Springs. The brutality of that violence is emphasized through how disfigured Deilah's face is. A long shot of her silhouette establishes her return but we do not know her condition and the subsequent cut to her face is designed to startle us. Her hair is matted with blood and dirt which also covers her face and clothes. One whole side is bashed up, there is swelling on her eye and cheek, created through the use of prosphetics and tissue. An eye has been closed with an adhesive and blush and eyeliner creates the the effect of bruising and cuts. The effects of makeup have been skillfully applied and exaggerated to get the maximum effect and serve Thornton's purpose: that there is constant violence on the streets of Alice Springs. Thornton wants to expose this, he wants to show the world the Alice Springs he knows. Through the skill of the makeup artist, the application of makeup creates a brutal image to emphasize how brutal the violence is. Cinematography also plays a role in creating suspense through only showing Delilah's silhouette and this adds to the shock value to when Delilah's face is revealed. Makeup is used to really shock the audience and the drastic change that has occurred to to Delilah's face helps the audience understand how brutal the violence in Alice Springs really is.
In conclusion, Thornton is trying to expose the Australian community to the realities of life for aboriginal youth. The visual techniques of cinematography, props and makeup are all used to show a different reality and build up a picture of aboriginal youth's lives. The idea of the growing dislocation between aboriginal youth's and their culture, the lack of hope and resorting to substance abuse and the constant violence that occurs on the streets of Alice Springs are all developed through these techniques. These ideas in themselves are not specific to Aborigines, in fact they are a world-wide problem, however the setting of Australia and Alice Springs makes it relate to Aborigines. Thornton is part of a new generation of Australian filmmakers: Aborigines telling the aboriginal story and he has tried to make the film as realistic and effective as possible. At the moment, the aboriginal youth's are suffering a lack of identity and are struggling in this world and many Australians need to know and understand this. They need to know how tough aboriginal life really is. This film confronts audiences, exposing them to this idea and this is achieved and developed through the use of visual techniques, cinematography, props and makeup.
Samson and Delilah directed by Warwick Thornton, is a love-story drama that focuses on the lives of two teenaged Aborigines. These two Aborigines live in an isolated aboriginal community however when Delilah's Nana dies, circumstances force them to abandon their life in the village and head to Alice Springs in central Australia. This film follows their romance and Samson's addiction to petrol as they struggle to make their way in the world. Thornton's main purpose in this film is to expose the Australian community to the realities of life for Aboriginal youth. He uses the visual techniques of cinematography, props and makeup to present a range of slightly different messages that have all become a reality for aboriginal youth.
Cinematography is used by Thornton to develop the idea of the aboriginal youth's growing dislocation from their society and culture. This is shown through the camera work used in a particular scene where Samson first begins to feel a growing distance from his community and by extension, his culture. Three specific shots are used during this scene to emphasize this idea. A high-angle long shot overlooking the village with Samson's bottle of petrol in the foreground, establishes his growing isolation. Until now, Thornton had largely used close-up and mid-shots that showed the bond of the community. Now however, the first real long shot of the film shows us not only Samson's emotional but physical distance from his community. This cuts to a mid-shot f Samson sniffing his petrol which is his solution to the problem before another log shot, this time of Samson, is used. Samson is walking away from the camera, the audience his village and it shows the rejection of his culture. Throughout the scene, dischordant string music adds to Samson's feeling of rejection. Like too many Aborigines and especially their youths, Samson has begun to feel a dislocation from his society and like an outcast. Thornton understands that this is an important and growing problem so through the cinematography he has tried to make it stand out to show how significant this scene is. The camera work used during this scene contrasts with the rest of the film so far through the use of long shots and it sticks out to the audience helping portray its important message, that the aboriginal youth's dislocation from their culture has become a reality of their life and the audience are encouraged to think about this.
Props, specifically Samson's can of petrol, are used by Thornton to help the audience understand the lack of hope aboriginal youth experience and why they resort to substance abuse. For Samson, his life is dominated by petrol right from the moment when he wakes up. The opening scene of this film begins with a mid-shot of Samson waking up to establish that this is his story and help the audience understand his character. As the scene develops Samson's actions are slow and groggy until he sniffs his petrol and becomes more energetic. The can of petrol is the first prop we associate with Samson and he is thereafter constantly seen with it. Unfortunately for Samson, the petrol has become a reality of his life. It has become part of his routine, he cannot wake up without it and it even threatens to destroy his relationship with Delilah which is all he cares about. Samson's addiction is a representation of the aboriginal youth's growing addiction and the increasing amount of substance abuse. This has become a reality of aboriginal life and Thornton knows it. His own brother, who plays the role of the homeless Gonzo, lives on the street and goes to rehab. Thornton's goal in this film is to show Australian society and the world the reality of aboriginal life. Far from trying to hide Samson and the aboriginal culture's addiction, he is trying to expose it. Through Samson's continual reliance and contact with the petrol, the audience is assisting in trying to understand his addiction. His bitter experiences and his oppressed character are used in conjunction with the petrol to show why many Aborigines are drawn to substance abuse and why it has become a reality of their life.
Makeup is used by Thornton to illustrate to Australians the idea of constant violence on the streets of Alice Springs, being a reality of life for aboriginal youth. When Delilah returns from her kidnapping and presumably her beating and rape, makeup is used to really shock the audience and underline the violence that occurs in Alice Springs. The brutality of that violence is emphasized through how disfigured Deilah's face is. A long shot of her silhouette establishes her return but we do not know her condition and the subsequent cut to her face is designed to startle us. Her hair is matted with blood and dirt which also covers her face and clothes. One whole side is bashed up, there is swelling on her eye and cheek, created through the use of prosphetics and tissue. An eye has been closed with an adhesive and blush and eyeliner creates the the effect of bruising and cuts. The effects of makeup have been skillfully applied and exaggerated to get the maximum effect and serve Thornton's purpose: that there is constant violence on the streets of Alice Springs. Thornton wants to expose this, he wants to show the world the Alice Springs he knows. Through the skill of the makeup artist, the application of makeup creates a brutal image to emphasize how brutal the violence is. Cinematography also plays a role in creating suspense through only showing Delilah's silhouette and this adds to the shock value to when Delilah's face is revealed. Makeup is used to really shock the audience and the drastic change that has occurred to to Delilah's face helps the audience understand how brutal the violence in Alice Springs really is.
In conclusion, Thornton is trying to expose the Australian community to the realities of life for aboriginal youth. The visual techniques of cinematography, props and makeup are all used to show a different reality and build up a picture of aboriginal youth's lives. The idea of the growing dislocation between aboriginal youth's and their culture, the lack of hope and resorting to substance abuse and the constant violence that occurs on the streets of Alice Springs are all developed through these techniques. These ideas in themselves are not specific to Aborigines, in fact they are a world-wide problem, however the setting of Australia and Alice Springs makes it relate to Aborigines. Thornton is part of a new generation of Australian filmmakers: Aborigines telling the aboriginal story and he has tried to make the film as realistic and effective as possible. At the moment, the aboriginal youth's are suffering a lack of identity and are struggling in this world and many Australians need to know and understand this. They need to know how tough aboriginal life really is. This film confronts audiences, exposing them to this idea and this is achieved and developed through the use of visual techniques, cinematography, props and makeup.
