Human Mortality in Masque of Red Death - amazonia.fiocruz.br

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Human Mortality According to Heidegger Essay

The thematic elements that were presented in both the original story and adapted film centered around hues, lighting, food and drink, and character behavior background and forefront. Not everything held complete similarity in how it was portrayed: both works took their own separate directions, simple and complex, where the overall narrative was concerned. In the story by Poe, narrative and thematic Human Mortality in Masque of Red Death was more straightforward; there was not a need to focus on complex details, for the writing to accomplish its purpose. Conversely, details were important for the adaptation and its thematic depth: the use of scenery is a default element for cinema, which is important, as it is a huge separation between literary writing and visual cinematography.

Although this divide; which stemmed from different formats of storytelling; may have made it necessary for the film to be more complex in its use of visual detail than the work it was based from, both still carried the overall same premise of death, temporary life, and a sense of grotesqueness that was connected to the idea of living. The element of hue was a predominant theme in both works, despite that both Rhetorical Analysis College took relatively different directions in its application.

Further differences in the film included a number of multicolored and more https://amazonia.fiocruz.br/scdp/blog/woman-in-black-character-quotes/transformation-related-protein-53-a-tumor-suppressor.php rooms that partly drew their own tones from smaller, hidden chambers.

These chambers were also utilized as elements in the adapted cinematic work and were central to the plot presented throughout that work. However, the difference in color usage; between the original text and adapted film; was not limited to the castle layout.

The Human Mortality in Masque of Red Death version of The Masque of the Red Death also centered around the visual element of clothing. This played into how each version of the personified Red Death and Prospero operated as characters, and as figures. Essentially, in both the original work by Poe and its adaptation, they were at their basis opposing, conflicting figures who exemplified material wealth and finality. Yet, themes of division go beyond the conflict between both characters, where the narrative of both works are concerned. Further, the guests— courtiers— respectively mentioned and shown by both the writing and film, were also tied to opulence through their attire. Costumes, whether shown in film or left up to the imagination in writing, defined wealth as it was presented in both works; essentially, they served to tie the idea of wealth into the very event of the masquerade.

The masquerade itself could be seen as a display of affluence and opulence of its own accord; this was a factor presented as an element in both works. Beyond this, inherent importance exists to the idea of changing hues: this is something also shared between both works. The focus that each work gives to specific elements of color and scenery causes a thematic, repetitive effect. Elements that existed in the original text by Poe were still forefront in the film, but other, newer themes religion, humanity in adversity, romance, else competed with the original foci. These additions may have caused earlier elements, from the original work, to lose their central focus. Further, these derivations were changed slightly to fit the cinematic format, in order to tell the premise of the story in a more complex and unique manner. The element of lighting ties into the overall depth of color usage, in both the text and film.

However, the elements of lighting— which echo other differences between both works where the concept of colors are applied— translated differently from the text to the film adaptation. In the original text, the described window panes were blue, purple, green, orange, white, violet, black. This contrasted with a constant thematic presence of both the derived element of windowpanes, and the unconnected, additional element of candles in the film adaptation. These film-exclusive candles, first shown around were of a more limited spectrum: green, blue, white, purple, black and the windowpanes were shown around to be light red, purple, white, red. These windows were displayed in a linear fashion and were placed uniformly throughout the row of similarly-hued chambers in which they were set.

In some significance to the elements of lighting presented in both works, there was a possible nod to the tripods mentioned in the original work, through their application in the film adaptation.

The Mortality Rate Of Humans

In the background of one or more scenes of the adaptation, at least one nondescript tripod exists, unlit. This background tripod was almost placed there deliberately, while its presence was more discrete: being unlit, partly out of view, and an overall nondescript background element. On a further ambient note: food and drink played a larger role in the film than in the original text. In both the original text and the film adaptation, the focus on food is minute.]