David Leans film Lawrence of Arabia Term Paper Example | Topics and Well Written Essays - 2750 words

David Leans film Lawrence of Arabia - Term Paper ExampleParticular emphasis is placed on Lawrences participation in attacks on Aqaba and Damascus, as well as his involvement in the Arab National Council. at bottom this overarching narrative, the film further explores Lawrences complex and oftentimes conflicted identity and perspectives. The film would go on to call for an Academy Award for Best Picture, as well as an extensive array of other awards.1 withal while the film gained great critical acclaim, one considers that the film undeniably is of first class esthetic quality. Through a consideration of criticism, perspective, and my personal opinion, this essay examines David Leans film Lawrence of Arabia. The film opens with a rightfully epic poem credit sequence. While the film title and credits remain static the epic music and slow paced editing indicate to the viewer that the film is going to be expansive and truly Earth moving. Following this credit sequence, however, is a scene where T.E. Lawrence is riding on a motor sea scooter along a narrow road. The filmmakers implement a cinema-verite style means of articulation, as bumpy shots of Lawrence on the motorcycle are counter-posed against point of view shots from his perspective. Critics further argue that Lawrences lack a helmet intensifies his image as wild and potentially reckless.2 The scene itself serves to act as juxtaposition from the slow-paced credit sequence, but too seems to function as a metaphor on Lawrences life.... In the next scene Lawrence is feature writing on a map. It is here that, in a reek, the actual story begins. The film and then explores the meeting that leads to Lawrences transfer to Arabia. While from a strictly narrative standpoint the information in this scene could be explained in a simple sentence, the scene holds the viewers interest through and through the strong and engaging acting and character dynamics. Indeed, this will become a one of the prominent geomor phological elements that drive the narrative and viewer interest. This scene is followed by a shot of the Arab sunrise. This shot demands further consideration, as it is both expansive and exquisite. One considers that the films widescreen format functions as a means of allowing the ravish of this transcendent image. In addition to fitting thematically into the films epic scope, it operates as a powerful interlude between the Western capital model of organization and what could be considered a more(prenominal) desolate, yet firmer connection to natural being evidenced in the Arabian desert. One considers the ancient Muslim tradition of praying towards the Sun, as well as endless mythology that figures the Sun as a central verbal expression of spiritual existence in this sense the scene transcends the films narrative elements for a deeper sense of spiritual purpose. One considers that later in the film there are perspective shots of the Moon and surround stars. The effect seems to be a general linking of the films infrastructure to the timeless and transcendental qualities of the creation and nature. Still, in terms of the narrative this shot functions as a pivotal transition between the aforesaid(prenominal) Western culture and that of the Middle East. This clash of perspectives will become of the films central thorough-puts