This resonances with the characteristic of Surrealism, which in it’s nature is about releasing the creative potential of the unconscious mind, mostly in form of irrational juxtaposition, fantasy and imaginative images and motion. ![]() The contradiction of his figure facing his own image in the treatment chair shows of his own self incongruity in seeking to do erasure of the memories with Clementine, with the regrets and pursuit of retaining them. ![]() In the background, stands Joel Barish’s past reflection carrying two bulk bags of stuff related to clementine ready for the therapy during his last visit to the clinic. In the second middle ground, Mary the receptionist is taking his reservation the first time he showed up in the clinic. When Stan Fink, a technician for Lacuna the memory eraser company, sneaks into Joel’s house while and tries to overwrite a flaw by erasing remnant memories of Clementine, in the scene where Joel is experiencing complexion of memory confusion, spectators can see Joel in the clinic chair in foreground, with Stan showing him objects related to Clementine in the front middle ground undergoing treatment. Mise-en-scene of the film is represented in an surrealism form, in frames unraveling transitions of space and staircases and fluidity of time, the playful sometimes spooky overlapping of time and occurrences all happening within a frame leaves an etching impression of the films unique narrative style. The cinematic visuals of the film Eternal Sunshine of the Spotless Mind perfectly blend into it’s sci-fi nature, which mostly takes place inside the protagonist Joel Barish’s mind, as he undergoes the treatment of erasing the memory of his lover Clementine Kruczynsk. You can not love sci-fi, but you can not not love " Eternal Sunshine of the Spotless Mind " if you are a lover of love stories and poetry. The Film art of Eternal Sunshine of the Spotless Mind
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