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Obsession devastation and control a movie vs book

Oscar Schwule, The Picture of Dorian Dreary

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Although made in different eras, Oscar Wilde’s 1980 gothic novel The style of Dorian Gray and Damien Chazelle’s 2014 theatre film Whiplash are equivalent in the hunt for obsession, damage and control by the text’s creators. Chazelle and Outrageous analogously explore the concept of obsessions as they develop in the minds of the protagonists, corresponding through their particular utilisation of minor characters yet different in the characteristics of the fixations examined. Likewise, both text messages incorporate the idea of a manipulative dynamic among two people, forming clashes between the methods of control explored by the creators and the different techniques employed to examine how fear can influence the characters. Because both creators conclude their texts with all the destruction from the protagonist, in the end of Whiplash echoes a key motif where The Picture of Dorian Grey exhibits a metaphoric ending. Furthermore, Wilde’s symbolic portrait and Chazelle’s close ups allow every to emphasise an idea of physical destruction developing out of psychological devolvement.

As characterisation and allusion permits the central characters of Wilde’s book to explore a great obsession with physical beauty, Chazelle’s assemblage reveal the protagonist of Whiplash developing a dissimilar focused fixation about drumming. In The Picture of Dorian Greyish the leading part is instantly distinguished by simply his overall look first referred to as “a young man of remarkable personal beauty”, foreshadowing the importance of Dorian’s physical appearance more than his temperament. This idea fuels the character’s passion with his own beauty as well as its preservation with Wilde forming an analogy between Dorian and the classical myth of Narcissus whom tragically loved his very own reflection because “in a boyish mockery of Narcissus, [Dorian] acquired kissed [¦] those painted lips” of his symbol. Contrastively, the first brief montage observed in Whiplash establishes Andrew’s growing passion, with Chazelle integrating close ups of any “Buddy Rich” photograph and album to convey the idolised ambition fuelling the protagonist’s fixation (Fig. 1). In addition , the succeeding frames in the montage lower between Andrew and a minimal angle taken tracking in towards a drum established, emulating a great atmosphere of worship and power (Fig. 2). In contrast to the montages of Whiplash, Wilde manipulates Basil’s character to explore a great obsession only developed by beauty as he declares Dorian’s “me[re] visual presence” implies “an entirely new manner in art”, equating him to the “face of Antonius [in] Ancient greek sculpture”. In a different way, a second assemblage in Whiplash implies how Andrew’s obsession consumes his life simply by combining photographs of intense drumming with sequences of Andrew fanatically moving to rest next for the drums (Fig. 3). While using concept of infatuation central to both The Photo of Dorian Gray and Whiplash, Wilde explores a fixation in physical natural beauty through characterisation and allusions to Ancient greek language mythology, while the techniques incorporated into Chazelle’s assemblage convey a diverse, achievement-orientated infatuation with music.

Small characters in both Whiplash and The Picture of Dorian Gray happen to be utilised to explore the corresponding concept of obsessive behavior and its impressive effects. Chazelle stresses the suppressed insanity of Andrew’s fixation simply by juxtaposing a loud collection of him drumming in frenzied point out with a large mid-shot of his initially date with Nicole- showing a contrasting calm blue-green colour scheme and softly voiced dialogue (Fig. 4). Just like Nicole, Sibyl highlights the destructive infatuation Dorian has with visible and imaginative beauty, when he bases all their engagement purely on this infatuation claiming her “mere magnificence could fill your sight with tears”. Thus once Sibyl fails to meet Dorian’s expectations of beauty in her acting, he cruelly rejects her declaring that she “killed [his] love” with Wilde exploiting her consequent committing suicide to highlight the dangerous effects of Dorian’s narcissistic preoccupation with aesthetics. In the same way, while close medium close ups in the first date scene of Whiplash imply a connection involving the characters, Nicole’s discussion of her undecided collection major clashes sharply with Andrew’s tenacious fixation on pursuing excellence in punk drumming. As a result, Chazelle slashes to a extensive shot accentuating the physical distance between your two heroes to represent the philosophical divide among Nicole and Andrew because of his excessive behaviour, building the foundation of his later rejection (Fig. 5). Alternatively, Henry inside the Picture of Dorian Greyish becomes a medium through which Schwanzgeile expresses the aesthetic theories at the core of his new that start Dorian’s passion with natural beauty, as he reports that splendor “is a type of genius” and “the ponder of all wonders” with a “divine right of sovereignty”. In the end, Chazelle and Wilde in the same way incorporate small characters within their texts that function as a limelight to emphasise Toby and Dorian’s obsession and isolation.

In Whiplash, Fletcher encapsulates the archetype of a tyrannical leader, managing Andrew with hostility and violence, as the charismatic and alluring Henry of The Picture of Dorian Gray, dissimilarly prefers to entice Dorian together with the promise of pleasure and exhilaration. Fletcher’s ordinario language and malicious abuse are crucial to his persona, reflecting his aggressive methodology of treatment as dialling Andrew a “worthless, friendless [¦] very little piece of shit” with warnings like “If you purposely sabotage my band, I will gut you like a pig”, evidently just made him practice more in the making it scenes. In comparison, Wilde employs the works of fiction omniscient third person perspective to represent Henry’s more subtle and passive approach to manipulating Dorian using his “philosophy of pleasure”, because the narrator observes that when Henry “talk[ed] to [Dorian] it was just like playing upon an exquisite violin. He responded to every feel and excitement of the bow”. Additionally , Chazelle examines the symbolic value of Fletcher’s hand like a weapon of control by cinematically offerring its importance with close ups, central shifts and contrastive severe foreground light (Fig. 6). Specific counter shots in Whiplash emphasise the dying but considerable control a conductor has over his band, and Chazelle infers the power Fletcher gains using this by making his hand identifiable with approaching violence (Fig. 7). Just like Fletcher’s performing hand, Henry’s extravagant dialect and dialogue acts as a weapon drawing Dorian towards problem. Wilde uses this discussion to herb the seeds of Henry’s influence together with the narrator seeing how Henry’s “mere words” had “touched some secret chord [in Dorian] that [¦] this individual felt was now moving and throbbing to wondering pulses”. Though Whiplash plus the Picture of Dorian Grey correspond with regards to the concept of the control, Chazelle highlights Fletcher’s aggressive affect with hostile language and symbolism whereas Wilde characterizes Henry as being a manipulator with a charming way through an omniscient narrator.

Both Whiplash and The Picture of Dorian Gray take a look at how dread can control and affect characters decisions, though exactly where Chazelle takes advantage of the personas physical appearance and composition, Schwanzgeile employs symbolism. Fletcher’s physical appearance in Whiplash is put to use to convey the sense of threat experienced by Claire, which is necessary to understanding his consequent submissive reactions. Chazelle draws the audience’s concentrate towards Fletcher’s muscular physic with light, creating dark areas that extenuate the lines and make up the aura of power and strength that emanates from his character (Fig. 8). As Chazelle is targeted on creating Fletcher’s atmosphere of intimidation, Schwanzgeile exploits the symbolism of the “yellow book” to stress Dorian’s fear of fatality as a crucial provocation to get his wrong behaviour. The only difference between book and Dorian’s your life in that the “Parisian” develops and unsightly while Dorian remains young becomes the basis of the symbolism. Since Dorian becomes “more and more enamoured” with his own natural beauty and the fear of losing this, he subsequently grows “more interested in the corruption of his very own soul”, thus as it is Henry who provided him the book, it is Henry who may be exploiting Dorian’s fear of mortality to reinforce his poisonous hedonistic influence. Additionally, Chazelle emphasises the lack of physical contact but frequent closeness between Toby and Fletcher as the framing and composition of shots reflects the attack of the characters’ personal space (Fig. 9). This implies Andrew’s fear traditionally stems from the threat of internal physical violence in the form of disapproval and letdown rather than inside the literal feeling, forming the core of Fletcher’s effect as Andrew’s actions reveal his aspire to meet targets. While Chazelle develops Fletcher’s aura of power to stress his manipulation of Andrew’s fear, Wilde focuses on how Dorian’s fear of mortality increased by the representational yellow publication allows Henry to further control his brain.

Although Chazelle and Wilde in the end convey the either literal or radical destruction with their protagonists, Whiplash exhibits a great ending that parallels a core theme where Schwule infers metaphoric ideas to convey an underlying spirits. The final displays of Whiplash mirror the recurring theme of the “Charlie Parker” anecdote, in which a brighten drummer includes a cymbal at the well-known saxophonist’s head- who one year later performs “the best solo” of his career. The reiteration of the story foreshadows Andrew’s final confrontation with Fletcher, when he ferociously plats his ideal performance inspite of the psychosomatic misuse he has suffered. Chazelle amplifies the intensity of Andrew’s psychological damage by incorporating the strong rhythmic soundtrack with slowly shorter photographs that build-up to a last counter close up of Fletcher’s fleeting manifestation of approval and Andrews feeble smile in response (Fig. 10). The group is positioned to take Andrew’s alone as working example of Fletcher’s sadistic instructing method, as he finally attains his great “Charlie Parker”. However , this comes at the expense of destroying the humanity and spirit of Andrew who have, ironically, by proving the potency of Fletcher’s mistreatment, will forever be hostage to his influence. Like Whiplash, The Picture of Dorian Gray ends with the ironic destruction of the protagonist while, in an effort to start up a “new life” and be “good”, Dorian seeks to eliminate the only symbol of his conscience- the portrait- and face the immorality of his soul. Yet because Dorian is basically the essence of this immorality he looks for to damage, by metaphorically killing the painting, this individual kills him self and contains the physical consequences of his trouble. In depicting death because Dorian’s only salvation, Wilde reinforces thinking about “purification in punishment” and thus criticizes the hedonistic life-style. As Schwule highlights Dorian’s physical break down with a metaphoric ending, Chazelle intensifies a final sequence in Whiplash to depict the destruction of Andrew’s spirit and psyche as he, as opposed to Dorian that is liberated from his sins in death, will never avoid Fletcher’s control.

Chazelle and Schwule similarly emphasise the immediate physical devastation from the seite an seite psychological devolvement of their protagonists, however Whiplash depicts idea through close ups and hand-held shots while The Picture of Dorian Gray is exploring the idea using a portrait theme. The physical consequences of any damaged psyche in Whiplash is established the moment Chazelle juxtaposes a shot of Andrew’s busy erratic drumming, with a slow motion close up of his bloody fist going into ice. While the blood dramatically disperses inside the water, along with alludes for the manifestation of psychological pain in the heroes actions and condition, just like the “scarlet” blood that “gleamed, wet and glistening” on the hands of Dorian’s portrait after this individual murdered Tulsi (Fig. 11). Contrary to the double entendre of Chazelle’s cinematic techniques, the metaphoric concept of Dorian’s portrait is usually explicitly communicated as Wilde writes “the picture [¦] would be to [Dorian] the visible emblem of conscience”. Hence, as Dorian pursues a decadent and immoral way of life, the face bears the physical records of his “sins”, transcending its two-dimensional properties becoming a character itself, a physical moderate through which Wilde conveys Dorian’s psychological devolvement. In contrast to Wilde’s literary meaning, Chazelle’s make use of erratic hand held shots positions the audience to experience the hysterical and disoriented condition of Andrew’s psyche, along with close ups of exacto allusions to suffering just like blood and sweat that connect Andrew’s destroyed way of thinking with his physical pain. In which Wilde utilises the symbolic significance of the portrait to fret the physical effects of Dorian’s deteriorating mentality, Chazelle withought a shadow of doubt makes the same connection involving the destruction of Andrew’s body and mind with particular close ups and hand held shots.

With parallel plots, Whiplash and The Photo of Dorian Gray delve into the psychology of compulsive behaviour. Although Chazelle’s montages illustrating a fanaticism for drumming curve from Wilde’s allusions to classical mythology and discordant infatuation with beauty, the two writers make use of minor characters to assert the isolating effects of this intense behaviour. In the same manner, the notion of controlling aspect between personas and the manipulation of fear is at the core of both texts. Wild emphasises Fletcher’s extreme influence and aura of power with composition and costume, which in turn starkly comparison Henry’s captivating manipulation deduced by the narrator and highlighted by Wilde with meaning. Chazelle and Wilde distinctively develop a connection between physical and psychological damage that ultimately occures into the both literal or perhaps figurative damage of the leading part in the denouement of both equally narratives. Consequently, while the framework of Whiplash and The Photo of Dorian Gray drastically differ, the interconnected portions of obsession, break down and control extend beyond this difference forming a timeless introspective in to the darker side of human nature.

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