The Facilities Used By The Convicts Critical Thinking

Analysis of the used construction space within the scenes of “The Great Escape” by John Sturges

In addition to the above, the scene is epitomized with few concepts of space elements within it. For instance is the definite geographic coverage within this scene is evident in the sense that the newer facility is up to date in prevention of escape attempts. This reflects von Luger’s faith and precise comfort and overall plot determination (Farber 4).
The film’s director consequently uses environmental space to present the film as being generally conventional and unimaginative. The two outstanding characters are evidently variant in the perspectives which they hold. This relates to Manny’s analysis of character space (4). Also, the film director’s accent on the setting of the new camp as being expanse and critically secluded as depicted in the film adds more to an uncertain fate of the prisoners of war since they failed in their escape attempts on day one (Sturges).

Psychological space is also palpable in the scene in a plainer manner, thanks to the film director’s concise attempt to enable audience gain character attributes. Von Luger is rather depicted as self-possessed with the new facility. In addition, Manny insists that uniting style between characters in the movie controls all aspects of the film (5). Here, the movie’s theme (escapism) and character expression seem to be mocked further due to the described measures. This undeniably adduces audience intellectual challenge in comparing the sarcasm against the central theme of the film.
The second scene in point involves presentation of the notorious convict, Barlett to the camp. Here, the director seems to concentrate on the prisoner as he is being described by the agents who have presented him (Sturges).The relationship space between him and the agents paints a sort of unfriendly affiliation between them (5).The field of screen spatial feature is further exhibited by the patent depiction of the newer inmate as it is significantly assisted by the camera’s positioning thereby presenting an acute image control.

The screenshot above is an indication of the notorious convict,.

Besides that, environmental space’s utilization within the scene adopts a sort of rhythmic and swift cut skill that enables emphasis to the variant positions held between the new inmate and the agents. Rollins and John (105) bring the similarity of the negative space in The Civil War in regard to the environmental space. It is therefore apparent that many movies of the period had construction space within spaces. Moreover, the environment space in the scene illustrates deep persuasion to the fact that von Luger loathes the instructions given unto him by the lead agent. This is irrefutably somewhat an allegorical imagery being painted to the audience and extreme reproach. Therefore, it translates to metaphorical space, which exhibits discontent by a character’s activities (7).
The psychological space within the scene is expressively embodied in the form of negative space. This is in consideration of the variant positions assumed here as the agents hold the new inmate in extreme awe and von Luger hates being given instructions as he is full of himself. Moreover, the negative space in this scene clarifies von Luger decides to lock the inmate together with the rest instead of secluding him as had been supposed by the lead agent. The director’s camera works of screening clouds precincts in light of the decision and enriches the scene’s construct space. As such, the cinematography in this scene elucidates more on the tone and visceral immediacy to the succeeding scenes.

Preparation for the great escape

Finally, the third scene involves the preparation for the great escape that has been hatched (Sturges). The film’s director clearly expounds on the precise activities, which landmark the escape outline. The camera emphasis on the digging of the three tunnels and singing of prison’s choir achieves figure space, which alludes to the fact that they are essential assets to the characters. Additionally, the director’s close up shots on the screen within the tunnels being dug highlights on the importance borne. Hence, the relationship of this space climaxes the activities undertaken within the escape scheme.
Significantly, psychological spatial achievement within the scene has been explored through the various characters. Furthermore, stylistic unity as an implication of space is characterized ominously through the individual character skills (4). Worth noting is the prisoners’ determination highlighted in this scene that is reciprocated to their psychological space. From this scene, the director seemingly uses space to climax the film’s theme, which draws viewers. This is relatable to Manny’s assertion of space use to attract viewers’ attention and relative emotions. Also the dominant camera focus on the prisoners’ activities by the director boosts prominence to the escape strategy especially to audience, which is imperative in psychological space (6).
The geographical space element within the scene impetus of space within the scene is substantially shown by the inmates’ cooperation and patent camera effects to their regard. Demonstrably, the spatial threads achieved by the film’s director within the scene flawlessly knit together the set of activities that the prisoners partake. The definite focus of the close-up shots, limits the viewpoint of the surrounding places. This categorization relates the geographical space since angle of camera and shots taken certify the director’s embodiment of actuality in image size and activities undertaken. Besides that, the alternate lighting effects within the scene add to the relevant manipulation of geographic spatial element that is indeed achieved by pictorial concept of the scene.

Works Cited

Farber, Manny. Negative Space: Manny Farber on the Movies, pdf.2009. Web. 10 March 2015
Rollins, Peter C., and John E. Connor. Why we fought America's wars in film and history. Lexington, Ky: University Press of Kentucky, 2008. Print.
Sturges, John. “The Great Escape” film, 1963.Web. 10 March 2015