Charles Dickens Essay

Comparing the ways in which tension and indecision is created in the porta sequences of David lists 1946 & Julian Jarrolds 1999 indication of spectacular Expectations by Charles DickensIn David flows 1946 recitation of Great Expectation clear up is portrayed as a weakened, smart, refined infantile boy, as he will be considered more innocent and vulnerable to the audition. pullulates fair hairs-breadth colour against the darkening background makes the interview think that he is an angelic like figure. play records the vast landscape with tall-silhouetted gibbets to indicate just how small and vulnerable reach is running across the marshland. When Pip goes to visit and weed the grave of his parents, Lean shows this oddly to gain the audiences sympathy. The audience hears everything that Pip hears and this helps us to understand his apprehension. The scream is shocking and makes us gather in his guardianship to his brush with the yardbird. When he is being threaten ed, Pips everywherewhelming politeness and naivety, notwithstanding the life-threatening situation he is in, makes the audience spirit a commodious deal of sympathy for him.However, in Julian Jarrolds 1999 interpretation of Great Expectations Pip is portrayed as a scruffy and an unclean young boy. This image gains the audiences sympathy as we can spot that he is mistreated at home. Jarrolds Pip has dark hair and although he is not seen as an angelic and innocent figure. Jarrold engages the sympathy of the audience by presenting him as a hunted animal. When Pip encounters the label, he is undoubtedly terrified and traumatised. He cannot even look at the con, and is so paralysed with fear he cant even speak.When we first meet the hustle we can see immediately how intimidating he can be. David Lean shows a close-up of his face simultaneously to him jumping onto the scene. This close-up escort is being utilise to show us what the judge is thinking and in any case to show t he anger. This close-up view is also used to prevent us seeing what Pip is doing when the tv camera zooms up on the convict. Therefore we worry for Pip and this chip ins to the suspense of the moment.The convict is an intimidating large man who has a lot of power over Pip. In the beginning he is always shot in darkness, whereas Pip is always shot in bright light to emphasise his innocence. This is particularly noticeable when the convict is in control, arduous to tilt Pip over the gravestone. There is a cut between Pip and the convict to show Pips vulnerability and a close-up of his face highlights his terror. Pip is shown as the opposite to the convict and looks innocent, charming and neatly garbed. The convict however looks untamed and dirty and we presume that this is what he is like and therefore regard him as a bad person.Language is also used to emphasise the convicts aggressiveness. The convict specifically emphasises the words roasted and also riptide him open. These wo rds are emphasised to scare Pip and also to shock the audience. It draws the audience into the story and makes us feel Pips intimidation. The convicts terrifying image adds to the forbidding setting.Julian Jarrolds version of the convict is shown to be incredibly daunting and intimidating. Although no dialog is spoken we can see from his fixed stare on Pip and his angry scowl that he intends to do harm to him. The convict is dressed in old dirty clothes and looks very ill groomed, this adds to the audiences understanding of him as an escaped convict.Lean uses some powerful techniques to show the characters. He shows the vast landscape with tall-silhouetted gibbets to indicate just how small and vulnerable Pip is. The use of light and dark is very legal when me meet the convict. Pip remains in the light but the convicts face is shrouded in darkness to convince the audience of his an unholy nature. Pips lightened appearance shows his innocence and makes the audience wonder why suc h a nice boy is in such a dark and gloomy place. After the confrontation, Pip is seen scrabbling home across the marshes as quickly as possible, against the same eerie landscape.The setting in Jarrolds 1999 interpretation is less stereotypical. It is not dark and the sky is sunny. There is a very high-pitched note, which appears haunting and creepy to the audience. Just before we see Pips head peep out of the drinking straw field, from the convicts point-of-view, we hear breathing and this causes suspense, as we cannot see anyone. The setting of a wheat field is less traditional and does not prepare us for when the convict chases Pip, as no one would expect to find a convict in the middle of a wheat field.The golden reeds add to the peaceful tranquillity of the first shot, and therefore relax the viewer. Jarrold uses his own appraisals and makes the opening more intriguing and exciting. At the beginning we have no idea what is going to happen and because of this Pips running come as a shock, and therefore has more impact. This provides the audience with an immediate incentive to incubate watching. We then follow the dramatic chase that Jarrold has constructed through a wheat field and the graveyard. Jarrolds use of point-of-view shots give the audience a kick downstairs to feel more involved in the film and to help them to feel the confusion of the chase. The wheat field itself is Jarrolds own notion and is not mentioned anywhere in the written novel. However, this really helps to show Pip is trying to hide but that he cannot escape.