Samsara Time Analysis (4D Essay PDF

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essay on time in the film Samsara...

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Samsara: Film Analysis

Modern transportation allows for distance to be looked upon as effortless and accessible. Tourism has impacted numerous countries, if not all, beneficially as a primary source of income. Correspondingly, consumerism has skyrocketed resulting in some countries to stop going about in their traditional ways. This neglect could have harmful impacts on the land, people, and animals that the country may populate. Ron Fricke’s beautifully textured, non-narrative documentary film Samsara,  explores the natural world in the course of over 5 years, in 25 different countries on 5 continents. Filmed entirely with a 70mm lens, Samsara  transports the viewer to historical landmarks, natural wonders, factories, and cityscapes. These subtle transitions are achieved through a continuous use of music and time lapse effects. Juxtaposition is also a tool used throughout the film, contrasting extremes: life to death, luxury to poverty. As a result, Fricke adds a political aspect to his film. He presents the notion that as a society, together we as humans are exceptional at constructing things, but we may be even more so at destroying things as well, such as our planet, let alone ourselves. The term ‘samsara’ refers to the ongoing cycle of life: birth, death and rebirth. Fricke uses this definition by experimenting with the passage of time throughout each scene. The result is exceptional. Time is shown carefully and cleverly since there is no specific theme or narration throughout the film. The opening scene presents three young girls performing a traditional dance, in which the camera focuses on their expressions, colors, and the beat of the music. The music helps transcend the viewer into these unrecognizable places. The locations vary. For example, gushing hot lava and clouds of smoke shifts to a scene depicting a comparison to a dead fetus

and a soldier. These drastic differences invite the viewer to make comparisons. As a result, Fricke’s direct interaction between film and viewer is an interesting technique. “It explores how human culture and nature exist in a give and take, shown both through both sweeping landscapes and the tiniest detail” (Cline, Toronto Film Festival). The imagery has no opposition towards anything specific and allows plenty of room for interpretation. This interaction between one's interpretation can often be represented by the term ‘archetype.’ “An archetype is an image/symbol that often represents human experiences and recurs so often that it can be observed as a universally known trait across other cultures” (Seger, Creating the Myth). These are rooted and conceived from the “psychic activity.” The entire film was shot on 70mm film which is “a triumph of the moving image” (Lyndon, in70mm.com). Fricke uses aspects of time lapse effects to quickly and effectively display the span of time in a certain place. This can be seen in the section that depicts a mound of sand changing in color and texture as the sun rotates. “There are also clever images of statues and mountains that seem to observe the passage of time. People are photographed staring directly down the lens, which is sometimes rather unnerving. All of this allows us to interpret the images on our own terms” (Cline, Toronto Film Festival). The political aspect Frick inserts enacts a switch in the viewers’ thoughts on what Frick’s intentions are for this film. Motifs of consumerism and destruction as a result of consumerism, are displayed clearly, this and may be hard to watch. Exceptional film reviewer, Roger Ebert, believes scenes showing food production, obesity, and the red-light district are the reason for its’ PG-13 rating. “I experienced it as a shriek of terror. On this ancient and miraculous world, where such beautiful natural and living things have evolved, something has gone wrong when life itself

is used as a manufacturing process. I read that in 50 years, we must adopt a largely vegetarian diet or die, and forgive me if I take that as good news. Something is out of balance, and ‘Samsara’ regards the sides of the equation I fear I haven't communicated what an uplifting experience the film is. In its grand sweep, the chickens play a tiny role. If you see it as a trance movie, a meditation, a head trip or whatever, it may cause you to become more thankful for what we have here. It is a rather noble film” (Ebert, “Samsara Review”). Fricke does not provide the viewer with a clear answer on how to fix issues such as obesity, food production, and pollution. That is for us to decide upon when the time comes. He rather puts blame on to humans that the reason we have a sex trade, prisons, obesity, etc. is because of our wrong doing. Samsara is an outstanding film of the moving image that transports us into a world as we get lost in the realities of beauty and horror. The contrasts between each scene is unique and is progressed by the music and special editing effects Fricke inserts. This film displays through non-narration, sound and visuals that imagery speaks louder than words.

Bibliography:

● Samsara. Ron Fricke. Mark Magidson Productions, 2011. Film. ● Cline, Rich. "Shadows on the Wall | Arthouse Films." Shadows on the Wall | Arthouse Films. Toronto Film Festival, 30 July 2012. Web. 19 Apr. 2015 ● Lyndon, Mark. ""Samsara" Is a Triumph of the Moving ImageI Strongly Urge You to See It." "Samsara" Is a Triumph of the Moving Image. In70mm.com, n.d. Web.19 Apr. 2015. ● Ebert, Roger. "Samsara Movie Review & Film Summary (2012) | Roger Ebert." All Content. N.p., n.d. Web. 19 Apr. 2015. ● Seger, Linda “Creating the Myth”...