The right the color of the scene changes from

first and opening scene of Ulysses’ Gaze begins with a flashback to one of the
Manakis brothers, Yanakis Manakis. When the camera goes panning along a pier,
an old man who used to be assistant of Yanakis Manakis, tells A a story that
Manakis had wanted to take a photograph of sailing blue ship. Then we see two
men, Manakis and his assistant on the pier. Manakis is having a heart attack
and died while he is photographing blue ship. When the scene starts panning
from left to right the color of the scene changes from the past’s black and
white to present’s color film. Also, we can understand the time of flashback by
the clothes of the Manakis and his assistant. While Manakis is in 1900’s
clothes, his assistant is in today’s clothes. Angelopoulos caught a small but
big point by the difference of clothes in this scene instead of using some
special effects to address flashback. At the same time, the assistant of
Manakis tells A the story merely by walking a few steps toward A, as the ship
leaves the pier. In this scene, with few slow, horizontal camera movements and
long take shot, Greek director Angelopoulos shows how simple camera movements
can create a complex plot with a simple dialog from the Manakis’ assistant. As
soon as Manakis’ assistant finished his speech, A starts walking with panning and
gradually zooming camera, and looking through the ship and say “…the three
reels, the journey…” this catchword is also summarising the film. The journey
of first gaze. When we look at the Keitel’s character A undoubtedly stands for
Angelopoulos. Greek director mirrored himself to A. Angelopoulos first wanted
to give A’s role to Al Pacino but when he saw Harvey Keitel’s performance he
wanted to give him this character. Keitel is a great spontaneous actor and good
at reflecting his thoughtful soul with his slow measured acts so that he
perfectly fit the A’s character. We can see A’s actions, thoughts for the “three
reels” in the following scene, where he returned to his roots Florina for the
opening his latest film The Suspended
Step of The Stork (1991) -which is actually Angelopoulos film- the film is
screening in the Florina square because the film is banned by the fanatic
protestants and they don’t allow people to watch it at the cinemas. People in
the streets standing with umbrellas in rainy night listening the film. This
scene is an example of foregrounding of duration when three-minute lateral
tracking shot passes the umbrella-holding peoples of Florina, a camera movement
that is simultaneously accompanied by the periodic ringing of the city’s bells.

The recurring bells, the static character of these peoples, and the gradual
movement of the tracking camera all contribute to slow down the shot’s rhythm;
as a result, its duration becomes perceptible.

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