An Interesting Subtext
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- Just Passing Through
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- Just Passing Through
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I like your idea. Honestly, I hadn't really thought that hard on the movie before.
Also, as for what Silent_Hill_Tourist said here,
Along the no eyes=no soul thing, it also seems like monsters are so insignificant. Just tools, nothing worth having any individuality--souls, for example.
It reminds me of a common film device: the shadowing of a supporting cast member's face to dub them as unimportant in terms of character and emotion, however still there to do the simple job of pushing the plot a little bit or adding a small detail. An example of this, the very famous movie Citizen Kane-- the part with Jed Leland (Joseph Cotten), as an old man in the hospital, and the nurses come up, faces obscured, and insist on moving him as he's trying to have a conversation with reporter Jerry Thompson (William Alland).
I'm sure there are plenty of other examples, but that's the very first one that came to mind.
Again, I like your ideas and in connection with eachother, both of you.
Also, as for what Silent_Hill_Tourist said here,
I'd like to add to that.Y'know how I aid about the "the eyes are the windows to the soul" maybe with the monsters it's no eyes=no soul?
Along the no eyes=no soul thing, it also seems like monsters are so insignificant. Just tools, nothing worth having any individuality--souls, for example.
It reminds me of a common film device: the shadowing of a supporting cast member's face to dub them as unimportant in terms of character and emotion, however still there to do the simple job of pushing the plot a little bit or adding a small detail. An example of this, the very famous movie Citizen Kane-- the part with Jed Leland (Joseph Cotten), as an old man in the hospital, and the nurses come up, faces obscured, and insist on moving him as he's trying to have a conversation with reporter Jerry Thompson (William Alland).
I'm sure there are plenty of other examples, but that's the very first one that came to mind.
Again, I like your ideas and in connection with eachother, both of you.
The Necronoir wrote: Could someone with the DVD take a closer look at the grey children and see whether they do have functional-looking eyes or not?
I think the eyes are still functional because of the way his brows move when he looks at Rose. And he looks up at her.
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Interesting... I never even thought of such a connection, though it makes sense thinking about now. Good job, The Necronoir.
An interesting da Vinci quote this makes me think of: "The eye sees a thing more clearly in dreams than the imagination awake."
An interesting da Vinci quote this makes me think of: "The eye sees a thing more clearly in dreams than the imagination awake."
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you know she moves like sin.
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- Saourealis
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This is an excellent point to bring up.
We have no proof that -every- student picked on Alessa, although it is obvious that she was a target to many of the children. Assuming that there were some students who left her alone, they obviously did nothing to help her, either. Most people believe that letting a bully carry on is just as bad as bullying the person oneself. I think it's plausible to assume that the Grey Children don't represent -only- Alessa's bullies, but all of the school children. The head turned to the left may symbolize the students who turned the other cheek and were indifferent to her pain.
...I can't believe no one answered this.The 8th Aspect wrote:>I believe their eyes work seeing as how they continually follow Rose.
That doesn't necessarily mean they can see.
But I do agree, it looks to me like they have functional eyes but the face is set to the left side of the head. So what does that mean, if it even means anything at all?
We have no proof that -every- student picked on Alessa, although it is obvious that she was a target to many of the children. Assuming that there were some students who left her alone, they obviously did nothing to help her, either. Most people believe that letting a bully carry on is just as bad as bullying the person oneself. I think it's plausible to assume that the Grey Children don't represent -only- Alessa's bullies, but all of the school children. The head turned to the left may symbolize the students who turned the other cheek and were indifferent to her pain.
[quote="JuriDawn"]See, that's what Silent Hill's been missing: scantily clad bitches. Silent Hill 5 will feature an all-female cast of hyper-sexualized lifeguards and camp counselors stranded at Toluca lake. One of the puzzles will require that the player swap the characters' bathing suits, and you will be able to pursue a lesbian love story side-plot on Next Fear.[/quote]
Re: An Interesting Subtext
The hand sign is the mano cornuto ( italian for "horned hand"), it is used to protect from malocchio, which is again Italian for "malovent eye", or just simply the "evil eye".
Pointing this gesture at someone means " I curse you".
Pointing it downward, like to the ground, or behind the back, means to protect oneself from curses. (It can also mean "I don't trust you, or pointed at a person, meaning " they are unfaithful to you".
Interesting stuff!
Pointing this gesture at someone means " I curse you".
Pointing it downward, like to the ground, or behind the back, means to protect oneself from curses. (It can also mean "I don't trust you, or pointed at a person, meaning " they are unfaithful to you".
Interesting stuff!
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Re: An Interesting Subtext
I think I read that somewhere before, but where is the great question. Is it that some students bullied her or was it all of them, because if it was all then how did these kids know that?Pastucci wrote:The hand sign is the mano cornuto ( italian for "horned hand"), it is used to protect from malocchio, which is again Italian for "malovent eye", or just simply the "evil eye".
Pointing this gesture at someone means " I curse you".
Pointing it downward, like to the ground, or behind the back, means to protect oneself from curses. (It can also mean "I don't trust you, or pointed at a person, meaning " they are unfaithful to you".
Interesting stuff!
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