Manuela Saenz

Abstract

This study focuses on the various ways through which space has been used effectively in the work of Manuela Saenz in the epistolary texts. This study is given an approach that is based on an understanding of gender regarding social space which is derived from the concept of the relationship which exists between people. By watching the video, I can deduce the developing interests and complexities in the identity of Saenz as a historical figure[1]. In the first part of this study, I will analyze Saenz male contemporaries while in the second part there will be the analysis of Saenz encounters with individuals.

Introduction

This paper aims at examining the various ways through which the representations of the physical, ideological as well as symbolic spaces have been used in the film Manuela Saenz. The basis of this study is on the fact that social area is composed of the relationships that exist between the subjects and the individuals much of which have a connection between the perceptions of the individual on mental spaces[2]. One key aspect that Manuela uses in the representation of a coherent and dynamic multi-gendered subject in her discussions on citizenship.

Body

The historical figure of Manuela Saenz can be recontextualized and textualized as much as possible. In her times, Manuela earned several titles which have been used over and over again in various incidences. There are two opposing schools for interpretation in the historiography of Manuela. The contrary School interpretation also points to the fact that Saenz is not as bad as it could have been depicted among the people. Manuela Saenz appears to be among an integral part of the cult of Bolivar which has been underpinned since the late nineteenth century[3]. This work is full of Cinematography which makes it unique and more enjoyable to watch.

The power of Cinematography includes evoking the extreme emotions in the watchers such as delight, sadness, delight, and fear via the proper mastery of a cinematic syntax. In Manuela Saenz, there is a lot of cinematic grammars that can be observed by the viewer. These elements are such as short sizes, angles, and movements which are optimized by the exceptional camera work coupled with lighting and which are crafted to enhance the emotions, forms and the various elements of cinematography[4]. The cinematography is ranked among the most complicated and challenging elements in the filmmaking industry.

To determine exposure, the camera uses three variables which are evident in this video such as aperture, shutter, and speed. A hole in Cinematography implies opening, and it is located in the lens. It affects the quality of the Video, and it is regulated by the diaphragm of the lens that opens a dim light and closes to block it. What differentiates the movies from the plays is how the filmmakers conduct a manipulation of the view of the audience when they always look at the entire stage and all the actors that are on the scene[5]. This style is commonly applied in Manuel Saenz.

Long shots and the establishing shots are at times similar to Nature. The significant difference that exists between these two is quite wide in the aspect of the Characters and the objects that are necessary for the drama. A wide shot which is more evident in this video focuses much on the environment. An establishing shot makes an introduction of a new location such as a church, a city street, a rooftop or a beautiful room from a vantage point which gives place for the audience to see the relevant characters in the film stage.

Varied Camera angles have been used in this film. Eyelevel Angle is among the common aspects that are used in this film. This angle is a type in which the camera is put on some height of the subject such that when the actor looks at the lens, he would have to look up or look down. These kinds of eye-level shots are typical for the main reason that they are mostly natural[6]. In most cases, these angles have very little dramatic power, and they are therefore so much ideal for serious scenes and those who should appear natural.

There are other angles have also been used widely throughout the film in some ways to enhance the videography and present ability of the film. In as much as the movements of the Camera are implemented in most cases to add dynamism to the shots, the best appearances are realized when there is a revelation of new information. At the start, the filmmakers at times tilt and pan the camera without much motivation[7]. These moves at times could be distracting or at worst annoying when used too much in the video. However, for the case of Manuela Saenz, the steps are limited which allows the watchers to follow through what is happening in the scenes.

Conclusion

In conclusion, there are several elements of cinematography which are notable in Manuela Saenz film. These elements contribute much to the significance of the film and help set the right mood for each scene. Appropriate lighting is evident throughout the film, and therefore it is more explicit. Also, other elements of cinematography are visible and can be seen clearly throughout the film. These elements are such as shot sizes and camera angles. The camera angles help set the positions of the various characters. The Camera moves are limited to allow the viewers to focus and concentrate throughout the film. In this manner, the necessary information is passed to the viewer.

[1] Pamela S Murray, For Glory and Bolívar: The Remarkable Life of Manuela Sáenz (Austin, Tex: University of Texas Press, 2010)

[2] Murray

[3] Kanopy (Firm) MZed (Firm), Alex Buono’s The Art of Visual Storytelling Cinematography Collection (2016)

[4] MZed (Firm)

[5] Mary Yaneth Oviedo, Manuela Sáenz: Entre El Género Y La Ficcionalización De La Historia (Montréal: Concordia University, 2013)

[6] Jennifer Ussi, Understanding the Technical Elements of Camera Work: Lenses (Bendigo, Vic: VEA, 2015)

[7] Paul R. Wolf, Bon A. Dewitt, and Benjamin E. Wilkinson, Elements of photogrammetry with applications in GIS (New York: McGraw-Hill, 2014)