It is that time of the year again when everyone is writing about exciting spooky stuff, and to accomplish two objectives with one action, I am contributing to the “October Birthdayz” blogathon hosted by Nuwan at No Nonsense with Nuwan Sen to celebrate the birthday of his sister. The theme is famous people who were born…
Mirrors in Films: Duality, Secrets and Revelations, and the Passage to the Otherworld
Mirrors can play many roles in films. (Narcissistic) film characters can utilise them to satisfy their vanity (“Gone with the Wind” (1939)); to ego-boost (“Taxi Driver” (1976) or “La Haine” (1995)); for self-examination or to marvel at their transformation (“The Aviator” (2004) or “Vanilla Sky” (2001)); or films use them for dramatic showdowns (“The Lady from Shanghai” (1947)), among many other roles and meanings. However, in this piece, I would like to focus on three interpretations in particular: (i) the usage of mirrors as they demonstrate the character’s dual nature (often revealing the character’s evil/bad nature when that character otherwise appears good); (ii) mirrors used to emphasise secrecy or to reveal secrets; and (iii) the use of mirrors as certain clandestine passages to the Otherworld.
Gloves in Films: Hiding True Character and Desires
I have always been fascinated with objects and their symbolic meanings in films, and some object-placements in films evoke powerful imagery and are open to different symbolic interpretations. On the face of it, gloves in films do not present a big conundrum: they can be worn for warmth; because of an unspoken societal rule/etiquette; as a result of a fashion trend; in the course of a professional pursuit, such as medicine or sport; or in the course of a crime. However, arguably, gloves may also sometimes have a more symbolic interpretation in a film, and represent a character’s “camouflaged”/hidden true intention or desire, or emphasise a character’s subconscious attempt to distance him(her)self from others, hiding their true character.