Textual Analysis of Snowpiercer

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Textual Analysis of Snowpiercer
Snowpiercer, a movie directed by reputable South Korean movie director Bong Joon- Ho, is hinged on a fictional train carrying the world's leftovers. At the movie's onset, failed experiments and the freezing climate have made everything unbearable on the earth's surface. The last of humanity is serving in a fictional train designed to run forever. The dominant themes in the 2014 film starring Chris Evans (Curtis) and Ed Harris (Wilford) are class stratification and interaction among different social classes. People living at the tail end of the train are not happy with class strata since some suffer miserably. A revolt headed by leading actor Curtis escalates within the poor and the wealthy classes, changing the film's trajectory. The dominant theme in the movie is thus class strata and a more profound look at how people at the top maintain the status quo. Additionally, the movie also employs other audiovisual effects to shed into light the main idea in the film. The film is thus the epitome of classical Marxist theory, where the proletariat and bourgeoisie are always in conflict. For Carl Marx, a renowned German philosopher, revolution to seize the means of production was inevitable (Blom, Raimo, and Markku 100), and so was the turmoil in Snowpiercer. This film analysis paper thus seeks to trace the development of social strata as a theme and how lighting, costume design, and the narrative structure aid in propelling the idea.
Costume design helps a great deal in propelling the theme of class stratification. The film's setting is on a train bound to nowhere based on the French graphic novel known as the Le transperceneige on climate change. According to the movie, the train carries the last remnant of the human race (Jacques). It is on these precepts that the costume designer Catherine George sets her passion rolling. In the entire movie, the dressing of characters changes uniquely to propel the idea of class stratification. George uses her wit to create an exceptional costume design that is relatable. Individuals from different train classes have come on board, giving George many things to improve class stratification. The tail section is composed of aging, poor, and distressed people imbued with a heavy set of mixed clothing. Indeed, improvising whatever is available seems to be the best thing to do.
The film principal starring Curtis has a heavy set of dark coats with a dense layer made upon each layer. Also, other characters, such as Painter, acted by Clark Middleton, have costumes made of blankets to assert his poor class. Conversely, Jong-Ho portrays different scenarios in front. The upper part of the train is a scene worth seeing, and the saturated color of the costumes is astounding. In the upper location, opulence dominates; the bar scene is a thing to marvel at with people wearing expensive clothes. Costume design is indeed a powerful tool in highlighting the issue of class stratification because it illustrates how the lower class and the upper class dressed, thereby putting society into differ...