Visual aesthetics in movie "Once upon a time in the west", and "Frida"

High school
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This aesthetic analysis will focus on two films: Frida and Once Upon a Time in the West. Each film will be examined with selected scenes being used to discuss the visual aesthetical properties of their contents. These aesthetical elements will also be discussed in terms of how they interact with the films musical score.


In rare form, the films aesthetics skillfully incorporates Kahlo's paintings into real scenes, often focusing for several minutes on the slight differences between realized canvas and filmed reality. The visuals are one of the film's strongest points. The same fluid efficiency that the direction produces during the scenes focused on the interplay between paint and flesh impressively permeates the whole film. The camera work, lighting and costumes assist in producing the aesthetic visualizations of the film.
Another part of the movie's visual aesthetic is the rather stilted animations that occur between certain scenes of the film. Borrowing images from Kahlo's work and almost always centered on death another very visible theme of the movie, these transitions are eerie and strangely powerful. A scene early in the film, when Rivera is proposing to Kahlo, he tells her that while he can never be faithful, he promises at least his loyalty. The film itself makes a similar promise to its audience, and while in one sense "Frida" isn't worthy of its subject, it always remains loyal to her aesthetics.
The film's constant visual backdrop is of a new town in the process of being built in the middle of the desert, a town that will be called Sweetwater, due to its valuable water supply which will be an important way station for the comin ...
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