media codes symbolic codes

Long shots were used to emphasize Lea’s lonesome moments when Nobu forgot their anniversary. She was seen sitting alone in a vast landscape. This is important because it gives the audience a deeper understanding of how bad Lea must’ve felt like being alone in such a vast area. The use of long shots in “Kita Kita” emphasizes the characters’ sense of isolation and loneliness while also contributing to the movie’s melancholy and introspective ambiance. Long shots emphasize the characters’ emotional moods and stress the notion that the city is a reflection of their inner lives by showing the city as a large, empty area.

In Kita Kita, the term “POV” (point of view) shot size” refers to the size of the image seen to the spectator when the camera is positioned from the perspective of the character. As Lea adjusts to her unexpected blindness, this is frequently utilized throughout the movie to represent her perspective.

To convey a sense of stability and stillness in the film “Kita Kita,” static camera movements are employed. With this approach, the camera is frozen in place, enabling the action to play out within the frame. Static images promote quiet and contemplation as opposed to dynamic camera movement, which may evoke a sense of excitement and vitality. By using this method, the filmmaker, Sigrid Andrea Bernardo, enables the spectator to pay attention to the characters’ feelings and experiences rather than the technical aspects of the film.

Eye-level shots are employed to foster a feeling of closeness between the characters and to engross the audience in the narrative. Eye-level shots often include placing the camera at eye level with the character, giving the spectator a sense of immersion in the scenario. This method works especially well in emotional sequences because it helps the viewer feel the characters’ feelings more deeply and more closely.

The story is set in the scenic city of Sapporo, Japan, which differs from the mood typically seen in other Filipino films. The cinematography of the movie provides viewers a picturesque image of Japan’s vivid and breathtaking splendor.

Editing or Special Effects setting

Dolly camera movements are employed to give Lea and Tonyo, the film’s two central characters, a feeling of closeness and connection. The audience feels as though they are physically closer to the characters because of the camera’s gradual infiltration. Additionally, it

Objects

Low-angle shots are utilized to show off Japan’s breathtaking countryside. The film creates awe in the audience as they look up and are able to enjoy the magnificence of the countryside by shooting from a lower position.

Dutch shots are used to illustrate a character’s constrained viewpoint or a certain perception. The Dutch shots are used in Kita Kita to represent how Lea, the main character, changes her perspective on love and relationships once she loses her vision. Lea’s inability to view the entire scene is reflected in the out-of-focus areas of the photograph, but her current circumstances are highlighted by the portion of the image that is firmly in focus.

The director uses this technique to convey a sense of vulnerability and helplessness. This is particularly evident in the scene where both the protagonists are praying or wishing to the shrine.

There are a handful of important objects in the film. One of which is the food brought by Tonyo for Lea. As he says, “the way to a man’s heart is through his stomach. Another object worth mentioning is the plants that Lea cares for. As Lea starts to neglect herself, she also forgets to care for her plants. Tonyo does all the watering for them until Lea gets back on her tracks. The banana and heart costume is also salient in the movie. It is an important Filipino concept as the banana always has a heart or “puso ng saging”. The “Sapporo” beer that leads Tonyo to Sapporo is also highlighted as it is their pathway to meeting each other. The paper cranes and daruma dolls also have their own importance as they show how much Tonyo wants the best for Lea.

Costume and Makeup

The makeup for both the characters is simple or fostering the no makeup look. This simplicity is used to employ how regular people have their own stories to share as well. This is also a tool used to connect more to the audience, allowing them to relate to the characters, as well as see themselves in their shoes. The minimalist makeup helps everyone understand the characters better.

The film’s use of editing and visual effects, which give the narrative depth and significance, is one of its most notable aspects. The audience can comprehend the characters’ previous experiences and how they affect their present by using flashbacks to create a non-linear story, which is the first benefit of using them. The spectator is given the opportunity to empathize with the characters through the series of fragmented recollections, which makes for a more personal viewing experience. Additionally, the film’s use of special effects helps the viewer sympathize with the protagonist character’s portrayal of his temporary blindness. The innovative depiction of reality via perspectives that are different from our own stimulates the viewer artistically and gives the movie a deeper level of significance. Finally, rather than overplaying their roles, editing and special effects are employed to enhance the story’s affective value.

Kita Kita employs slow-motion special effects to depict and highlight significant feelings and incidents in the narrative. The use of slow-motion, for instance, emphasizes the moment when Lea and Tonyo’s gaze connect in a passionate way in a scene where the two main characters are eating. Slow-motion is also used in emotional scenes, such as when Lea witnesses Tonyo’s sad accident, when the technique increases the impact of the situation. It aids in expressing the protagonist’s mental and emotional condition, enabling the audience to identify more strongly with the character. The movie adds a distinctive artistic and emotional touch to the plot by sparingly using slow-motion sequences.

The costume is also an interesting point to delve into. Tonyo, after getting better, dresses well for Lea even when he knows she cannot see him. Tonyo’s efforts, even when it goes unnoticed, is one thing that leads the audience to believe how much he wants to pursue her.

Lea is seen wearing casual clothes. She often wears a shirt and overlaps it with a sleeveless garment. She also often dresses in skirts.

The use of visual effects by the filmmakers to depict Lea’s condition enables the viewer to identify with her character and have similar experiences to hers. Lea’s hardships are better understood by the viewer because of the usage of distorted and fuzzy pictures that put them in Lea’s point of view. This method efficiently illustrates the need of showing empathy for persons who have impairments as well as the fortitude and resiliency of those who deal with such challenges.