Elements of design and their applications

¶ … Saves One Life Saves the World Entire

Steven Speilberg's 1993 motion picture "Schindler's List" involved Alan Starski as a production designer and Ewa Scoczkowska and Maciej Walzak as art designers. Spielberg made it possible for the story inspiring the film to be told in accordance with Hollywood standards, as he practically turned it into a romance meant to address a more general public that is more concerned in the dramatic aspect of the event than in actually wanting to feel sorry for the characters involved. Starski's involvement in making this film can be observed through the way that emotions are dealt with throughout the scene, especially considering Liam Neeson's expression at the moment when he is presented with the ring. Alongside of Starski, Scoczkowska and Walzak managed to create an atmosphere characteristic to conditions in Moravia at the end of the Second World War. The two art designers collaborated with Ewa Braun, the set decorator, in producing a scene that captures feelings meant to captivate audiences through their honesty and through the overall experience that people were subjected to at the time.

Lighting is used from the very first moments of the clip with the purpose of emphasizing Neeson's character. The spotlight shines on him while the people that address him are backing the light, most probably in order to highlight the fact that they are less important in the general context of the scene. The fact that it is dark outside is meant to strengthen the belief that this is a sad episode in these people's lives, especially given that Schindler apparently needs to sneak out in order to escape troops liberating Moravia. Ben Kingsley's character, Itzhak Stern, also has his face lighted at the moment when he discusses with Neeson, as directors also wanted audiences to understand the importance of this particular character and used light with the intention of distinguishing him from other people present on the set. Light is essential in shaping the general message that the filmmaker is trying to convey, given that it adds to the dramatic feeling of the scene.

The setting displays a Nazi working camp in Moravia at the end of the Second World War as Russian forces liberated territories previously held by the Germans. Jewish workers experience their last moments in a Nazi working camp and separate from their benefactor, Oskar Schindler. Given that they developed a strong connection with their savior, they concentrate on using their traditions in thanking him.

When considering costume design, Schindler's clothes are meant to put across his dignified stature and the fact that he was especially concerned in regard to his looks. The fact that he is wearing a Nazi Golden Party badge shows that he wanted to look like a distinguished member of the Nazi community. The Jewish people on the set contrast Schindler through their simple and ragged clothing, their garments being a reminder of everything that they have been through.

Schindler's tidy appearance, the way that his hair is carefully combed, and his clean face demonstrate that he was focused on the way that he appeared even in critical conditions such as the one that he was experiencing in those moments. Viewers continue to be presented with the image of a person whose physical appearance differentiated him from other individuals and who managed to keep his attributes in difficult moments. The Jewish people facing him seem to be consumed by their experiences, even with the fact that they try to express their feelings to the man standing in front of them. With the exception of Kingsley, all the actors playing Jewish people in this scene frown, both with the purpose of emphasizing the importance of this moment and to stand as remembrance regarding the suffering that they endured throughout the time that they spent under Nazi authority.