The depictions of the authors' experiences of particular landscapes are of great importance to their audiences, as they depict the multifaceted relationships between people and landscapes, such that the way interactions with the landscape shape consciousness of identity. This is strongly represented in Alain De Botton's postmodern essay collection "The Art of Travel" (Penguin, 2002) and Jean-Marc Valle's biographical film "Wild" (River Road Entertainment, 2014). De Botton explores how real landscapes can offer relief from the monotonous nature of life and how they can enlighten individuals about the limits of their humanity, while Valle examines how real landscapes can allow individuals to heal from traumatic experiences and how imaginary landscapes can give hope. a person in difficult circumstances. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay De Botton clearly examines how places of transition can provide an escape from everyday life and provoke introspective reflection through its poignant depiction of real landscapes in his essay 'On Traveling Places', which doesactically enlightens us on the complex nature of communal identity, particularly how individuals can be paradoxically comforted by communal solitude. De Botton parodies the typical travel guide by investigating the “power of the liminal travel location,” how our anticipation of landscapes shapes our perception of them. De Botton's use of intertextuality based on Baudelaire's poem “Anywhere!” As long as he's out of the world! illustrates De Botton's premise that the promise of something other than the mundane is manifested in the journey through landscapes; that “the destination wasn’t really the problem. The paradoxical perspective conveyed by Hopper's paintings "Compartment C" and "Automat" is that solitary public places "dilute a sense of isolation", expressing how unwelcome landscapes can offer solace in the realization of collective solitude, thus travel becomes the metaphorical “midwives of thought” and catalysts of contemplation. Essentially, De Botton highlights how landscapes can shape identity, particularly in places of transition where individuals are emotionally connected but possess no substantive relationships. Additionally, Valle's eloquent illustration of landscapes in his biographical film "Wild" presents the idea of ​​the promise that real landscapes can bring. can make one imagine the journey that awaits them, with Valle provoking reflection on the power of landscapes to influence oneself, particularly how landscapes can provide sustenance and hope in difficult circumstances, through Cheryl, who cannot not having to deal with the death of his mother. The still shot of Cheryl looking at her disheveled reflection in the window accompanied by slow non-diegetic music highlights her disconnection from her disturbing external reality, the raindrops paralleling her inner turmoil and the sharp cuts that follow conveying her fragility and fragmentation of herself. life. Valle's use of camera shots between Cheryl and the Pacific Coast Trail (PCT) on a book signifies Cheryl's eagerness to explore it, similar to De Botton's "On Traveling Places" about the anticipation of travel. A quick montage of Cheryl purchasing the book to go through the PCT, synthesized with her meta-reflexive voiceover of her high-modality declarative statement, "I'm going for a walk to the woman.