¶ … night as I was watching a movie, I remembered about my summer. Last summer I worked as a barista in a popular bar. It was my first summer job and I thought that I will have a lot of fun. But working as a barista is not always fun, as most of the time it is hard work. What I know now and I did not know then, is that a barista needs to be a calm person and most of the times he must be a listener. It was a nice experience from which I learn a lot about people and especially about myself. The barista job was a challenge for me because I needed to interact with all types of people: grumpy, sad, thick-skins, bossy etc. The rich ones, the teenagers and drunken ones were the hardest customers to satisfy. Because I was new in this field I did not know how to serve all the drinks properly or how to make all the cocktails from the menu. Sophisticated people were always asking me to do cocktails I did not know how to do by myself. Since I needed help to do the cocktails, obviously I was moving slower. Moving slower they...
In my first day I was upset, angry and disappointed on my abilities, as I thought I could not do the job right. But after a talk with one of my work colleagues I realized that not everyone is good at this job at the beginning, but after a while one learns to be good at it.
Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity
The natural world allows us to show of more of our individual talents, whereas the urban landscape seems to only allow us to show what is needed of us in terms of industry. Modern Times echoes these themes and images of the early representation of the modern city. However, the film is much more comedic, but with the same message. For example, the factory scene shows the same monotony. It
Film Noir Among the various styles of producing films, it has been observed the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s were quite well-known for their feminine characters that were the protagonists, the femme fatale. This was most common with the French, later accepted in the United States. There might have
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
The leading lady of the film within the film is crazy, without the need for abusing any form of intoxicating substance. But the primary difference between the contemporary and the past film does not lie in any of these imperfect parallel details involved in their mutually chaotic plots, nor the minute distinctions in the minds and portrayals of stock characters. Rather, the difference lies in the way that DiCillo's
Even in shots that might be steady, such as the sheriff is standing and talking to his men, frequent cuts are used in place of slow zooms or pans to shift the eye's focus. Ramero uses scale to great advantage in this sequence to help build a sense of detachment from all the humans character. This detachment of course feeds into the audience's ability to accept the lesson that "we're
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