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Pulp Fiction: Mia allace
One of the most striking visual images of Pulp Fiction is Mrs. Mia allace, Marcellus allace's wife. She is first shown putting on her vampire-red lipstick as she gazes at Vince Vega, who has been asked by Marcellus to 'entertain' her for a night. Everyone knows that Marcellus is a terrifying man, so Vince clearly has every interest in protecting Mia's 'honor.' Yet Mia is making herself up, much as a woman who is about to go on a date. But after seeing Mia's lips first, and expecting a bombshell, the viewer is somewhat surprised to see that Mia's clothing and appearance is extremely stark, almost Spartan, other than her lipstick.
Mia boasts a Louise Brooks-style black bob that is obviously a wig. For a glamorous failed actress, her outfit seems almost mannish. She wears a stiff white starched shirt that looks like it was purchased…
Pulp Fiction. Directed by Quentin Tarrintino, 1994.
y doing this, the film puts across feelings related to irony and sarcasm, as it apparently wants to ridicule a society that never seizes to amaze. It is as if the film is meant to be surprising by showing apparently improbable occurrences that are actually very likely to happen in real life.
2. The film does not follow Freytag's Pyramid and the only way for it to follow it was if it were to be divided in several chapters and analyzed individually.
3. Prologue (rising action) -- Vincent Vega and Mia (rising action) (complication) (climax) (reversal) (falling action) -- Prelude to the Gold Watch (rising action) - the Gold Watch (complication) (rising action) (catastrophe -- for Vincent) (complication) (climax) -- rett's friend (complication) -- Epilogue (climax)
4. The plot's order is meant to confuse viewers with the purpose of having them feel satisfied as they slowly but surely learn more…
Barsam, Richard, and Monahan, Dave, "Looking at Movies: An Introduction to Film (Third Edition)," (W. W. Norton & Company)
Dir. Quentin Tarantino. Pulp Fiction.Miramax Films, 1994.
Pulp Fiction, by director Quentin Tarantino, is a prime example of a film that utilizes a multiple narrative structure. The film has three narrative stories that are signaled by inserted captions, and told in "episodes" that are shown non-chronologically. Specifically, the three narratives are called "Vincent Vega and Marsellus Wallace's Wife," a story of a man watching over his boss's wife and cannot touch her, "The Gold Watch," the story of a boxer who is supposed to throw a fight but does not, and "The onnie Situation," the story of two hitmen as they prepare to kill someone and live through the consequences (LaFrance). The non-chronological presentation of these three stories does not mean there is no logic in the way the episodes of the movie are ordered. Each consecutive episode of the film provides set-ups and pay-offs for linking bits of information, characters, and action, a structural feature of…
Ebert, Robert. "The Secrets of Pulp Fiction (5/95)." God Among Directors Web Site. 10 Dec. 2002. http://www.godamongdirectors.com/tarantino/faq/secrets.html .
Elliot, Peter. "Funny disturbing fable has off-beat premise." Anglican Journal. Dec. 1999. 10 Dec. 2002. http://www.anglicanjournal.com/125/10/af08.html .
Hassler-Forest, Dan. "Multiple Narratives Structures in Contemporary Cinema." 10 Dec. 2002. http://www.euronet.nl/users/mcbeijer/dan/mns/ .
Jonze, Spike, dir. Being John Malkovich. John Cusak, perf. 1999. DVD. USA Entertainment. 2001.
The use of this shot can be seen in the sequence where Marsellus gets run over by Butch and later when Butch is beating up one of the pawn shop owners. Tarantino is also known to use a long shot in his films. The use of a long shot can be seen shortly after the film's introduction as Vince and Jules discuss the differences between the United States and Amsterdam in regards to marijuana and hamburgers.
One of the most interesting aspects about Pulp Fiction is its unique editing. The film's narrative is heavily dependent on Tarantino's creative narrative as he employs non-linear editing. For example, the film begins and ends with Vince and Jules eating breakfast at a diner with jump shots being used throughout the film to connect the various subplots together. In the film, character interactions help to create a cohesive narrative as Tarantino demonstrates how they…
Vincent Vega From Pulp Fiction
In Quentin Tarantino's classic film Pulp Fiction many of the characters seem to be stock "types" with which one might be familiar from other movies or forms of fiction. Therefore, the appearance of one of them needs no introduction in the movie, but they are also expected to be somewhat one-dimensional characters that experience very little growth or development during the progression of the film. When Vincent and Jules appear at the beginning of the movie, they are clearly identified as thugs, so that one expects them to break laws, intimidate people, and be involved in illegal dealings. That they are so involved does not require any explanation in the movie. However, while the characters may be types, there is also a deeper meaning running through Pulp Fiction. The characters, though involved in the sometimes superficial, sometimes deadly, business of daily life, are experiencing the…
Tarantino, Q. (1994). Pulp Fiction. Los Angeles: Miramax Films.
Violence in Pulp Fiction
When the movie Bonnie and Clyde opened in 1967, Newsweek reviewer Joseph Morgenstern slammed the move as a "squalid shoot-em-up for the moron trade." (Goldstein) But a week later retracted his previous bad review and praised the movie. It was the violence that originally shocked the movie reviewer, but within a week, the shock of the rampant violence had worn off. Once this had happened, Mr. Morgenstern, like American society in general, came to accept that violence was acceptable in movies as an integral part of artistic expression. 27 years later, in 1994, another film was released which once again shocked critics for the violence it contained, Quentin Tarantino's Pulp Fiction.
In his film, Tarantino took the audience for a ride through the violent L.A. underworld complete with murders, drug overdoses, accidental shootings, and even a homosexual rape. (Tarantino 1994) While many initially panned this movie…
Alleva, Richard. "Pulp Fiction." Commonweal 121.20 (1994): 30+. Academic OneFile. Web. 4 Apr. 2011.
Hausladen, Gary J., and Paul F. Starrs. "L.A. noir." Journal of Cultural Geography 23.1 (2005): 43+. Academic OneFile. Web. 4 Apr. 2011.
Goldstein, Patrick. "Bonnie & Clyde & Joe & Pauline." L.A. Times. Article Collections. L.A. Times. Web 3 Apr. 2011.
http://articles.latimes.com/1997/aug/25/entertainment/ca - 25695
Dracula is a far more traditional Gothic novel in the classic sense than the four books of the Twilight series, in which Bella Swan and her vampire lover Edward Cullen never even fully consummate their relationship until they are married in the third book Eclipse, and Bella does not finally get her wish to become a vampire until the fourth and final book Breaking Dawn. Far from being Edward's victim, or used as a pawn and discarded, she is eager to leave her dull, empty middle class life behind and become part of the Cullen vampire family. When she nearly dies giving birth to their half-vampire daughter, Edward finally does 'turn' her to save her life, and to paraphrase the title of the old song, we can only hope that she is satisfied. Bella in fact is a very traditional and conservative character, including her religion and even…
Branch, L. 2010. "Carlisle's Cross: Locating the Past in Secular Gothic" in A.M. Clarke and M. Osburn (eds). The Twilight Mystique: Critical Essays on the Novels and Films. McFarland & Company Publishers: 60-79.
Byron, G. 2008. "As One Dead': Romeo and Juliet in the Twilight" in J. Drakakis and D. Townshend (eds) Gothic Shakespeares. Routledge: 167-86.
Meyer, S. 2005. Twilight. Little, Brown and Company.
Meyer, S. 2006. New Moon. Little, Brown and Company.
The scene between Jules, Vincent and Brett is one that clearly defines Hollywood's obsession with depicting the classic struggle between good vs. evil, but with a humorous twist that makes the scene appealing to a variety of audiences.
Violence is definitely evident in the words, deeds and actions of all the characters portrayed in the film. It is so available and accepted in fact, that an outsider looking in might presume that violence was the 'norm' rather than an extreme aspect of pop culture within the United States.
The filmmaker successfully depicts the paradoxical nature of violence in this movie, and attempts to incorporate the struggle of good vs. evil into the every day actions of many of the characters, in particular the lead character Jules. No where is this more evident than when Jules quotes "Ezekiel" noting that righteous men will always be beset on all sides by the…
Massing, Michael. "Movie Violence, Still Playing." Washington Post, Sunday July 4, 1999. p. B01, Retrieved March 8, 2005: http://www.lionlamb.org/movie_violence_still_playing.htm
Olinger, O.J. "Liberal Hollywood?" JDHauser.com, 2003. Retrieved March 8, 2005: http://www.jdhauser.com/Olinger/olinger_072203
Schneider, J. (2004). "New Hollywood Violence." Manchester: Manchester University
Press; as reviewed by Tom Gordon, 2003. Retrieved March 8, 2005: http://members.bellatlantic.net/~sschneid/NHV.htm
Many critics consider the name Godot to be a hidden name for God. Godot in the end is a paradox. The dramatist described in his play the person at the end of the World War II. It is a person who can be characterized as master and victim of will. The characters have a will but their wishes destroy them. The characters are waiting for someone or something to save them.
From the aesthetic point-of-view the postmodernism movement pleads for an anti-narrative structure of the work. Tarantino's film, "Pulp Fiction," doesn't have a classic plot. Two stories that seem unrelated come together in a "non linear plot." The first story is about two thieves, Honey unny and Pumpkin who decide to rob a restaurant, and the second story of two hit men working for mob, named Vincent and Jules.
The novel "Finnegan's Wake" by James Joyce is constructed using strange…
Klages, M. 2003 "Postmodernism." University of colorado. http://www.colorado.edu/English/courses/ENGL2012Klages/pomo.html
Wikipedia The Free encyclopedia, "Posmodernism" http://en.wikipedia.org/wiki/Postmodernism
Wikipedia The Free encyclopedia "Waiting for Godot" http://en.wikipedia.org/wiki/Waiting_for_Godot
Wickipedia The Free encyclopedia "Finnegan's Wake http://en.wikipedia.org/wiki/Finnegans_Wake
After all, when Marcellus is raped, the audience has witnessed the murder of two college students by Marcellus' hit men, and knows that Marcellus had a former ally thrown off of a roof for an unknown reason. In addition, it is because of Marcellus' orders that Vincent, whom the audience has grown to like, is killed at Butch's house. Marcellus is clearly not a good man, and yet, nothing in the movie suggests that he deserves to be raped by Zed and Maynard. It was significant that Tarantino chose Marcellus, the most criminal person in the movie, as the rape victim. It was even more significant that Tarantino chose Butch, the person with the most motive to see Marcellus injured, as Marcellus' rescuer. ather than dehumanizing people, the violence in the movie humanizes the monstrous Marcellus, both by depicting him as a victim and by showing him getting revenge. By…
Scorsese, Martin. Taxi Driver. Los Angeles: Bill/Phillips, 1976.
Scott, Ridley. Thelma & Louise. Los Angeles: Metro-Goldwyn-Meyer, 1991.
Tarantino, Quentin. Pulp Fiction. Los Angeles: A Band Apart, 1994.
Winner, Michael. Deathwish. Universal City, CA: Dino De Laurentiis Company, 1974.
Every aspect of sociology is somehow affected by sexual politics and this can be seen in every postmodern representation of sexuality. Media is particularly dependant on sexual politics as a thematic representation and as a guiding force for human emotion. This is particularly true with regard to dramatic representations in film. The two films discussed above can be seen as examples of this thesis and illuminate both postmodernism and sexual politics in the modern world.
Cohen, Eric S. "To onder Again." First Things: A Monthly Journal of Religion and Public Life May 2000: 23.
Films That Go Thud; Some Actors Can Survive Bomb or Two." The ashington Times 5 Aug. 2003: B05.
Green, J. Ronald. "Always Already: Affinities between Art and Film." Afterimage 25.5 (1998): 8.
Hausladen, Gary J., and Paul F. Starrs. "L.A. Noir." Journal of Cultural Geography 23.1 (2005): 43.
Kipnis, Laura. Bound and Gagged: Pornography…
Cohen, Eric S. "To Wonder Again." First Things: A Monthly Journal of Religion and Public Life May 2000: 23.
Films That Go Thud; Some Actors Can Survive Bomb or Two." The Washington Times 5 Aug. 2003: B05.
Green, J. Ronald. "Always Already: Affinities between Art and Film." Afterimage 25.5 (1998): 8.
Hausladen, Gary J., and Paul F. Starrs. "L.A. Noir." Journal of Cultural Geography 23.1 (2005): 43.
Real Cool Killers: Evaluating the Status of omen Through Chester Himes
The world of Chester Himes is wrought with violence and turmoil. The story behind The Real Cool Killers is a murder mystery, where African-American cops rule over Harlem to catch a murderous pack of thugs. Still, there is a lot more beneath the surface here. Chester Himes also presents a social commentary on the status of women at the time. In this commentary, he signifies how women were still struggling against their male oppressors, and that even though there are some clear gains being made here, they are in many ways still being oppressed and treated like sex objects more than anything else throughout the novel.
The Real Cool Killers is a pulp fiction type of novel with a set of anti-hero African-American police officers solving a senseless murder on the streets of Harlem. The pair of police is…
Himes, Chester. The Real Cool Killers. Random House. 2011. Google Books. Web. http://books.google.com/books?id=9lzxJv5W8MUC&printsec=frontcover&dq=the+real+cool+killers&hl=en&sa=X&ei=5blvUZqPJuPx2QXC14HwCA&ved=0CDEQ6AEwAA#v=onepage&q=granny&f=false
Emma likes the type of pulp, romantic and sentimental fiction condemned by Nabokov, the 19th century version of Harlequin Romances. Emma is not an artist of prose like her creator, she is a consumer of written culture in a very literal as well as a metaphorical sense, just as she consumes all sorts of material goods in her futile quest for fulfillment, and dies by consuming poison at the end of the novel.
his is what makes Emma so fascinating as a character. She engages in the same project of interpretation and authorship as her reader, even if it is a failed project. "But what interests me most in Madame Bovary is the heroine's fondness for reading. She dies because she has attempted to make her life into a novel -- and it is the foolishness of that quest that Flaubert's clinical style mocks." (Jong, 1997) Emma essentially dies of…
The paradox of Flaubert's project of writing to satirize reading is clear, through Jong's interpretation of his most famous work. "A novelist mocking a heroine besotted by novels? Then this must be a writer mocking himself! And indeed, Flaubert memorably said that he had drawn Madame Bovary from life -- and after himself. 'I have dissected myself to the quick,' he wrote." (Jong, 1997) This acts as an important reminder that Flaubert did not merely carefully observe and record the mundane details of the world he saw around him, but also engaged in rigorous psychological self-scrutiny to produce a sense of realism within the pages of Bovary. Emma's interior life, however focused it may be centered on shallow objects and pursuits, is what makes her stand apart from the depicted heroines of pulp novels. Flaubert's prose is not merely descriptive and realistic. It also is psychologically full of nuance and more detailed than authors of sensationalist novels, whose heroines do not have a clear, discernable motivation for why they transgress sexual norms.
Although Jong's own fiction is often described as feminist, Jong points out that Emma's sense of discontent with her life is not merely connected to the fact that her feminine role as a housewife is frustrating. Emma does not seek a more useful life, Emma seeks "ecstasy and transcendence" that is in short supply in her rural French community. Jong's stress upon the spirituality of Emma's quest is an important reminder of the fact that Emma begins her education in a convent, and actually seems to show a superficial aptitude for the life of a nun. Emma later brings her fervor for gracious living to her life as a wife, then a mistress. Emma's inner life may seem to be centered around the pursuit of empty things, like beautiful home goods, dresses, and beautiful love affairs, but she is located squarely within a society that valorizes such objects and offers them as the only secular solution to ennui. "Emma's drama is the gap between illusion and reality, the distance between desire and its fulfillment." (Jong, 1997)
Jong says: "her search for ecstasy is ours," in short, Emma is a uniquely modern heroine, for we all seek transcendence, all of us who read, and life invariably falls short. This is the final paradox of Bovary -- a novel that critiques itself and a genre likely to be very dear to the heart of a reader is so successful, and still feels modern today. Although Jong's essay does not offer an extensive, deep interpretation of the entire novel, it acts as an important reminder of critical aspects of the work that may be overlooked, like the role of religion in the novel, and the importance of reading to Emma's interior life.
In other words, did Grisham begin writing in order to reveal the innate ambiguities and machinations of the legal system - or were there other unrecognized facets and factors at play that led to this turning point in his life?
These questions become even more pronounced when we take into account his expressed views about his own writing. In many interviews, Grisham tends to assert that his literary work is not of a very serious or profound nature and instead of having any deeper social intentions his writings are essentially only meant to entertain. As he states in one interview:
I'm not sure where that line goes between literature and popular fiction...I can assure you I don't take myself serious enough to think I'm writing literary fiction and stuff that's going to be remembered in 50 years. I'm not going to be here in 50 years; I don't care if…
Time to Kill" by John Grisham. Retrieved April 27, 2008, at http://www.schoolunity.de/schule/hausaufgaben/preview.php?datensatzkey=004747&query=action%3Dsuchen%26seite%3D2%26suchbegriff%3Dnone%26fach%3D11%26nosave%3D1&session=a78afa575fac023f63f342 eafa0329ab
For Posterity: The John Grisham Papers. Retrieved April 27, 2008, at http://library.msstate.edu/grisham_room/writer
Interview: John Grisham, Author. Retrieved April 27, 2008, at http://www.slushpile.net/index.php/2006/03/01/interview-john-grisham-author/
John Grisham has no illusions about Writing. Retrieved April 27, 2008, at http://community.livejournal.com/ohnotheydidnt/20470275.html/posterity.htm
They went into a spending frenzy that would carry them though the next decade. They bought houses, started families and settled down to a life of normalcy after a decade of chaos. Illustrations began to return to resemble that of fine are of earlier times.
The Invitation. Ben Stahl. Date unknown magazine photo. Al Parker. Date unknown
ise of the Atomic Age (1950-1960)
The prosperity that came with the end of the war continued into the new decade. Americans attempted to settle into a life or normalcy. There was a significant return to traditional gender roles, as many women were forced back into the household and the men went off to work as usual. Women, now used to providing for themselves represented a new target market. To fill their days they read the "seven sisters" (McCall's, Ladies Home Journal, Cosmopolitan, edbook, Good Housekeeping, Seventeen, and Women's Day). These magazines began…
Crow, T. 2006. The Practice of Art History in America. Daedalus. 135, no. 2. Questia Database.
"Jesse Wilcox Smith" 2000. http://www.bpib.com/illustrat/jwsmith.htm
Reed, Walter and Reed, Roger. 2008. The History of Illustration. Society of Illustrators. Online. http://societyillustrators.org/about/history/283.cms
Murphy, J. 2007. Making Virtual Art Present. Afterimage. 35, no. 2. Questia Database.
The term auteur emanates from France and it means author, which in film theory implies that a film by a director mirrors their artistic and ingenious vision. In accordance to Pearson and Simpson (2001), an auteur is delineated as a film director that generates a distinguishing and unique way to film creation by means of visual autograph and thematic and storyline constancy. The auteur theory was instigated in the 1950s in France by directors such as Francis Truffaut who promoted an emphasis on the input made by directors with respect to their style and type of film. The conception of auteurs came about as a way of connecting films together by the precise director that made them, pointing out the various repetitive techniques employed and the stylistic manipulations in different film projects as a representation of the persona and impact that the director has in such film projects (Nelmes, 2012).…
One can actually feel a sentiment of nostalgia as he or she goes through Tarantino's movies, since his films appear to be done in accordance with some of the earliest movies in the history of film-making, the only difference being that the director has chosen to leave his instantly recognizable print on these motion pictures.
Tarantino's motion pictures send a mixed message to the public, but even with that, most people are likely to understand it exactly as the director wants them to. In spite of the rather parody nature seen in most of Tarantino's films, viewers are left with the impression that they learnt something, namely that every action has a reaction, and that they should be more careful about their performances.
Tarantino is simply doing what all movie directors try to do: direct movies that would generate a positive feed-back both from the masses and from critics. However,…
Barlow, Aaron. "City Tech's Aaron Barlow Writes Book on Maverick Film Director Quentin Tarantino." Retrieved October 18, 2010, from the New York City College of Technology Website: http://www.citytech.cuny.edu/aboutus/newsevents/2010sp/barlow_tarantino/REL_BarlowTarantino.pdf
Maurstad, Tom. "Quentin Tarantino discusses how he brought his pop-culture style to World War II movie." Retrieved October 18, 2010, from the Dallas News Website: http://www.dallasnews.com/sharedcontent/dws/ent/stories/DN-tarantino_0824gd.ART.State.Edition1.4bc2fbf.html
Stone, Alan A. "Pulp Fiction." Retrieved October 18, 2010, from the Boston Review Website: http://bostonreview.net/BR20.2/stone.html
Dir. Tarantino, Quentin. Pulp Fiction. Miramax Films, 1994.
In 21 Grams, the narrative darkens and is localized. Inarritu deepens his exploration of class differences, but this time on the U.S. side of the New orld Order that has been brought about by the North American Free Trade Agreement. According to Ohchi, 21 Grams consists of three narratives whose protagonists differ from each other, but are interconnected (ibid. 3-4)
Babel is just really Amores Perros and 21 Grams written on an international canvas and echoes much of the social commentary in Inarritu's 2000 maiden film. According to Soelistyo and Setiawan, another term for this type of film is hyperlink cinema. hile in many films, this methodology can result in a film where the interlocking stories spin out of control, in Babel Inarritu is fully in command and retains full control of the stories and plot lines (Soelistyo and Setiawan 176). As the name implies, seemingly disparate story lines are…
D'Lugo, Marvin D. "Amores Perros Love's a Bitch." From the Cinema of Latin
America ed. Alberto Elena & Marina Diaz Lopez. London: Wallflower Press. 2003.
Durham, Carolyn a. "Is Film a Universal Language? Educating Students as Global
Citizens." ADFL Bulletin. 40.1 (2008): 27-29.
it's been earned" (emphasis added) (Klawans, 2003, p. 32). In their synopsis of the movie, the producers report that, "Having been gunned down by her former boss (David Carradine) and his deadly squad of international assassins, it's a kill-or-be-killed fight she didn't start but is determined to finish! Loaded with explosive action and outrageous humor, it's a must-see motion picture event that had critics everywhere raving!" (Kill Bill Volume 1 Synopsis, 2005, p. 1). As noted above, critics in fact from just about everywhere have been raving about "Kill Bill, Volume 1" (and 2), but not necessarily in a positive fashion; the possible reasons for these negative assertions about Tarantino's work are discussed further below.
Gender-Based Differences in the Perception of Violence
According to Adler and Denmark (1995), there have been a number of theories advanced over the years concerning violent behavior based on various psychodynamic, social learning, cognitive, and…
Adler, L.L. & Denmark, F.L. (Eds.). (1995). Violence and the prevention of violence. Westport, CT: Praeger Publishers.
Alleva, R. (2004, May 7). East Meets West: 'Goodbye, Lenin!' & 'Kill Bill-Volume 2.'
Commonweal, 131(9), 23.
Arsham, Hossein. (2002). Questionnaire Design and Surveys Sampling, SySurvey: The Online Survey Tool. Retrieved March 2, 2005 at http://ubmail.ubalt.edu/~harsham/stat-data/opre330Surveys.htm#rsi.
producers are your inspirations, and why?
Two producers who are an inspiration to me are Danny De Vito and Harvey Weinstein. Danny De Vito began working in Hollywood as a comedic actor but has parlayed his acting success into a successful and courageous career as a producer, where he produces both popular movies and champions smaller, independent films. As a producer, De Vito is not afraid to take risks, and the result is an interesting, varied body of work. I admire many of the movies he has produced, including "Garden State" (2004), "Pulp Fiction," (1994), "Reality Bites" (1994) and "Man on the Moon" (1999).
I also admire De Vito for his opposition to the popular Hollywood belief that looks are everything. De Vito and his wife Rhea Perlman have spoken out against Hollywood's obsession with youth and beauty, insisting they are proof you don't have to be beautiful to succeed…
tense right now in Israel. The Jewish New Year (it's 5773 for those who count) has coincided with a recent wave of anti-American and anti-Jewish sentiment related in part to a recent "incendiary" film that depicts the Muslim prophet Muhammad (Estrin, 2012). It's not as if Israel and Iran were not already archenemies, but tensions are higher now than perhaps ever before. The film in question also threatens to unify anti-Israeli sentiment among both Sunni and Shi'ite Muslims: a phenomenon that understandably frightens not just Israelis but most peace-loving human beings around the world.
Yet another film that can be accurately called incendiary injects much-needed humor into the centuries-old tradition of Jew-hating. That film was issued by legendary director Quentin Tarantino in 2009. Or, we should say, 5770. Called Inglourious Basterds, and spelled deliberately wrong, the film depicts a fictional troop of American assassins on a mission to kill Nazis…
Estrin, D. (2012). On eve of Jewish new year, Israelis dread possible Iran strike and worry about ties with U.S.. Edmonton Journal. 16 Sept 2012. Retrieved online: http://www.edmontonjournal.com/news/Jewish+year+Israelis+dread+possible+Iran+strike+worry+about+ties/7250712/story.html
Tarantino, Q. (2009). Inglorius Basterds. [Feature Film].
The groundskeeper explained to the golfers, you are lucky to be alive, "You were sitting on a box of dynamite." The headline of small yet front page article LEOPOLD and LOEB OUGHT to READ THIS. A completely unrelated story of luck, becoms a very sobering reminder to the Sheboygan readers of the nationally infamous Chicago trial, still taking place and likely nearing the sentencing stage. On the same front page of the paper the details of the trail are played out in a larger article where the Sheboygan paper describes details of the trial findings, including the usage of phrases such as "death blow" submitting for public perusal the findings, as to who was the actual killer, (Loeb) and using descriptive testimony of witnesses with regard to Leopold and Loeb's varying psychosis. One passage describes a moment when Leopold began to show sympathy and then promptly apologized for doing so.…
Abrahamsen, David. The Psychology of Crime. New York: Columbia University Press, 1960.
ALIENIST DECLARES LEOPOLD and LOEB ARE DEVOID of SOUL; Quotes One as Saying He Could Think of Killing Just Like Choosing Pie." New York Times August 5, 1924; 1.
Busch, Francis X. Prisoners at the Bar: An Account of the Trials of the William Haywood Case, the Sacco-Vanzetti Case, the Loeb-Leopold Case, the Bruno Hauptmann Case. 1st ed. Indianapolis: Bobbs-Merrill, 1952.
Cannon, Carl M. "The Problem with the Chair - a Conservative Case against Capital Punishment." National Review 19 June; 1.
To some degree, this may be considered a concession to peasants who were largely upset with their station in life as urban areas benefited more significantly from the economic expansion. There is little indication that prosperity was widespread among the peasant classes during the Tokugawa period. Other historical signs point to the real possibility that most farmers suffered during this period.
In fact, much of the economic woes for rural Japan at this time can be traced to developments that were taking place in the cities because of the still feudal organization of Japanese society. The daimyo were lords in the feudal sense; though their holdings varied, agricultural lands -- and taxes on those lands -- formed the basis of their wealth and power. Therefore, when the shogun made it law that each daimyo had to keep up a residence both in their own hometown as well as in Edo,…
Duiker, William J. And Spielvogel, Jackson J. World History Volume I: To 1800. 2nd ed. London: Wadsworth Publishing Co., 1998.
Griswold, Susan. "The Triumph of Materialism: The Popular Fiction of 18th-Century Japan." Journal of Popular Culture 29.1 (Summer 1995): 235-245.
Howell, David L. "Territoriality and Collective Identity in Tokugawa Japan." Daedalus 127.3 (Summer 1998): 105-132.
Keogh, Annette. "Oriental Translations: Linguistic Explorations into the Closed Nation of Japan." Eighteenth Century: Theory and Interpretation 45.2 (Summer 2004): 171-191.
Yes, the Oedipus complex aspect of Shakespeare it gives us and which in turn invites us to think about the issue of subjectivity, the myth and its relation to psychoanalytic theory. (Selfe, 1999, p292-322)
Hemlet and Postcolonial theory
Postcolonial theory was born as a result of the publication of the famous work of Edward Said, Orientalism (1978). This theory claim that some authors (Paul Gilroy, Achille Mbembe, Francoise Verges, etc.) and that seem so elegant in its formulation, in my opinion raises three fundamental problems: At a time when we are witnessing the emergence of new expressions of colonialism (colonialism, cultural, political and economic globalization, neo-colonialism nestled in the relationship between the hegemonic colonial past and their old colonies, colonialism in disguise that structure the relationship between international institutions and developing countries, institutions from the rest behest of the former colonial powers according to their interests), speak of post-colonial era…
Aragay, Mireia, and Gemma Lopez. 2005. "Inflecting Pride and Prejudice: Dialogism, Intertextuality, and Adaptation." Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Amsterdam and New York: Rodopi, p201-19.
Aragay, Mireia, ed. 2005. Books in Motion: Adaptation, Intertextuality, Authorship. Amsterdam and New York: Rodopi, p88-96.
Baetens, Jan. 2007. "From Screen to Text: Novelization, the Hidden Continent." The Cambridge Companion to Literature on Screen. Ed. Deborah Cartmell and Imelda Whelehan. Cambridge: Cambridge UP, p226-38.
Balides, Constance. 2000. "Jurassic Post-Fordism: Tall Tales of Economics in the Theme Park." Screen 4 I .2: p139-60.
Films and Directors of the French New Wave Movement
Discuss the male/female relationship in the Umbrellas of Cherbourg, My Night at Maud's, Le boucher Shoot the Piano Player regards to the Nouvelle Vague.
La Nouvelle Vague, or the "New Wave," is a term given by film critics in the late 1950's to a cluster of French filmmakers who began a movement that rejected classical cinema to introduce new perspectives of romantic youthfulness. hey also broke with traditional models to address political or social themes with refreshed images and dialogue. Additionally, they believed that cinema could discover the mysterious often un-discussed facets of human experiences. hese fresh ideas were especially moving when filming the male/female relationships as seen in "he Umbrellas of Cherbourg," "My Night at Maud's," "Le Boucher" and "Shoot the Piano Player."
he Umbrellas of Cherbourg
he Umbrellas of Cherbourg, directed by Jacques Demy, portrays traditional male and female…
This low budget film did not realize the success at the box office of "400 blows," but it did impress the critics. Some call, "Shoot the Piano Player" Truffaut's masterpiece. His artistry in this film out shines that of Godard's "Breathless," in the sense that it did not rely on star appeal but tells a multi-level story with amazing clarity and conviction. In addition, his consistency of quality is impeccable. From the opening sequence to the last, the story remains poignant. The use of intensity, humor, unpredictability, flashbacks, superior acting, and vivid use of music keeps the viewer attentive. Critics note that "Shoot the Piano Player," is endearing due to the unassuming honesty seen in the main character. This is, perhaps, on of Truffaut's greatest gifts.
In 1965 Godard produced "Pierrot le fou." It is a story of a man who escapes his predictable life and the Mediterranean with the lovely Marianne. All is well until Marianne, like Charlie's brother, is being chased by hit-men. And, following the theme of Breathless, the two lead an unconventional life on the lam. The couple, played by Belmondo and Karina, is dynamic and definitely have chemistry but are too contemporary and rule-breaking to be committed in any meaningful way. The lines between them are unreal and artistic as seen in this exchange, "Why do you look so sad? Because you speak to me in words and I look at you with feelings." As in Breathless, Godard chooses removed long-shots of action sequences but offers more substance in this plot. Perhaps because the main characters are older, their love seems more tortured than teasing. Similar to "400 Blows," Godard plays keep away with the realization of happiness, though his characters are dealing with a wider range of emotion and thought.
[Note: Could add personal thoughts as a conclusion]
nature of Leonard illiams Levy's Origins of the Bill of Rights is not as simple as it seems, and this is in fact a measure of the strength of the book. e are so accustomed to dividing the world into clear categories - popular fiction on one side, serious scholarship on another, pulp fiction over there in the corner - that we are given pause when we come across a book that cannot be so easily categorized. Our first impulse may in fact be to decided that this means that there is something wrong with such a book, that the author has failed in his (in this case) attempt to produce a particular kind of text.
But a more thoughtful examination of the work suggests that Levy has in fact succeeded doing in what he set out to accomplish, which was to create a work about the Constitution's Bill of…
Levy, Leonard, Williams. Origins of the Bill of Rights. New Haven: Yale UP, 2001.
Eliza Haywood and Her Romantic Novel The History Of Miss Betsy Thoughtless
The fascinating intrigues that surround the fictionalized search for love, both legitimate and otherwise have oft been the topic of titillating drama. Eliza Haywood in The History of Betsy Thoughtless (1720-1805) is nothing less than a compilation of the wanderings of a young fictional character trying to assert a very culturally limited level of control over the decisions surrounding her love life and that of her friends. The reasons for the creation of this work are no doubt countless and yet the historical representation of the work traditionally has been a work created for the sole purpose of the earning of a living. Even in 1720 "sex sells." More recent scholarship has been focused on the idea that Haywood and her literary partners were not just selling books but giving life to a whole new genre, that of…
Living in Modernity in Three Easy Steps
Perhaps it is only appropriate that a so-called guidebook to living in modernity is not in fact a book at all, but only a relatively brief overview, encompassing six to nine pages of text, easily condensed for the reader's evaluation into three easy steps. It is short. It can be potentially read and interpreted by a variety of individuals with varying levels of literacy. It is democratic and addresses the reader as part of a collective, but not as someone who is of a particular gender or social or professional hierarchy. It is friendly to those whose attention spans have been shortened by the Internet and the mass media, yet it also creates a program that is inspirational in nature, to the reader's sense of improving the self. It wishes the reader to become a better self, just like everyone else in the…
Charon, Joel. (2000). Ten Questions: A Sociological Perspective. New York: Wadsworth.
Queer Eye for the Straight Guy." (2003). NBC Television Show.
Ritzer, Geroge. (2002). McDonaldization of Society. Pine Forage Press.
Schor, Juliet. (1998). The Overspent American: Why We Want What We Don't Need.
Authors From the Frankfurt and Birmingham Schools
The Frankfurt School and the Birmingham School are similar in that both partake in a critique of popular culture. Both have roots in Marxism, as well, though the latter rejected the fundamentals of Marxist thought. In one sense, the Birmingham School grew out of the Frankfurt School and expanded or deepened the critical interpretation of popular culture begun by the Frankfurt School authors. In another way, the Birmingham School established its own unique take on popular culture that broke with the perspective of the Frankfurt School and its assessment of why the working class failed to rise up and overthrow the ruling class, as Marx had predicted. This paper will compare the theories of two authors from these two schools and show how they are oppose one another at times, how they reflect one another on other occasions and how they complement one…
Freire, P. (2000). Pedagogy of the Oppressed. NY: Continuum.
Hoggart, R. (1957). The Uses of Literacy. UK: Chatto, Windus.
Hoggart, R. (1973). 'Culture: Dead and Alive,' in Speaking to Each Other, vol. 1:
About Society. UK: Penguin.
The Uniqueness of the Name "Thompson"
Its origins are Scottish and English, and there are a variety of meanings ascribed to it (edmonds, King, & Hey, 2011). There are also some different spellings used. The name simply means "son of Thom" or "son of Thomas" (edmonds, King, & Hey, 2011) However, it is important to know that Thompson is not the "original" name, and is an English translation. The Anglicized Gaelic name is MacTavish, which was itself translated from MacTamhais (edmonds, King, & Hey, 2011). There is another potential origin, which is that the name came from a placename of Thompson (edmonds, King, & Hey, 2011). In other words, people who came from that place ended up with that as a last name. There is no proof of either origin of the name, as it renames somewhat of a mystery. This is not surprising, since many names have questionable…
Redmonds, G., King, T., & Hey, D. (2011). Surnames, DNA, and Family History, NY: Oxford University Press.
Cinema is a cyclical phenomenon of images, themes, stories, and visions yet each interpretation presented to viewers is unique and connects with them in a different manner. By studying the foundations of cinema, one can trace the influences of directors in modern cinema. Quentin Tarantino's most recent film, Django Unchained, is not only a postmodern film that draws influences from Fritz Lang's Die Nibelungen: Siegfried, an Expressionist film, and seamlessly intertwines the German legend with the estern genre. Through the film's narrative, structure, and mise-en-scene, one can see how early films and directors like Lang and Die Nibelungen: Siegfried have influenced contemporary directors like Tarantino and his film, Django Unchained.
Die Nibelungen: Siegfried is a 1924 silent fantasy film of the German Expressionist era. The film is based on the German legend of Siegfried who risks his life to help win Brunhilde's hand in marriage. Lang's film traces Siegfried's…
Ahearn, William. "Die Nibelungen, Part I: Siegfried and Part II: Kriemhild's Revenge (1924)."
2012. Web. 6 May 2013.
Die Nibelungen: Siegfried. Directed by Fritz Lang. Germany: UFA, 1924. Netflix Instant
Streaming. 6 May 2013.
As a screenwriter and filmmaker, Quentin Tarantino has long been considered the ultimate auteur. His style and content are uniquely his own and are marked by edgy, graphic content along with fast, memorable dialogue. There is a rapt attention paid to pop culture and popular slang that all of Tarantino's films bear, and of late his films have paid attention to dark historical events. Inglourious Basterds (2011) focused on World War II and the multiple forms of carnage that this event encompassed. Django Unchained marks yet another foray of Tarantino into one of America's blackest historical marks: slavery. Like Basterds, Tarantino puts his unique stamp on this dreary historical subject by couching it from a unique and meaningful perspective: he portrays the events of slavery with the imprint of a slave who becomes a type of bounty hunter, and kills white men. This is strongly evocative of the…
Denby, D. (2013, January 22). "Django Unchained": PUT-ON, REVENGE, AND THE AESTHETICS OF TRASH. Retrieved from Newyorker.com: http://www.newyorker.com/online/blogs/culture/2013/01/django-unchained-reviewed-tarantinos-crap-masterpiece.html
Foster, G. (2004, May). Intersectionality, Worldwide and Other Pages. Retrieved from Udayton.edu: http://academic.udayton.edu/race/02rights/slavery06a.htm
Tarantino, Q. (Director). (2012). Django Unchained [Motion Picture].
Inner Truth and Outer Truth
The forefathers of our country were not known for their emotional clarity. Neither were they known for expressing publicly their private sense of self. Those who became known at all were known for their hard work and dedication to the public causes meant to benefit the common good. We can perceive them only through our own eyes, much changed by the passage of time.
It is not for us to judge them, but to seek to understand as we hope that those who come after us will seek to understand us. The writings that historical figures have left us reveal their lives in guarded ways, in styles they had been taught were good and proper. If we search closely we may know something of what went on in their inmost hearts. John Woolman sat beside Newbegun Creek and listened quietly for Truth to "open the…
Tom Robbins was on a family tip; a fiend of mine lent me his copy of Half Asleep in Fog Pajamas and the title intigued me. I had head of Tom Robbins befoe on seveal occasions, and the comments usually anged fom paise to pue gushing. Neve did I hea anything negative about the Seattle-based autho, so I gabbed the papeback and dug in. It took a good fifty pages fo me to get used to his style of witing, which defies conventions and genes. Sot of a combination of smut and high liteatue, Tom's tone neve fails to titillate the poetic senses. His witing is filled with metaphos and meanings that lay behind wacky plots. In fact, most of his novels seem to employ plot as a seconday measue, to povide a vehicle fo the pimay pupose of having fun with wods.
On seveal occasions since eading Half Asleep…
references, both subtle and overt, to such matters. His characters walk in a world filled with magic. But politics and history also play an important role in Robbins books; perhaps Tom and I could discuss such sensitive issues as the crisis in the Middle East and his view on the "war on terrorism." I'm sure Tom would open my mind more on these subjects, as well as many others. Hopefully after a full day spent with Robbins, perhaps culminating in a shared bottle of wine or two, the two of us could remain in contact, at least until his next novel comes out.
Ecstasy vs. Heroin overdoses -- treatment and diagnosis
For many EMTs, depending on the city and time they are stationed in, one of the most common problems they will have to cope with is dealing with a drug overdose. However, although all drug overdoses are dangerous, not all illegal drug overdoses are the same, symptomatically or in their treatment. A great deal of misinformation exists regarding drug overdoses and their treatment in popular culture -- even the popular film "Pulp Fiction" which depicts a 'successful' treatment of snorted heroin is in fact inaccurate -- ephedrine to the heart would not have saved a victim of a heroin overdose in real life. (Kuhn, 2003)
hen dealing with any suspected drug overdose, the first thing to determine is in fact the victim's symptoms are indeed due to the ingestion of a drug, rather than of alternate cause. This is especially…
Ecstasy Overdose." (2004) Drug Overdose.Com. Retrieved on June 17, 2004 at http://www.drug-overdose.com/heroin.htm
Heroin Overdose." (2004) Drug Overdose.Com Retrieved on June 17, 2004 at http://www.drug-overdose.com/ecstasy.htm
Kuhn, Cynthia, et al. (2003) Buzzed: The Straight Facts about the Most Used and Abused Drugs from Alcohol to Ecstasy. Second Edition. New York: W.W. Norton & Co.
Attraction to Violence in the Media
Violence on Films and in Television
Filmmakers Technique to Grab the Audience
Violence Made to Swindle the Viewers
Making Violence Funny
It is clear that one of the worthy changes in the social environment today is the advent and fullness of television. In this new setting, television, radio, videos, movies, computer networks and video games, have presumed central roles in people's day-to-day lives. Rather it be good or bad, it seems that the mass media are having some kind of a huge impact on people's standards, beliefs, and behavior. Regrettably, the consequences of one specific element of the mass media exposure has for the most part damaging effects on those that are watching' and others' health. There is much Research evidence that has been accumulating over a lot of ears that being exposed to violence on television and in video games does…
Bishop, R. A P.J., 2006. Violence. Theory, Culture & Society. Theory, Culture and Society, 23(3), pp. pp.377-385..
BJ., B., 2007. Moderating role of. Journal . Pers. Soc.Psychol, 23(4), p. 950 -- 60.
Bushman BJ, H.L., 2008. Effects of televised violence on aggression.In Handbook of Children and the Media. In: Thousand Oaks: Sage, p. 223 -- 54.
Bushman, B. A A.C., 2001. Media violence and the American public: Scientific facts vs. media misinformation. American Psychologist, 56(7), pp. pp.477-489..
Working Class Whites," pop culture and the media seem to stereotype the entirety of working class white people as either "good country folk" or "white trash." They act a kind of scape goat for society and its uncivilized folk. White people belonging to lower classes therefore carry the weight of negative connotations often associated with the population of working class white people. Upper classes on the other hand are not shown in a negative light like working class people and therefore believe that if one is lower class they are uncivilized versus upper class, which are civilized.
One example of the white working class and all the negative connotations associated with it is the new CBS American sitcom, "Mom." Here audiences see a single mom who lives with her single mother and is a recovering alcoholic. She is shown as being a bad mother overall and someone who is incompetent…
Film plays an important role in all of our lives; it would be nearly impossible to find a person who has not been affected in some way by a movie. From the films we watch in our childhood, to the classics, and the more challenging cinema we see later as we study the art of filmmaking, the movies offer so much opportunity to consider the principles of art (Janaro & Altshuler, 1984). Because filmmaking is a multimedia endeavor, involving costume design, sound and lighting, music, skillful writing, graphic art, and performance art, considering filmmaking as a whole encourages appreciation of all that goes into just a few minutes of reel.
When I consider Tarantino films, for example, I think about how the filmmaker places the music front and center in Pulp Fiction. The soundtrack to that movie is as memorable as the characters. I also appreciate how filmmakers like Tarantino…
Janaro, R. P., & Altshuler, T. C. (1984). The art of being human: The humanities as a technique for living. New York: Harper & Row.
Saatchi Gallery. Retrieved online: http://www.saatchigallery.com/artists/duane_hanson.htm
Vast lands were open, and adventure seemed rampant. In fact, so compelling was the idea of the American West that Theodore Roosevelt noted, "More and more as the years go by this Republic will find its guidance in the thought and action of the West, because the conditions of development in the West have steadily tended to accentuate the peculiarly American characteristics of its people" (Roosevelt). The frontier was still available through the Dime Novel; adventures with the American Indian, gold mining, vast herds of buffalo, and even the railroad were popular; must like space adventures today. This was the great unknown, and, through a series of essays, historian Frederick Jackson Turner noted that while most of the West was at least mapped, the future of the United States would be decided in the West -- thus, once the frontier became an historical relic, it was fair game to be…
Heracles (means glory of Hera) is best known as the strongest of all mortals and considered as super hero on a grand scale. He is much stronger compared to other Gods. He was the deciding factor in allowing the Olympian Gods to win their battle with the giants. He was the last mortal son of Zeus. He is the only man born of mortal woman to become a god upon his death.
Offsetting his strength was a noticeable lack of intelligence or wisdom. Once when he became too hot he pulled his bow out and threatens to shoot the sun. This coupled with strong emotions in one so powerful frequently got Heracles in trouble. While his friend and cousin Theseus ruled Athens, Heracles had trouble ruling him. His pride was easily offended. He took up grudges easily and never forgot them. His appetites for food, wine, and women were as…
McGuire, L. "84.02.04: Heracles: Super Hero." Yale-New
Haven Teachers Institute. 2005. Yale-New
Haven Teachers Institute. 25 Jan 2005
We agree that people still purchase books.
The reason is that today the author gets paid upfront and if people do not read the book, the publisher has to bear the loss. Secondly publishers are able to 'sell the books' to the bookstores' based on 'consignment system', whereby the 'book store' is able to return the books which are unsold against a 'full refund'. (Grossman, 2009) Jeanie Comstock (2009) says that some of the changes that became mandatory include the quality, readability and accessibility of documents. The changes in publishing technology have also called for changes in the roles for technical workers, communicators and even writers. Thus the intervention and role of the technical communicator has changed so that the matter or book published to day is readable, articulate, and navigable both in the printed and in the electronic media. The composite problem is also to keep up the author…
Comstock, Jeanie. (2009) "The Effect of Changes in Publishing Technologies on Labor and Documentation" Orange Journal, vol. 4, no. 2. Retrieved 18 April, 2009 from http://orange.eserver.org/issues/4-2/comstock.html
Ellonen, Hanna-Kaisa. (2007) "Exploring the strategic impact of technological change
Studies on the role of Internet in magazine publishing" Retrieved 18 April, 2009 from https://oa.doria.fi/handle/10024/31121?locale=lsv&author
Greco, Albert N. (2005) "The book publishing industry"
Thus science and discussions of scientific phenomena with his brother also formed the backdrop to his early life, another reason why technology featured so prominently in his literary works.
Vonnegut is credited with helping to elevate the genre of science fiction, once considered a staple of pulp magazine racks, to that of high art. Cat's Cradle tells the tale of scientists trying to create 'ice-nine,' a crystal that could turn all water solid and thus destroy all life on the earth. In 1963, Cat's Cradle slowly developed a readership as Cold ar Americans were increasingly receptive to a book that showed the dangerous potential of science and technology to develop faster than ethics and morality ("Novelist Kurt Vonnegut dies at 84," CNN.com, 2007) the novel, takes its title from an Eskimo game in which children try to snare the sun with string (Smith, 2007). Although its first printing sold only…
Renee Montagne & Neda Ulaby. "Novelist Vonnegut Remembered for His Black Humor." NPR.com. 12 Apr 2007. 9 May 2007. http://www.npr.org/templates/story/story.php?storyId=9533587
Smith, Dinita. "Kurt Vonnegut, Writer of Classics of the American Counterculture, Dies at 84." The New York Times. 2007. 11 Apr 2007. 9 May 2007. http://www.nytimes.com/2007/04/11/books/11cnd-vonnegut.html?ei=5070&en=db6388ba6f8a0e08&ex=1178856000&pagewanted=all
Novelist Kurt Vonnegut dies at 84." CNN.com. Published by the Associated Press.
These claims are virtually all based on the concept that corporations - particularly multinationals -- should be held accountable for their actions within their sphere of operations. "Corporations, for their part, have responded in numerous ways, from denying any duties in the area of human rights to accepting voluntary codes that could constrain their behavior" (atner, 2001, p. 436). In fact, this very point is echoed throughout the literature; for example, "At the turn of the 20th century, corporations tended to disregard the public interest willy-nilly. And even as recently as one-half century ago, corporations had so much power over the marketplace and so little responsibility to society" (Sriramesh & Vercic, 2003, p. 450). Despite these trends, things are changing, though, as atner points out: "The last decade has witnessed a striking new phenomenon in strategies to protect human rights: a shift by global actors concerned about human rights from…
Blackburn, V.L., Doran, M., & Shrader, C.B. (1994). Investigating the dimensions of social responsibility and the consequences for corporate financial performance. Journal of Managerial Issues, 6(2), 195.
Cable, V. (1995). The diminished nation-state: A study in the loss of economic power. Daedalus, 124(2), 23.
Casmir, F.L. (1997). Ethics in intercultural and international communication. Mahwah, NJ: Lawrence Erlbaum Associates.
Dalton, D.R., & Metzger, M.B. (1996). Seeing the elephant: An organizational perspective on corporate moral agency. American Business Law Journal, 33(4), 489-576.
Emile Zola and the Movies
The translation of any work of literature into another medium, even one apparently so closely aligned with the written word as film, is always a chancy proposition. While literature and film focus themselves on the same targets within the minds of their audiences; that of completing an organic connection between the conception and the reception of an idea, the very natures of the two disciplines demand different things of the person who is reading or watching the material. As exciting and enveloping as the best film experience may be, it is still, in its essence a passive experience; every action is already determined, "painted," and set in celluloid by the filmmaker. On the other hand, literature demands much more of its audience. Even when a writer devotes paragraphs to descriptions of various characters or activities, the reader still plays an integral part in the final…
Connors M. & Craddock, J. VIDEOHOUND'S GOLDEN MOVIE RETRIEVER.
Visible Ink Publishing, Detroit, 1998.
Horton, A. & Magretta, J. MODERN EUROPEAN FILMMAKERS AND THE ART OF ADAPTATION. New York, Frederick Unger Publishing Company, 1981.
Katz, Ephraim. THE FI LM ENCYCLOPEDIA. A Perigee Book, New York, New
The shots in the scene reuniting Indy and Marian are impersonal, long shots and medium shots.
The scene introducing the relationship between Indy and Marian quickly cuts in to the Nazi whose expertise is one of torture. He has come for the same thing Indy has, and the close ups are Marian's facial expression of fear as she's about to lose her eye to a red hot poker. Indy comes to the rescue and the final Nepal scene is a montage of dynamic action where Indy and Marian make their escape.
The film cuts to the Middle East, where Indy and Marian have traveled, as have the Nazis, in search of the ark. The first part of this Act II, so to speak, introduces Indy's good friend and his Middle Eastern contact. The scenes in the Act II employ a series of medium and long shots as Indy and Marion…
Yes, technology generates problems, and it is shrewd and apt to point out that for every net gain to certain members of society via technology there is a net loss. The hand weavers of the 18th century were put out of business by 19th century factories that could manufacture clothing cheaply, computers have probably collectively caused the art of calligraphy to die, and made even professional writers overly reliant on spell check and less willing to rewrite their work from scratch. However, would any of the authors included in the collection summarized in the essay really wish to go back to a world without antibiotics? Technology has enabled people whose vision would be a blur to see with 20/20 perfection, and made travel financially accessible to millions who would have been relegated to the narrow point-of-view of their homes. hile it is easy to find detriments to these benefits…
Vaidhyanathan, Siva. Rewiring the "Nation": The Place of Technology in American
Studies. Baltimore: Johns Hopkins Press, 2007.