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Speaking of Woody Allen films, one could well apply the proverb employed by Tolstoy at the beginning of his epic novel Anna Kareninna, and suggest that Allen's aim in dissecting family life lies in noting the fact that, although it is a universal truth that all families are unhappy, every family is unhappy in its own unique fashion. Indeed, it is the uniqueness of the individual quirks and desires of the familial characters that Allen explores with such an extensive and piercing vision that often enables him to accurately portray many individuals in a large and sweeping cast; despite the sometimes imposing size of his casts, his humor and his incisive and trenchant insight into the very machinations that make us human, enables him to portray vivid characters that, in merely a few brief scenes, spring to life. His characters display rich and realistic emotions that betray an…
Brussat, Mary Ann and Brussat, Frederic. "Review of Radio Days.." Retrieved December 4, 2003 at http://www.rottentomatoes.com/click/movie-1017067/reviews.php?critic=columns&sortby=default&page=1&rid=1173344
From this point-of-view, the characters of Woody Allen may seem closest, but not because they are referring to older times, but because they are so focused on their own existence that they don't take into consideration the idea of potentially changing it.
At the same time, Aristophanes's characters are very involved in the politics world, very important during Antiquity as the main place of the Greek society and where the Greeks exchanged ideas and participated to every day life. Allen's characters are not at all so, as they are more interested in exploring the interconnectivity between individuals and the individual in himself as an entity rather than the public faces of the era. Compared to Aristophanes, the focus remains on the individual, but we also need to understand that in Aristophanes's case, through politics was the best way for people to come together.
Moliere's characters are also social rather than…
Purple Rose of Cairo
oody Allen's film The Purple Rose of Cairo is a Depression-era story about a lonely, daydreaming woman in New Jersey who she seeks refuge from the doldrums of her life at the movies. Mimicking the escapist films produced during the depression, The Purple Rose of Cairo works on two levels, both as a critique of escapist Hollywood films and a lovingly rendered embodiment of those very same films. By approaching its subject matter in this way, the film is able to pay homage to an earlier genre without falling into the uncritical trap of nostalgia.
The film begins on an afternoon like any other when, after her shift at the local diner, the main character Cecilia heads to the local cinema to see for what is evidently the umpteenth time a film called (like Allen's film itself) The Purple Rose of Cairo. The fictional Purple Rose…
Canby, Vincent. "WOODY ALLEN'S NEW COMEDY, 'PURPLE ROSE OF CAIRO." New York
Times 01 Mar 1985, Print.
Grimstead, David. "The Purple Rose of Popular Culture Theory: An Exploration of Intellectual
Kitsch." American Quarterly. 43.4 (1991): 541-578. Print.
In the film, split screening is used to demonstrate how the characters of Annie Hall and Avi Singer perceive each other. For instance, when Annie and Avi go to visit Annie's family, he reminisces that his family is nothing like hers; this is shown through split screening with the Hall family on the right half of the screen and the Singer family on the left. Through their conversation, behavior, and dress, it is clear that the Hall family and the Singer family are vastly different. This technique is also used to show how Annie and Avi interact with their respective analysts. On the right side of the screen, Annie is shown to be talking to her analyst about Avi, while on the left is Avi talking about Annie. This split-screen technique not only allows the audience to see both characters in the same environment, but also allows them to see…
Film Begets Film And Real Begets Fake: Woody Allen's Zelig
Woody Allen's Zelig represents many classic potentialities and limitations of the mockumentary. Predating the "mockumentary" designation by a full year, Zelig helped pioneer the mockumentary's use of clever parody to entertain, expose the fallibility of "historical" archival footage, prick the conscience and soothe. Simultaneously, Zelig suffered and suffers from the limitations of the mockumentary, as parasite and slave to the documentary, inherent filmed format and key components imitated to the point of triteness. espite Zelig's relatively early techniques and presentation, it remains squarely within the mockumentary mode.
Body: Film Begets Film and Real Begets Fake: Woody Allen's Zelig
The term "mockumentary" is a synthetic word stemming from a comment in 1984's This is Spinal Tap. In that film, documentarian Marty iBergi referred to his work as a "rockumentary, if you will" (oherty 24). In a small leap from that term,…
During Zelig's first wave of celebrity, medical experts -- including psychiatrist Dr. Eudora Nesbitt Fletcher -- unsuccessfully analyze him. Then, upon his return from Italy, Dr. Fletcher takes Zelig to the isolation of the countryside and so successfully "cures" his malady that Zelig attacks an expert because Zelig disagrees with the expert's correct statement that it's a nice day. A "cured" Zelig now travels the U.S. with renewed celebrity status, giving motivational speeches about "being yourself." In addition, Zelig and Dr. Fletcher -- who is also famous due to Zelig's cure -- announce their engagement, at which point multiple women come forward to claim that Zelig married them while he was in one of his chameleon forms. Now that Zelig is accused of bigamy and adultery, the easily manipulated public turns against him, pressuring him to return to his chameleon disease and disappear. Dr. Fletcher searches for Zelig and finds him in a newsreel of Hitler; consequently, she travels to German and sees that Zelig is in Hitler's inner circle. Seeing Fletcher, Zelig comes out of his chameleon existence once again and they both return to America. The gullible and manipulated public now celebrates Zelig with a ticker tape parade in New York City. Zelig and Fletcher then marry and fade into obscurity.
Ideally, the mockumentary has several powerful potentialities. Typically, it is a clever, provocative parody of the documentary genre (Grossman 271-2). Zelig, for example beautifully imitates the black-and-white documentaries of the 1970's which purported to give an accurate and complete history. Without the benefit of digital film or CGI, Allen inserts himself as Zelig in numerous historically important scenarios. Zelig's revisionist history, just this side of reality in that Zelig poses with real historical characters (Doherty 24), "incinerated" the naive reliance on archival film as an accurate conveyor of history. Furthermore, to buttress the supposed historical reliability of his mockumentary, Allen used a then-key innovation that has been used ad nauseum: real experts such as Susan Sontag and Saul Bellow, to lend superficial credence to the truthfulness of his mocking historical account (Doherty 23). By almost seamlessly inserting Zelig into archival footage, the film shows the fallibility of film as genuine history.
Zelig also succeeded in fulfilling another potentiality of the mockumentary: parodying the modern concept of celebrity and human nature, particularly modern man's wish to conform, assimilate and belong (Genter). Through the use of comedy and keen historical mockery, Zelig succeeds in cultural critique of those facets, prompting audiences to "self-conscious analysis" of our tendency toward those human weaknesses (Grossman 272). By raising Zelig to celebrity, then lowering him to despised status, then raising him to celebrity, then relegating him to obscurity, the film forces the audience to examine our gullibility, easy manipulation and persistent problem in distinguishing fact from fiction in our celebrity-obsessed, image-obsessed culture (Grossman 283). Consequently, even as the audience laughs at the
As he himself admits, "I have a very grim perspective. I do feel that it's a grim, painful, nightmarish meaningless existence, and the only way to be happy is if you tell yourself some lies. One must have some delusions to live" ("Cannes 2010: oody Allen on Death -- 'I'm Strongly Against It'"). hat Midnight in Paris is for him (and us), therefore, is a kind of distraction from the reality that at some point the final credits will roll.
Malick's Tree of Life, then, is a kind of answer to Allen's melancholy. It is, of course, a religious answer told through an impressionistic and indirect medium. Nonetheless, unlike Allen, Malick is willing to embrace the spiritual side of man and explore its meanings and possibilities. For Malick, life is a spiritual journey that can lead one either upwards to the good or downwards to the bad. Allen's film may…
Allen, Woody, dir. Midnight in Paris. Los Angeles: Sony Pictures Classics, 2011.
Augustine. City of God. Edinburgh: T&T Clark, 1888. Print.
Augustine. The City of God against the Pagans. Cambridge University Press, 2002.
here Allen's character Isaac consorts with writers and socialites who have doormen and analysts, Mookie of Lee's film is ensconced by violence, hostility and a permeating sense of economic despair.
From the perspective of those experiencing New York as a place of transience primarily for the despair and rootlessness it could instill in one, Allen's existential crises, his divorces and his writer's block could seem of superficial importance at best. To those experiencing New York in the 70s and 80s as a place just on the edge of destruction if not beyond, the sense of it as a space so enormous that one could fall endlessly is palpable. An essay in the text compiled by Berman & Berger by Paul Kopasz suggests as much. As the author describes his life as an addict in the city, one begins to understand transience as something far more troubling than Allen's metaphysical quandaries.…
Allen, W. (1979). Manhattan. United Artists.
Berman, M. & Berger, B. (2007). New York Calling: From Blackout to Bloomberg. Reaktion Books.
And Sellers plays the repressed social engineer Strangelove, the timid Merkin Muffley, and the persevering Mandrake -- all with mechanical precision. Kubrick's unflinching camera acts as a character, too, slyly observing the exposition of humanity in all its grimly humorous glory.
This film belongs to a culture that has rejected the status quo -- the quaint picturesque comedies of the 1940s and 1950s; it belongs to a culture that is bordering on nihilism, anarchy, revolution -- anything that will help it to get away from the culture that has brought us the faceless, nameless idiots running the ar Room in Dr. Strangelove. The film offers no solutions -- it only asks us to present ourselves to world with fresh eyes, a pure soul able and willing to laugh at its human foibles and failings, and begin to meditate upon a new direction, a new solution perhaps to the problem of…
Aristotle. Poetics. Sacred-texts. 13 May 2013. Web. < http://www.sacred-
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. NY: MacMillan,
saw two houses: one in the suburbs and one in the center of town. he suburban house was less expensive than the one in town so there must be something wrong with it.
he fallacy present in this remark revolves around the notion that when something costs less, it's as a result of some sort of flaw. While there is an expression "you get what you pay for" this expression is not always absolute. Many times there is a host of reasons why something might cost less than something else, and many of these reasons will have nothing to do with flaws or something being "wrong" with the house. For instance, the house might be priced less because it is further a way from the center of town, or might have an undesirable view or might be on a street where some tragic act of violence occurred. Regardless, none of…
The fallacy of this statement is that it seeks to separate human actions from religion. The reality is that man human actions are motivated by their spiritual beliefs and it might be sound in theory to attempt to separate them, but that is not realistic.
20. Socrates is a man. All men are mortal. Therefore, all men are Socrates. (Woody Allen Love and Death 1975)
The fallacies of this statement cannot even be stated. It is illogical and absurdist.
Allen is saying that all of the wonders of technology can never replace tow people connecting and trusting each other. I completely agree with these concepts and given Mr. Allen's wit and comedic sense, am thankful it was made. Finally any film made during a specific period of time can't help but reflect the values of society at the time. The open discussions about sexuality and sex make light of society's open and free attitudes about these areas of the human experience in 1973.
Why Sleeper is a Classic
Sleeper will always be a classic because it combines Mr. Allen's slapstick and vaudevillian comedic approaches while integrating his favorite music, which is jazz and ragtime. In addition the triumph of the human spirit and human emotions, as chaotic and mercurial as they can be, will always be superior to technology. The use of technology as a means to coerce and…
George O'Har. "Technology and Its Discontents " Technology and Culture 45.2 (2004): 479-485.
As a testament to the respect he garners in the neighborhood, however, he is allowed to pass by without being sprayed by the water.
Radio Raheem's warrior status is first challenged in the film by a group of Latinos hanging out on their front stoop. They are listening to the radio, which is blasting Latin music. Suddenly, Radio Raheem appears, with his ghetto blaster pumping out Public Enemy. The Latinos react in anger, and turn up their music in order to drown out Radio Raheem's. This contest goes on for a few more takes, but it is ultimately Radio Raheem who emerges victorious in attaining maximum volume. The "fight" against the "power" has been won - at least momentarily. As Radio Raheem marches down the street, leaving his victims behind, a small black child runs up next to him. Radio Raheem gives the child a high five.
In another important…
Calvino, Italo. 1974. Invisible Cities. New York: Harcourt Brace Jovanovich.
Cannon, Damian. 1997. "Mean Streets (1973)." Movie Reviews UK. Retrieved April 24, 2008 from: http://www.film.u-net.com/Movies/Reviews/Mean_Streets.html.
Ebert, Roger. 2003. "Mean Streets." Retrieved April 25, 2008 at http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20031231/REVIEWS08/401010340/1023 .
Friedman, Lawrence S. 1997. The Cinema of Martin Scorsese. New York: Continuum.
Westerns soon developed into a staple of TV land. The independence and strength of the characters epitomized the ideals that made America so unique. Families sat down with their TV dinners to watch such shows as " Gunsmoke," the Lone Ranger," the Rifleman," Have Gun, Will Travel," and " Maverick." You were not anybody unless you could sing the theme songs of each show.
Moviegoers were also being drawn into the theaters by the monster/science-fiction movies. About 500 film features and shorts were produced under this broad theme in the 1950s and early 1960s, explains the 50s B-Movie website. ne might argue convincingly that never in the history of motion pictures has any other genre developed and multiplied so rapidly in so brief a period. As Paul Michael comments, "n a sheer statistical basis, the number of fantasy and horror films of the 1950s... has not been equaled in any…
Our American Century: The American Dream, the 1950s.. Editors of Time Life. Richmond-Virginia, Time Life, 1997.
Ross, Kelly. Existentialism. 2003. Retrieved from website April 19, 2005. http://www.friesian.com/existent.htm
Western Movie Encyclopedia. Western Movie. Retrieved from website April 18, 2005. http://www.localcolorart.com/search/encyclopedia/Western_movie
In "Crime's" conclusion, set at Ben's daughter's wedding, Ben, who is the film's true just and loving man, copes with inevitable blindness, dancing sightless with his daughter the bride, as self-important Judah justifies the "crime" he has committed -- albeit told to Stern at the wedding, in a folkloric way). Judah has literally gotten away with murder. It is bleak, grim and evil triumphs. It is Allen at his darkest and yet, as a film, "Crimes" succeeds. It is entertaining and thought-provoking, yet the audience ultimately identifies with a killer.
And here is where the aforementioned "mis-step" has relevance. Where he so clearly was successful in telling the "Crimes & Misdemeanors'" tale, Allen is less so in "Match." "Match's" Jonathan Rys-Myers' Chris, a social-climbing tennis instructor, is, right from the start, less sympathetic than Landau's Judah. Judah is a healer, he has saved sight, he has done some good; in…
Butch Cassidy and the Sundance Kid (1969) came in a time when the public became fond of funny westerns. The editors carefully made the movie's beginning and its end in order for it to have an exceptional result consequent to the audience viewing it. The silent beginning and the freeze-frame ending gave the movie an exceptional character, showing the public something that they had never seen before.
In times when the whole world filmed in color, a number of directors reached the conclusion that it had not been the color that made the difference between a good movie and a bad one, as it had been the script and the movie crew. Peter Bogdanovich, the director of the Last Picture Show (1971), had been influenced to film the movie in black and white because of a conversation that he had with Orson elles. The two concluded that it had been…
1. Annie Hall. Dir. Woody Allen. United Artists.
2. Butch Cassidy and the Sundance Kid. Dir. John Foreman. 20th Century Fox.
3. Friedrichsen Mike, Vorderer Peter, Wulff Hans J. (1996). "Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations." Lawrence Erlbaum Associates.
4. Lock, Stock, and Two Smoking Barrels. Dir. Guy Ritchie. Universal Pictures.
Woody Allen's Annie Hall
Music is hardly used at all throughout the course of Woody Allen's classic comedy film Annie Hall. Like the great Ingmar Bergman, a director that Allen has idolized throughout the course of his career, Allen chose to leave a music score out of the film altogether.
Allen has always been known for his unconventional use of music in his films. He has never commissioned an original score for any of his movies; rather, he prefers to use established jazz and classical music recordings. But in a lot of his films, these jazz scores can be heard constantly in the background. Not so in Annie Hall.
One of the few uses of background music to be heard in Annie Hall include a boy's choir Christmas melody that features in a scene where the characters are driving through Los Angeles. In another instance, Mozart's Jupiter Symphony can be…
filmmakers have quite a few options. They may choose to place a character in a realistic spaceship; they may choose to shoot their film from dynamic angles which push the limits of filmmaking; they may choose to have a dinosaur wander through the city or they may choose to shoot the movements of micro-bacteria. They may also make the choice as to whether they wish to shoot their film in black and white, in color, or in a combination of the mediums.
Films such as Schindler's List and Pleasantville are excellent examples of films wherein the filmmakers understood that the juxtaposition of color and black and white have an effect on the audience. In Schindler's List, the audience watches a small girl in a bright red jacket flee Nazis during a raid. She draws the eye and as a result has a profound effect on the audience.
In Pleasantville, black…
Taradji, Nima. Colorization and the "Moral Rights" of the Artist. 1998. http://www.taradji.com/color.html
Creative Rights Statement. 1987. Cinema Studies. http://www.cinemastudies.org/creat.htm
These powers are unique to Keaton, who has been widely considered superior to Charlie Chaplin for his "gentle coolness" and "deadpan bewilderment," (MacDonald 6). Both in the General and Sherlock Jr., Keaton is at his best. However, the General is a deeper and more memorable movie from the point of cinematography, direction, editing, and acting.
Buster Keaton is one of Hollywood's shining stars of the silent era. After the advent of "talkies," Keaton's career nosedived for obvious reasons. It was easier to transition from live performances in vaudeville to silent motion pictures, but the new talkies meant whole new business models in Hollywood. The dynamics had changed. Keaton's work, as was the case with most film stars of his era, remained literally silenced until they were revived and re-appreciated. Serious students of film and filmmakers today hearken to Keaton's work. He was been described as the "best comedy director in…
Bermel, Albert. Farce: A History from Aristophanes to Woody Allen. Southern Illinois University Press, 1990.
"Buster Keaton." PBS. Retrieved online: http://www.pbs.org/wnet/americanmasters/episodes/buster-keaton/about-buster-keaton/644/
Carroll, Noel. "Buster Keaton: The General, and Visible Intelligibility." Chapter 7 in Close Viewings: An Anthology of New Film Criticism. Ed. Peter Lehrman. University Press of Florida.
Carroll, Noel. Comedy Incarnate. Malden, MA: Blackwell, 2007.
Bob Hope was born Leslie Townes Hope in Eltham, England in 1903; when he was a child, his family moved to Cleveland, Ohio. He died in California in July, 2003, a few months after his 100th birthday. (Fagan, A01) Amazingly, he performed in his last TV special in 1996 at the age of 93.
Bob Hope started out as a young man as a vaudeville song-and-dance man, but moved rapidly to comedy. By 1930, Hope had reached vaudeville's pinnacle, the Palace, and moved on to leading roles in Broadway musicals such as Roberta and Red, Hot and Blue. Next, he began appearing on radio, and then moved to Hollywood, where he starred in 50 films, and had cameos in 15 more. (Fagan, A01) His first movie was The Big Broadcast of 1938 and his last appearance was a cameo in Spies Like Us in 1985.
He also influenced other comedic…
Arnold, Gary. (2003) Bob Hope leaves legacy of memories. The Washington Times, July 29, B05. Retrieved May 5, 2004 from Questia database, www.questia.com.
Fagan, Amy. (2003) Bob Hope dies, leaving a century full of memories; Legendary career included shows for U.S. troops. The Washington Times, July 29, A01. Retrieved May 5, 2004 from Questia database, www.questia.com.
Honeycutt, Kirk. (2003) Film was natural medium for fast-talking quipster. (Bob Hope: 1903-2003). (Biography) Hollywood Reporter, July 29, no page given. Retrieved May 5, 2004 from Highbeam Research database, www.highbeam.com.
Clearly, his moral standing is highly dubious, if not completely tarnished.
If the Gyges ring were to fall into my possession, I would attempt to do something just to make the world a better place - but what I consider to be just, others might consider to be unjust. For example, I am opposed to many of George W. Bush's actions as President of the United States. I believe that, through his actions, he is personally responsible for many instances of death and destruction, not the least of which has resulted from starting a war that never should have been a war, as there is not a single shred of evidence that affirms this war is being fought for a good reason. Yet more and more people continue to die each day as a result of it.
Thus, if I had the Gyges ring, I would try to figure out…
250). At this point in his career, Picasso could represent Stein quite well. The style is neither abstract nor entirely avant-garde: it is reflective, slightly off-kilter, but encompassing of the subject and her character.
Picasso's portrait of Gertrude Stein, therefore, must be considered the better of the two, even if Rose's appears to be the more dynamic. Rose was an imitator, not exactly an orginal -- but then, could the same be said of Picasso? oth were feeding into the whirlwind that was modern art, constantly exploding and changing the dynamic of form and expression. Picasso's Stein, however, retains the dignity of the brush for a moment and is a thoughtful representation of a woman whose own influence over the art world was so great.
While, as Johnson says, Picasso's "distorted paintings of women are closely linked to the pleasure he got from hurting them, both physically and in other…
"Art: Blossoming Career." Times. 1949. Web. 23 June 2011.
Greenberg, C. "Avant-Garde and Kitsch." Partisan Review. 6.5, 1939: 34-49.
Johnson, P. Creators. New York: HarperCollins, 2006.
The availability of the Internet, many beleaguered doctors fear, will make it easier for hypochondriac patients to find new and rare illnesses to diagnose themselves with -- however, even doctors acknowledge the value of the Internet in their own work, when cases baffle them. "eb-based search engines such as Google are becoming the latest tools in clinical medicine, and doctors in training need to become proficient in their use....Using clusters of symptom-related words, they [the doctors] searched Google for a correct diagnosis and compared the internet diagnosis with those in the journals....Google searches found the correct diagnosis in 15 - or 58 per cent - of cases proving, say the authors, that the engine is a useful aid, particularly if the condition has 'unique' symptoms...But patients doing a Google search may be less likely to reach the correct diagnosis" ("GPs should Google diagnosis: study," Nine MSNBC, 2007). Again, one…
Austen, Jane. Emma. Full e-text available 18 Apr 2008 at http://www.austen.com/emma/
GPs should Google diagnosis: study." Nine MSNBC. 18 Nov 2007. 10 Apr 2008. http://news.ninemsn.com.au/article.aspx?id=160924
Hypochondriasis." The Cleveland Clinic Department of Patient Education and Health
Information. 17 Apr 2008. http://www.clevelandclinic.org/health/health-info/docs/3700/3783.asp?index=9886
Both Bermant and Raskin show how all Jewish humor, and for Raskin, individual jokes, can be traced to Biblical times in light of Talmudic and other Rabbinical writings. Raskin addresses rabbinic judgment, man vs. God, ethnic disparagement, and even the humor in the Ten Commandments. Jewish mother jokes cannot be ignored in any analysis of Jewish humor, and both authors address the role of Jewish mother jokes and how they can be traced to the Bible. Raskin discusses the original function of Groucho Marx's resignation joke and places it also within a historical framework that extends back in time to the Bible and forward to oody Allen. The meaning of life is a rich topic of discussion in Jewish humor, traced through to the Bible and played out in variations of the joke of the dying Rabbi.
The connection between Jewish humor and Biblican humor is not immediately apparent to…
Bermant, Chaim. What's the joke?: A study of Jewish humour through the ages. Weidenfeld and Nicolson 1986.
Raskin, Richard. Life is Like a Glass of Tea: Studies of Classic Jewish Jokes. Aarhus University Press, 1992
Spalding, Henry D. Encyclopedia of Jewish Humor. Middle Village, 2001.
Telushkin, Joseph. Jewish humor: What the best Jewish jokes say about the Jews. Harper Collins, 1998.
Chassidic fundamentalist environment in a part of Williamsburg in Brooklyn NY. She lives with her parents but has often been thrown out of the house and has other times tried to run away. She is 19 years old, and works fulltime as a nursery teacher, a job that she detests and that her mother forced her into. She has minimal independence skills, little social maturity, i.e. developmentally behind her age in comparison to 'normal' American society, although has an IQ that I suspect is quite high. Given her lack of secular subjects, all of Ellie's knowledge comes from books that she acquired from the library when she, benign thrown out of the house, found her refuge there at night. Ellie is totally ignorant therefore of some subjects, such as math and geography, but has a knowledge of others, such as Latin and Greek that others her age would not have.…
Almond, G.A., Appleby, R.S., & Sivan, A. (2003). Strong religion: The rise of fundamentalisms around the world. Chicago: The Univ. Of Chicago Press.
Antoun, R.T. (2001). Understanding Fundamentalism: Christian, Islamic, and Jewish movements. Oxford: Altamira Press.
Heilman, C. (2007). Jews and fundamentalism, Journal of Ecumenical Studies, 42, 1-9.
Heilman, C., & Friedman, M. (1991). Religious fundamentalism and religious Jews. In Fundamentalisms Observed, ed. M.E. Marty, R.S. Appleby, pp. 197-265. Chicago: Univ. Chicago Press.
Though filled with opportunity, it is also filled with people who missed the golden ring and slipped through the cracks, winding up living on the streets and begging for handouts to survive. This is the landscape that tourists are warned about and natives attempt to ignore by walking by them oblivious to their plight. This is not the celebrity singing cowboy street person who entertains, this is the homeless man in a wheelchair who represents man frailty and how close we all are to the streets. He is the New York that is hard to look at because if we look to closely we might find ourselves.
Then there is the New York of the elite. The debutantes, stockbrokers, old money, new money, famous; these are the royalty of America. They dine in fine restaurants, shop in the best stores, and spend an inordinate amount of money on the finer…
Artificial Intelligence / Robotics
Robot Outline Name: Complitar (aka the LoveBunny 3000).
Personal Statement: Greetings, human. I am the LoveBunny 3000, and I offer advice on relationships and also sex. You are here gazing at my glass containment because you are troubled in your relationship, or you seek advice for how to drive your lover wild, or perhaps you just need concrete advice for how to find a lover -- although in these days of social media and nonstop connectedness, if you can't find someone to sleep with you, you're doing it wrong. And that's where I come in. You can ask me any question pertaining to the relationship genre.
My form is that of a classic automaton -- a spooky sort of robotic doll that performs certain functions within a limited and circumscribed physical field. Some may recognize my appearance from a standard fairgrounds type fortune-teller or more specifically…
Lewis's The Message Of The Living God: His Glory, His People, His World
The first point that Peter Lewis makes in his book The Message of the Living God is that God does not speak to us on our own terms, the way that Woody Allen would want Him to speak.[footnoteRef:1] No, God speaks to us in His own language, though He uses our words: it is the language of spiritual love, expressed through ancient covenants described in the Old and New Testaments. It is a language that we must look for if we are desirous to know God. This is the thesis of Lewis's work -- and thus the book takes a foray into the Scriptures so that the reader might better understand the God Whom he seeks. Lewis connects this idea with that of Calvin, who also began his teaching from the basis of "knowing" God rather than…
Lewis, Peter. The Message of the Living God: His Glory, His People, His World. IL:
InterVarsity Press, 2000.
telling the story of what has come to be known as Central Park in New York City. Indeed, very few parks in the world are as iconic and story-filled as that park. The words in this report will not just be a recitation of the history of the park. There will also be stories told about the people that planned, envisioned and constructed the site. There will also be some focus on those that have used the park for whatever notable purpose. This report will very much be an encapsulation of the people that brought Central Park to life and have kept it at the glorious standards that it still meets today. The author of this report will make use of historical and scholarly sources to make the important points to be made. While there are certainly architectural and landscaping marvels, both in the United States and around the world,…
Brown, Jeff L. 2013. "The Bridges of Central Park." Civil Engineering (08857024) 83, no. 2: 38-
41. Academic Search Premier, EBSCOhost (accessed November 4, 2015).
Brown, Jeff L. 2013. "The Making of Central Park." Civil Engineering (08857024) 83, no. 1: 40-
43. Business Source Premier, EBSCOhost (accessed November 4, 2015).
ree of Life: New Age Seminal Film
Well into the second century of the fictionalized, narrative films, groundbreaking ideas materialized in seminal masterpieces of the film genre are not easy to come by. A list of these usually ends up with 2009, when Avatar was released. "he ree of Life" is an out of the ordinary film that exceeds the category of "pretentious" artsy, intellectual films that nobody understand, but many are willing to watch only to brag about having seen. he film cannot be qualified as "seminal" because it does not necessarily bring new techniques or ways to express in this art form on the table, but it is definitely representative of the film in this day and age.
During the last decade, more and more artistic films from the big budget realm have been noted to take more and more serious note, even those hat announce themselves "comedies."…
There is hardly a blockbuster or art film made during the last ten years that does not deal at some point in its plot with the struggle of the post-modern human to find its place in this universe or to make sense of it. This is in terms of the content. In terms of technical development, the achievements in the film realm during the last decade or so far and wide reaching that there seems to be harder and harder to come up with something truly "new." As Brad Pitt, the actor playing the father figure was saying in an interview: in technical terms one could say that the film makers were actually looking for what is usually considered a mistake in the film industry in order to "perfect" it. The "perfection of mistakes" as Pitt calls it is not necessarily entirely new, since Woody Allen already successfully dealt with this type of approach in his numerous films, but it is an innovative way of introducing it into a narrative film. Thus, the viewer is many times tempted to wonder if there is a fictional film or a documentary presented on the screen. The fact that images related to the origins of the universe, the earth and life on earth are introduced into it, ads to the innovative form of approach. Dialogues are sparse, but the director is brilliant in "perfecting" the mistakes of the acting. Nothing seems too be left untouched, even the smallest detail: a small child who is clearly incapable of "acting" is surprised at the perfect moment: his gaze is saying exactly what the scene is about.
The beauty of the images testifies for the artistic eye of the filmmaker. It feels like the filmmakers teemed up with some talented photographers as well. The results are pure art, but generous enough to leave the rest of the specific artistic expression enough space. The film inevitably reminds one of Alfonso Cuaron's "Gravity," another recent film. Common themes like the origins of creation and life on earth as well as one's struggle to find a meaning in what might easily seem meaningless, picturesque images presented with the eye of a talented photographer, are features that make the two films seem related. They are also perfect examples of representative artworks in the film industry. Both films benefited of generous budgets, proportionately, which allowed their makers to experiment away, but the results are not necessarily groundbreaking for the art of film. The Tree of Life has the merit of having directly addressed all the "evils" of modern life, focusing on what was otherwise marginally touched and often left incomplete, leaving the viewer with the sense of having missed something important.
Exclusive Brad Pitt Interview for "The Tree Of Life," Available at: https://www.youtube.com/watch?v=dnTMq8IKeb4 , Retrieved: Dec 3rd, 2015
“Please God Let the Chicken Bucket be OK”: A Bucketful of Social Satire in Jennifer Knox’s “Chicken Bucket”
Romance and familial life, at first glance, do not appear to be of much importance in Jennifer Knox’s “Chicken Bucket”—but upon closer inspection, romance and family life are really what the poem is all about, albeit these themes are perceived through the eyes of a thoroughly debauched thirteen year old girl transitioning from childhood to adulthood in a cascading fit of booze, schedule 1 narcotics, underage sex, and fried fast food. One could be excused for calling Knox an ironic poet, because if romance and familial relations are the dominant themes of Chicken Bucket they are only so by way of their rather conspicuous absence—at least, a quick examination would lead one to think this. However, romance and familial life are really the heart and soul of Knox’s “Chicken Bucket”—they are just…
This will translate to certain philosophies that govern their paintings, films or novels. Such believes are deep-rooted in the society and affect the social, cultural, and economic aspects of the society. According to theorists of intertextuality, the authorship of any text is not real. To them, people claiming authorship or ownership of texts, are insincere and disingenuous. As Ronald Barthes pointed out, every author or artist, depend on the already existing art. Therefore, even the originality is controversial. As proponents of intertextuality, they doubted the authorship since texts are simply multidimensional space where variety of writings blends and clash. In the book, Marxism and the Philosophy of Language (1929), the author attests to every text or reading as a mere rewriting of the existing texts or materials. Under extreme circumstances, readers construct authors. Some authors still contest authorship of selected materials, as the ideas are usually the same.
Daniel Chandler. Semiotics of Beginners. Retrieved from: http://www.aber.ac.uk/media/Documents/S4B/semiotic.html
Block, Marcelline. World Film Locations: Paris. Bristol: Intellect, 2011. Internet resource
The authors state: "The amphetamines occasioned dose-related increases in d- amphetamine-appropriate responding, whereas hydromorphone did not. Amphetamines also occasioned dose-related increases in reports of the drug being most like "speed," whereas hydromorphone did not. However, both amphetamines and hydromorphone occasioned dose-related increases in reports of drug liking and in three scales of the ARCI. Thus, some self-report measures were well correlated with responding on the drug-appropriate lever and some were not. Lamb and Henningfield (1994) suggest that self-reports are complexly controlled by both the private event and the subject's history of experience with the drug. Some of the self-reports they observed (e.g., feels like speed) are probably occasioned by a relatively narrow range of stimuli because in the subject's experience with drug administration, these reports have been more selectively reinforced by the verbal community relative to other reports (e.g., drug liking). They also suggest that these results imply…
Budney, Alan J. et al. (2006) Clinical Trial of Abstinence-Based Vouchers and Cognitive-Behavioral Therapy for Cannabis Dependence. Journal of Consulting and Clinical Psychology 2006. Vol.. 74 No. 2. 2006 American Psychological Association.
McRae, a.; Budney, a.; & Brady, K. (2002) Treatment of Marijuana Dependence: A Review of the Literature. Journal of Substance Abuse Treatment 24 (2003)
Pathways of Addiction: Opportunities in Drug Abuse Research (1996) Institute of Medicine (IOM)
Kamon, J; Budney, a. & Stanger, C. (2005)a Contingency Management Intervention for Adolescent Marijuana Abuse and Conduct Problems. Journal of the American Academy of Child & Adolescent Psychiatry. 44(6):513-521, June 2005.
The music of United States changed significantly during the twentieth century, and each generation went on to develop its own music. These were all immensely popular, had strong rhythmic touch and were very different from the earlier forms which existed. These were used for dancing or just for the purpose of listening. When the twentieth century started it was the time for a variety called Ragtime. After the end of the First World War, Jazz had its origin and it influenced all other forms till it was affected by the stock market crash in 1929. This period was called the roaring twenties. Then it was time for a new form to emerge and this was in the music of the ig ands and led at different stages by Duke Ellington, Fletcher Henderson, Jimmie Lunceford, Glen Gray and Chick Webb in the beginning. They were then followed by…
Weinstock, Len. "The Big Band Era, Or How America Came Out Of the Great Depression and Went On To Win World War II, 1991" Retrieved at http://www.redhotjazz.com/bigbandessay.html. Accessed on 03/08/2004
Azinhais, Joao "The King of Jazz" Retrieved at http://www.redhotjazz.com/whitemanarticle.html. Accessed on 03/08/2004
Weinstock, Len. "The origins of Jazz" Retrieved at http://www.redhotjazz.com/originsarticle.html. Accessed on 03/08/2004
Slave Songs of the United States" A. Simpson & Co. Retrieved at http://docsouth.unc.edu/church/allen/allen.html . Accessed on 03/08/2004
He had been most inspired by the songs of Woody Guthrie. "Woody had a sound and said something with his music." He wanted to meet Woody and thank him for such inspiring songs. Woody had not been well and was being treated in a local hospital. Bob went and saw him and then wrote a "ong to Woody."
uddenly, following that visit, as if overnight, Bob Dylan became a household name. He was selling out theatres across America and England. He was referred to as a genius. It has been said that Bob went down to the crossroads and struck a deal with the devil, in order to arrive at such a place. He continued to evolve from the old acoustic folk singer that everyone loved, to a somewhat loud electric rock star. Columbia Records and many of his fans were not happy about this change. Fans were booing and…
Suddenly, following that visit, as if overnight, Bob Dylan became a household name. He was selling out theatres across America and England. He was referred to as a genius. It has been said that Bob went down to the crossroads and struck a deal with the devil, in order to arrive at such a place. He continued to evolve from the old acoustic folk singer that everyone loved, to a somewhat loud electric rock star. Columbia Records and many of his fans were not happy about this change. Fans were booing and heckling him at concerts, yet they continued to buy tickets. Bob's electric song "Like a Rolling Stone" from the acclaimed album "Highway 61 Revisited" climbed to number 2 on the Billboard pop charts, second only to The Beatles "Help."
The central theme to this documentary is a lesson that teaches us to remain true to ourselves no matter what others think. If we are to conform to the labels and beliefs of others, we are bound for failure. Bob knew this, and continues to follow his heart to this day.
Steve Allen of Billboard said: "Dylan's poetry is born of a painful awareness of the tragedy that underlies the contemporary human condition." This is as true in 2010 as it was in 1965. Martin Scorsese captured a moment in time with this project, and the moment he captured is the same now, as it was then, and will always be.
He, therefore, continued experimenting with new musical style, and his 1964 album, Another Side of Bob Dylan hinted at the things to come. The album was categorized a "folk album" only because Dylan had not yet decided to go electric and continued to use an acoustic arrangement for his songs. As for the content of his songs on Another Side, they had already veered away from the political protest of folk. The album started with the light-hearted and personal "All I Really ant to do" and ended rather significantly with "It Ain't Me" -- Dylan pointedly saying adieu to his folk audience. The album's departure from folk traditions was a prelude to a more dramatic change in Dylan's musical style that was to be unveiled in the following year.
Dylan goes Electric
The year 1965 was the start of perhaps the most concentrated, magical, and impressive two-year period of creative…
Hentoff, Nat. "Liner Notes for 'The Freewheelin' Bob Dylan" Bob Dylan.com. 1964. May 12, 2005. http://bobdylan.com/linernotes/freewheelin.html
Shelton, Robert. "No Direction Home: The Life and Music of Bob Dylan." Ballantine Books: New York, 1986
Wilentz, Sean. "Liner Notes -- Live 1964 at Philharmonic Hall." December 2003. May 12, 2005. http://bobdylan.com/linernotes/live1964.html
From the song it's All right Ma (I'm only Bleeding) from the album "Bringing it All Back home" (1965)
Blowin' in the ind"
Blowin' in the ind" also uses imagery to convey a message during times of trouble. Dylan uses naturalistic elements to elicit an emotional response from the audience. Using the earth element of "wind" brings a movement and dynamics to the song. Still it is the use of questions that make the verses so strong. Dylan does not mean for the result to be answers but to get people thinking. The use of overblown imagery Riley writes, "is necessary balance -- the first verse alone pits a dove against flying cannonballs" (56). Through this word usage, Dylan creates a good vs. evil theme. The dove represents an innocence that could be destroyed by acts of violence. Still such description creates a contradiction of terms and creates contempt for inhumanity. It is only his voice "seems to be harbouring secret messages" (Riley, 54).
Highway 61 Revisited"…
Bob Dylan. 10 Dec. 2004 http://www.bobdylan.com/index.html ..
Riley, Tim. Hard Rain: A Dylan Commentary. New York: Alfred. a. Knopf, 1992.
Williams, Paul. Performing Artist: The Music of Bob Dylan Volume One, 1960-1973. Novato: Underwood-Miller, 1990.
" (LewAllen). The purpose was to get the viewer to see the Holocaust as a point of reference in evaluating our current society. The actual work is a collaboration between her and her husband, a world renowned photographer. It is composed of a collection of sculpture, photographs and paintings.
Judy Chicago's works encompass several post-modern ideas. First, her works often focus on feminist themes and ideals, an idea that has grown out of the post-modern era. Further, her work is primarily comprised of installation art in that it is large and not able to be hung on a wall. This being the case, Chicago's work is the essence of post modern's focus on the real and the current, making her a true and unique postmodern artist.
For More Information:
Judy Chicago's Home page: http://www.judychicago.com/
The Holocaust Project:
Chicago, Judy. The Dinner Party. New York: Penguin, 1996.
Chicago, Judy. The Dinner Party. New York: Penguin, 1996.
Judy Chicago: Holocaust Project: From Darkness into Light. LewAllen Contemporary. www.lewallencontemporary.com
Another political and public sidewalk mural done by Beever is his Politicians Meeting Their End, drawn on the night of the 1997 General Elections outside the Bank of England. In this work, Beever creates the illusion of a deep well in the middle of the sidewalk with unpopular politicians being pulled in. Again, like most of his works, this one demands the viewers attention and gives a clear message.
ulian Beever's work encompass several post-modern ideas. First, his works is often focused on current events or celebrities, and therefore encompass the pop-art trend often found in postmodern art. Further, his work is a type of installation art in that it is created and displayed in extremely public places, often causing a disruption in the general flow of the area it is placed. As such, his work is the essence of post modern's focus on the real and the current, making…
Julian Beever's Home page: http://users.skynet.be/J.Beever/
Images of Julian Beever's chalk art:
Music and Dance in Indian Films
In sheer quantity, INDIA produces more movies than any other country in the world-over 900 feature-length films in at least 16 languages, according to a recent industry survey. This productivity is explained by several factors: the size of the Indian audience, low literacy rates, the limited diffusion of television in India, and well-developed export markets in both hemispheres. (http://worldfilm.about.com/cs/booksbolly/)
In its historical development, India's film industry paralleled that of the West. Dadasaheb Phalke's Raja Harishchandra, the first silent film for popular consumption, appeared in 1913; Alam Ara, the first "talkie," was released in 1931. ut the Indian cinema derived its unique flavor from the older Indian musical theater-particularly from the Urdu poetic dramas of the late nineteenth century. The influence of this tradition ensured that Indian movies would favor mythological or legendary-historical stories, that their dialogue would carry an Urdu flavor even in languages…
National Identity in Indian Popular Cinema 1947-1987 (Texas Film Studies) by Sumita S. Chakravarty Univ of Texas Pr; (December 1993)
Encyclopedia of Indian Cinema by Ashish Rajadhyaksha (Editor), Paul Willemen (Editor) British Film Inst; Revised edition (September 1999)
Cinema of Interruptions: Action Genres in Contemporary Indian Cinema by Lalitha Gopalan British Film Inst; (July 1, 2002)