...MISE EN SCENE ANALYSIS OF EDWARD SCISSORHANDS EXT/INT MRS. BOGGS CAR DRIVING DOWN THE STREET, DAY,. This sequence begins at approximately 15:45 into the film, after Peg Boggs encounters Edward for the first time in the mansion, it depicts them both in the car as she drives him to her house. Shot 1: 25 seconds total (including reverse shots). Tracking two shot MCU. Eye-level. Edward and Peg drive down the street to Peg's house. Edward admires the sights, people, and activities that he has never experienced or seen before. Edward smiles meekly at first, and then more broadly and confidently when he glances briefly at Peg and she they both smile at each other. He clumsily points to something and nearly injures Peg with his hands, and he bumps...
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...rather than participation and began to incorporate narrative elements and music (Ted-Ed, 2016). In the early 20th century, the Ballet Russes became anchored as pioneers in a new era of modern ballet. Remembered for their amalgamation of art, music and choreography, they were a revolutionary creative force. Central to this innovation was Michel Fokine, the earliest choreographer, produced The Firebird in 1910; a story of...
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...CMST 3300 April 21, 2013 Ailey, Revelations, & Their Legacy One may ask why a dance company’s founder, most renowned piece in its repertoire, and the impact it had on the world would be a subject worthy of a historical and cultural analysis. It is because dance, and a society’s reaction to it, are important and cultural indicators. As a part of culture, dance is both acted upon by other aspects of a society and acts upon those same aspects. Because dance is a part of culture, it is subject to the same forces of change as any other aspect of culture. Therefore, social change, both great and small, can be seen in the dance created by a society. Much about change in dance form and culture is applicable to culture change in general. In some cases, dance is a readily observable microcosm of what is happening in the larger social and cultural context. For these reasons, dance is a valid indicator of collective people’s experience within a society and can be used as a historical tool to aid in the understanding of social change. Dance is a form of communication; it is body language taken to a greater extreme. In all societies, the physical interaction between people can be as important, if not more important, than the verbal and written communication, which takes place. Dance is this physical interaction, this body language, intensified. As with other expressions in a society, dance tends to be a testament of values, beliefs, attitudes and emotions. Dance, like other...
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...Name: Tutor: Course: Date: Rhetorical analysis writing Pleasant point of view Immediately I arrived at the appointment spot I stood gazing at the view she would approach. Everything was live and encouraging including the caressing breeze from the palm trees near the small artificial beach. Behind the narrow tunnel, two pretty twin girls played their trumpets in such lulling rhythms that stole away the boredom of the park. They seemed to draw the attention of the music lovers as they easily shifted from tune to tune. The parrot picked the words and helped to amplify the popular classical compositions that everybody associated with in Indiana. Even the gardener in the flower bed extension realized the vivacity in the park, unlike her early morning hour. The rose, lily, and hibiscus flowers intermarried like formally wed couples that cited the parents for the good parenthood they had attained. She adjusted her helmet and radiantly gazed at the tunnel point a time when an oak tree danced shaking off its bright red, blue and orange canopy of leaves. The leaves fell from above like the rare rain in the semi-desert covering everything that the tree’s shade touched. It sent a spring of motion among the other hidden creatures including the white and black -spotted wild cats who whimpered and rolled over the blanket that had formed in their place. The horse neighed in a rather merry mood as the queue of children anxiously anticipated to take a ride that quantified the time spent...
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...the Arts and Humanities XXV. TABLE OF CONTENTS Introduction………………………………………….……. XXVI. THE ACADEMIC STANDARDS Production, Performance and Exhibition of Dance, Music, Theatre and Visual Arts…………..……………… A. Elements and Principles in each Art Form B. Demonstration of Dance, Music, Theatre and Visual Arts C. Vocabulary Within each Art Form D. Styles in Production, Performance and Exhibition E. Themes in Art Forms F. Historical and Cultural Production, Performance and Exhibition G. Function and Analysis of Rehearsals and Practice Sessions H. Safety Issues in the Arts I. Community Performances and Exhibitions J. Technologies in the Arts K. Technologies in the Humanities Historical and Cultural Contexts..……………………….. A. Context of Works in the Arts B. Chronology of Works in the Arts C. Styles and Genre in the Arts D. Historical and Cultural Perspectives E. Historical and Cultural Impact on Works in the Arts 9.1. F. Vocabulary for Historical and Cultural Context G. Geographic regions in the arts H. Pennsylvania artists I. Philosophical context of works in the arts J. Historical differences of works in the arts K. Traditions within works in the arts L. Common themes in works in the Arts Critical Response…………………………………………. A. Critical Processes B. Criteria C. Classifications D. Vocabulary for Criticism E. Types of Analysis F. Comparisons G. Critics in the Arts Aesthetic Response………………………………………... A. Philosophical Studies B. Aesthetic Interpretation C. Environmental Influences D. Artistic...
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...six stanzas of praising and then lamenting days the speaker spent at Fern Hill as a youth. And this speaker is stoked about running through the countryside. Throughout the poem, he talks about how happy he was as a youngster and how oblivious he was that youth was passing. But at the end of the poem, the tone shifts dramatically from joy to lamentation. It's almost like singing, "If you're happy and you know it, think again!" What was a carefree bliss for the speaker turns out to be a fleeting joy that he ever can't recapture. What a bummer. Stanza 1 Summary Get out the microscope, because we’re going through this poem line-by-line. Lines 1-2 Now I was young and easy under the apple boughs About the lilting house and happy as the grass was green * Welcome to Fern Hill, where the speaker was once young and carefree. Plus, apple trees. Sounds like a great place to Shmoop. * He also hung out in his "lilting house." What in the world is a lilting house, you ask? Well, lilting is an old school style of Gaelic singing, but it can refer to anything with a cheerful, happy tone. * So was the house singing? Well, maybe not literally, but with this personification, the speaker is setting the mood for the rest of the poem. Things are good. * He's young, happy, and the pastoral scenery is like a mirror of the speaker's joy. Lines 3-5 The night above the dingle starry, Time let me hail and climb Golden in the heydays of his eyes, * Lines 3-5 look a bit different...
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...Louisville and Southern Indiana September 20, 2004 • [pic] ▪ Preamble 1 ▪ Cultural Blueprint Goals ← Goal 1 6 ← Goal 2 8 ← Goal 3 10 ← Goal 4 12 ← Goal 5 14 [pic] Imagine if you will: • Walking in downtown Louisville and having every weekend evening feel like the First Friday Gallery Hop, with people popping in and out of galleries, retail stores and restaurants, getting on the trolley for a next stop and meeting and greeting neighbors and friends… • Experiencing the excitement of going to your church, where four gospel groups have come together in celebration of vocal music… • Attending a school theater performance where the audience is made up of your neighbors, other parents, and arts patrons who don’t have children in that production but have come to experience that night’s show… • Our region will be considered a premier destination by cultural tourists… • Attending an arts or cultural event, knowing that all of our arts and cultural institutions are financially healthy and will continue to grow and thrive… • Being proud of the arts and cultural programs that you, your family and children attend together right in your neighborhood, produced by an arts group that has grown up and been supported by your community… • Major, smaller, and emerging arts and cultural organizations...
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...As you recall, I chose her previously because she is not only a good art director but a talented illustrator as well. Her ability to do on-the-spot sketches of ideas saved me a great amount of time and money on the last project. I have also decided to keep Brightwood as cinematographer and Wise as sound director, again for the same reason for which I chose them last time, because they would make good contributions to the creative aspect of the process, and I felt that these two could best translate my ideas to film. Another old face will be Joyce Nevelson, my editor. I chose her last time because she was well-known in the industry and had won many rewards, proving her talent. Changes I have made will be in the writing, sound, and music departments. I have chosen Paul Gainritch to write my screen¬play. He is a relative newcomer to the profession, but the projects on which he has worked so far have shown promise. My sound director will be Phil Toleman with whom I have worked over the years as an actress. Our friendship has devel¬oped during that time so much that sometimes he knows what I am thinking before I say it. This kind of close relationship could be very useful during the film-making...
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...9-502-040 OCTOBER 5, 2001 DOUGLAS B. HOLT Mountain Dew: Selecting New Creative Standing at the front of a PepsiCo conference room, Bill Bruce gestured enthusiastically, pointing to the sketches at his side. Bruce, a copywriter and Executive Creative Director, headed up the creative team on the Mountain Dew account for PepsiCo’s advertising agency, BBDO New York. In fact, it was Bruce who devised the famous “Do the Dew” campaign that had catapulted Mountain Dew to the number three position in its category. With his partner, art director Doris Cassar, Bruce had developed ten new creative concepts for Mountain Dew’s 2000 advertising to present to PepsiCo management. Gathered in the room to support Bruce and Cassar were BBDO senior executives Jeff Mordos (Chief Operating Officer), Cathy Israelevitz (Senior Account Director), and Ted Sann (Chief Creative Officer). Each of the three executives had over a decade of experience working on Mountain Dew. Representing PepsiCo were Scott Moffitt (Marketing Director, Mountain Dew), Dawn Hudson (Chief Marketing Officer, and a former senior ad agency executive), and Gary Rodkin (Chief Executive Officer, Pepsi Cola North America). Scott Moffitt scribbled notes as he listened to Bruce speak. Moffitt and the brand managers under him were charged with day-to-day oversight of Mountain Dew marketing. These responsibilities included brand strategy, consumer and sales promotions, packaging, line extensions, product changes, and sponsorships....
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...Scene-by-scene Commentary • This is intended as a teacher resource and should not be given to students. They will absorb and remember much more of what they discover and write down for themselves. • Scene numbers are for easy reference; they may refer to sequences rather than single scenes. They have no official standing and should not be quoted in essays or answers. Chapter division are from the DVD. • Time shifts are indicated thus: F/B-W = wartime memories; F/B-PW = post war memories; H or D = dreams, hallucinations – though they are often mixed up, so it is an indication only • 'Clue': used to point out deliberate illogicalities etc. that may cause unease on first viewing but are really obvious only on subsequent viewings. S/T: 'sub-text' = things said that take on another layer of meaning on second viewing. • 'Teddy' is used for the Marshal persona, 'Andrew' for his real identity as a patient. Similarly Chuck / Dr Sheehan. • Abbreviations used: // = CUT; M = motif; A = allusion; F/S = foreshadowing (signposting); MS = Martin Scorsese narrative commentary 1. screen text: Boston Harbour Islands, 1954 fog; a ferry appears; a man (Chuck) stands at the bow // INT. HEAD - DAY: a man being sick "It's just water. It's a lot of water." SHALLOW FOCUS on manacles and handcuffs, PULL FOCUS as he emerges He joins a solicitous Chuck at the rail. They introduce themselves – he is Teddy Daniels, a "legend" in the US Marshalls. Teddy concedes that he used to...
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...The Bridges of Madison County a novel Robert James Waller __________ READ ME FIRST! This eBook file is for my personal archive use only. These files are copyrighted materials. If you somehow got hold of this eBook file, by whatever manner or way, and you do not own the original book, Please DELETE THE FILES IMMEDIATELY! I will not be held responsible for any held copyright violations due to your failure to do so, despite this notification and warning. __________ The Beginning There are songs that come free from the blue-eyed grass, from the dust of a thousand country roads. This is one of them. In late afternoon, in the autumn of 1989, I'm at my desk, looking at a blinking cursor on the computer screen before me, and the telephone rings. On the other end of the wire is a former Iowan named Michael Johnson. He lives in Florida now. A friend from Iowa has sent him one of my books. Michael Johnson has read it; his sister, Carolyn, has read it; and they have a story in which they think I might be interested. He is circumspect, refusing to say anything about the story, except that he and Carolyn are willing to travel to Iowa to talk with me about it. That they are prepared to make such an effort intrigues me, in spite of my skepticism about such offers. So I agree to meet with them in Des Moines the following week. At a Holiday Inn near the airport, the introductions are made, awkwardness gradually declines, and the two of them sit across from me, evening coming...
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...By: Patricia A. Chang (831) 747-4893 pac623@icloud.com HOSP582 Professor Michael Brizek Table of Contents 1.0 Executive Summary………………………………………………………………………3 2.0 Statement of Purpose…………………………………………………………………….4 2.1 Company’s Mission Statement…………………………………………………..4 2.2 Current Situation…………………………………………………………………..4 2.3 Setting Us Apart …………………………………………………………………..5 2.4 Creating Value…………………………………………………………………….6 2.5 Key Success Factors……………………………………………………………..6 3.0 Name and legal structure…………………………………………………………………7 3.1 Description of the business………………………………………………………7 3.2 Management Philosophy…………………………………………………………7 3.3 Menu Concept……………………………………………………………………..7 3.4 Pricing………………………………………………………………………………8 4.0 Market analysis and strategy…………………………………………………………….8 4.1 Marget Segmentation……………………………………………………………10 4.2 Location……………………………………………………………………………12 5.0 Advertising and promotional campaign…………………………………………………13 5.1 Media Marketing…………………………………………………………………..13 6.0 Conclusions and summary……………………………………………………………….13 7.0 Reference/Works cited …………………………………………………………………14 1.0 Executive Summary F & H, or Fast & Healthy, will be a moderately priced health conscious restaurant offering a variety of popular and great quality food and beverage options in a fast casual type atmosphere. This business concept provides a quick and healthy option for easier access to affordable and health conscious fast food options. The public want choices that...
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...notmyessay Wesleyan University WesScholar Division I Faculty Publications Arts and Humanities 1995 Anna Karenina: Tolstoy 's Polemic with Madame Bovary Priscilla Meyer Wesleyan University, pmeyer@wesleyan.edu Follow this and additional works at: http://wesscholar.wesleyan.edu/div1facpubs Part of the Arts and Humanities Commons This Article is brought to you for free and open access by the Arts and Humanities at WesScholar. It has been accepted for inclusion in Division I Faculty Publications by an authorized administrator of WesScholar. For more information, please contact dschnaidt@wesleyan.edu, ljohnson@wesleyan.edu. Recommended Citation Priscilla Meyer. "Anna Karenina: Tolstoy's Polemic with Madame Bovary" Russian Review 54.2 (1995): 243-259. Anna Karenina: Tolstoy's Polemic with Madame Bovary PRISCILLA MEYER D id Tolstoy intend a dialogue with Flaubert's Madame Bovary when he wrote Anna Karenina? Boris Eikhenbaum agrees with the French critics who found traces of Tolstoy's study of French literature in Anna Karenina, though he emphasizes the complexity of Tolstoy's struggle with the tradition of the "love" novel.' George Steiner long ago concluded that "all that can be said is that Anna Karenina was written in some awareness of its predecessor."2 But the evidence of that awareness is so abundant and suggestive that it is worth examining the possibility of a more detailed dialectic than Eikhenbaum and Steiner suppose.3 Tolstoy arrived in Paris on 21 February 1857. Less than...
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...Losing Your Place Sue Clifford and Angela King The main players fall silent, the filming is over, the recording is finished, but the sound technician has hushed everyone to get some 'atmos'. Coughs, car noise echoing off the warehouses, birdsong, boards creaking, trees breathing in the wind, these are the sounds of the everyday, so particular to this place, that to cut the film and add studio voiceovers needs an underlay of this local atmosphere in order to ensure continuity and authenticity. That elusive particularity, so often undervalued as 'background noise', is as important as the stars. It is the richness we take for granted. How do we know where we are in time and space? How do we understand ourselves in the world? Common Ground has been exploring and developing a new concept, that of local distinctiveness. It is characterised by elusiveness, it is instantly recognizable yet difficult to describe; It is simple yet may have profound meaning to us. It demands a poetic quest and points up the shortcomings in all those attempts to understand the things around us by compartmentalising them, fragmenting, quantifying, reducing. Local distinctiveness is essentially about places and our relationship with them. It is as much about the commonplace as about the rare, about the everyday as much as the endangered, and about the ordinary as much as the spectacular. In other cultures it might be about people's deep relationship with the land. Here discontinuities have...
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...Wesleyan University WesScholar Division I Faculty Publications Arts and Humanities 1-1-1995 Anna Karenina: Tolstoy's Polemic with Madame Bovary Priscilla Meyer Wesleyan University, pmeyer@wesleyan.edu Follow this and additional works at: http://wesscholar.wesleyan.edu/div1facpubs Part of the Arts and Humanities Commons Recommended Citation Priscilla Meyer. "Anna Karenina: Tolstoy's Polemic with Madame Bovary" Russian Review 54.2 (1995): 243-259. This Article is brought to you for free and open access by the Arts and Humanities at WesScholar. It has been accepted for inclusion in Division I Faculty Publications by an authorized administrator of WesScholar. For more information, please contact dschnaidt@wesleyan.edu, ljohnson@wesleyan.edu. Karenina: Anna Tolstoy's Polemic Madame Bovary PRISCILLA MEYER with id Tolstoy intend a dialogue with Flaubert's Madame Bovary when he wrote D Anna Karenina? Boris Eikhenbaum agrees with the French critics who found traces of Tolstoy's study of French literature in Anna Karenina, though he emphasizes the complexity of Tolstoy's struggle with the tradition of the "love" novel.' George Steiner long ago concluded that "all that can be said is that Anna Karenina was written in some awareness of its predecessor."2 But the evidence of that awareness is so abundant and suggestive that it is worth examining the possibility of a more detailed dialectic than Eikhenbaum and Steiner suppose.3 Tolstoy arrived in Paris on 21 February 1857. Less than...
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