...Introduction Being an exchange student and coming from a country (Singapore) where little attention is paid and given to the developments and happenings of the theatre scene, I am delighted to have taken up this module to expose myself to this topic on drama. First and foremost, I must admit that I have never attended a single theatre performance and Blue Boy was the first in the twenty three years of my life. I was filled with excitement and anticipation both at the same time, wondering if I would even manage to interpret the idea behind the whole daunting concept of Mise en Scène. True enough, I went home that night with many questions floating in my head. The following report nonetheless describes my interpretation as a first time audience. Experiences of the Performance It was a bit tense going into the performance as a role of a student as certain expectations were already instilled beforehand. I was expected to take note of not only the space and the staging of the play, but also the aesthetics of the building itself. It was as if I had to make sure I had every aspect and element of the theatre covered. As scary as it might have sound, it turned out to be rather fruitful as I had my eyes glued onto the surroundings, seeing and experiencing what other audiences might not have even thought about- the design of the stage, the lighting, the layout of the theatre, the configuration of the seats etc. The Blue Boy is a co-production with Ulster Bank Dublin Theatre Festival...
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...Billy Elliot Analysis template |Description of scene: Opening scene: Mood, direction of plot and characterisation is established. | |Scene numbers: One, two, three | |Link to Into the World focus: Billy’s natural world is established | |Action |Film techniques used |Meaning conveyed | |Billy puts record onto record player. He |Extreme close up. There is no sound. |There is a sense of anticipation. The | |begins playing the song. |Costume: Billy is dressed simply, |audience is waiting for something to happen| |( to 1 min; 14 secs) |predominately in a bright yellow singlet. |and wondering what it will be. | | |The singlet symbolises both childhood | | | |(children wear singlets) and his working | | | |class background (‘working class’ men | | | |stereotypically wear singlets). It is also | ...
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...‘night, Mother, Interpretation of mise en scene Joseph Liardi HUMN428 - De Vry University April 14, 2012 Joe, your analysis is very thorough with good attention to detail, and your focus on the psychology at play adds depth and insight. Clearly, you put a lot of time and attention into your study of this play. Terrific job! 200 points 12 ‘night, Mother, Interpretation of mise en scene Joseph Liardi HUMN428 - De Vry University April 14, 2012 Joe, your analysis is very thorough with good attention to detail, and your focus on the psychology at play adds depth and insight. Clearly, you put a lot of time and attention into your study of this play. Terrific job! 200 points ‘night, Mother, Interpretation of mise en scene Marsha Norman was born in Kentucky in 1947. A child who was isolated from the world by her family’s religious norms found comfort in playing the piano, reading books and playing with her imaginary friend called Bettering. Isolation and loneliness of life is something that is familiar to this play wright and is found in her many works such as “The Secret Garden” and “Getting Out”. Marsha Norman’s imaginary friend Bettering can be seen as a metaphor that compares her own relationships with her family, particularly her mother, and the feelings of alienation she felt as a child and her desire to be in control and better her life. (Yes, fascinating name she chose for her imaginary friend! Children can be so wise) Her own childhood...
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...been me.” The screenplay for the 1989 movie was written by Susan Seidelman, based on a novel by Fay Weldon. She-Devil tells the story of “a cunning and resourceful housewife vows revenge on her husband when he begins an affair with a wealthy romance novelist.” According to an unnamed source, to the movie received mixed reviews and was criticized the film for its tone. Both Barr and Streep were given positive feedback for their performances, however, Streep earned a Golden Globe Award nomination as Best Actress in a Musical or Comedy 1990. Even though some individuals may feel that the movie is one-side gender related. Recommending people to see this movie because this movie contains many positive/negative aspects of everyday life for both men and women. And this film can also help a couple that is having and want to fix things the "right" way. In She Devil, Ruth Patchett (Rosanna Barr) suspects her husband, Robert Patchett (Ed Begley Jr.) is having an affair after taking a very attractive novelist Mary Fisher (Meryl Streep) home from his accountant dinner party. From that night on Robert aka Bob began coming home late or not all. All those “work” late night Bob was sleeping with Mary. Ruth keeps her suspension quiet for the night Bob’s parents comes to dinner. Bob said all those mean things too her including calling her a she-devil for embarrassing her front of his folks. He left to be with Mary, perfect opportunity if you ask me. After that...
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...Breaking bad was written and produced by Vince Gilligan and broadcast from 2008 to 2013. Over these 5 seasons, many blog personal pose the question that Breaking Bad doesn’t examine the extent to which American institutions are failing and the drug problems. That it is deceptive by only exploring Walter White’s (actor) problems rather than the drug problem as a whole, specifically the urban poor. The middle class focus left questioning if it is the greatest series of all time, as popularly reported. The show squarely represents the target audience; forty-something, middle class, good living, conservative, suburban white America in the midst of an economic downturn, where the equilibrium (Todorov) of health and fortunes are pulled away from under them. Walter’s response conforms exactly to the American Dream; he personalises responsibility for other’s (bankers/corporations) actions, looks to himself to seek out opportunity, he becomes the entrepreneur, a manufacturer of a commodity much in demand. The middle class however can relate to the problems as it almost mirrors them. I got thinking and decided this argument really excites me and can write a lot about this argument prompted from breaking bad. The wider drug problem isn’t explored, but it is interesting as there is a lot to argue, in the fact it narrates the story from the middle class perspective. While similar shows, the wire, solely focuses on the underclass being exploited by higher authoritative people in society....
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...his family. Unfortunately, the king, Marcus Aurelius asked that he should be crowned king of Rome instead of his corrupt son Commodus. Maximus is caught in a power struggle, which leave him and his family condemned to death. This critical analysis of the motion picture “Gladiator,” will analyze the key elements of film, which embody the storytelling, acting, cinematography, editing, sound, style and directing, societal impact, genre, film criticism and analysis. The story of Maximus, once the most powerful, and respected, general, in Rome, reduced to a slave who fights for an opportunity to exact his vengeance for the brutal death of his family is written with three basic elements. It has character, desire, and conflict. The narrative structure of the film is organized in six stages. These stages are developed by the turning points in the plot. The stages are the initial setup, new situation, progress, complications and higher stakes, final push, and aftermath. In opening scene of “Gladiator,” the initial setup reveals the day and life of Maximus; it identifies him as powerful and likable. Evidence of this is seen in the first scene in Germania at the beginning of the battle against the barbarian tribes. Maximus walks by his men who are going to fight for their lives...
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...The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows. Jack Post Abstract Although Douglas Sirk’ All That Heaven Allows (1954) and Todd Haynes’ Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films are the effect of different rhetorical strategies: the first can be seen a typical example of baroque discourse and the latter as a specimen of mannerist discourse. The reference to the terms melodrama, mannerism and baroque does not imply that these films are just formal repetitions of historical periods or that they thematically and structurally refer to historical styles, but that they are characterized by opposing discursive strategies which came to the foreground in a specific historical time and constellation. Because these discursive strategies return in other historical periods and socialpolitical circumstances in different guises and with different aims, they can be compared to what Aby Warburg calls Pathosformeln (pathos formula). The expressive forms, gestures and discursive modes of melodrama, baroque and mannerism can thus be understood as transhistorical (gestural) languages of pathos that recur in history. Résumé Bien que All that heaven allows (1954) par Douglas Sirk et Far from heaven (2002) par Todd Haynes se caractérisent nettement comme un mélodrame, les deux films adressent...
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...Cinema of France From Wikipedia, the free encyclopedia See also: French comedy films Cinema of France | Gaumont palace in Paris, c.1914 | Number ofscreens | 5,653 (2014)[1] | Main distributors | Twentieth Century Fox(14.6%) Warner Bros. (9.8%) UGC (6.9%)[1] | Produced feature films (2014)[1][2] | Total | 258 | Animated | 9 (3.49%) | Documentary | 37 (14.34%) | Number of admissions (2014)[1][2] | Total | 208.9768 million | National films | 91.26 million (44.4%) | Gross box office (2014)[1][2] | Total | €1.33 billion | National films | €563.01 million (43.1%) | Cinema of France refers to the film industry based in France. The French cinema comprises the art of film and creative movies made within the nation of France or by French filmmakers abroad. France is the birthplace of cinema and was responsible for many of its significant contributions to the art form and the film-making process itself.[3] Several important cinematic movements, including the Nouvelle Vague, began in the country. It is noted for having a particularly strong film industry, due in part to protections afforded by the French government.[3] Apart from its strong and innovative film tradition, France has also been a gathering spot for artists from across Europe and the world. For this reason, French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland (Roman Polanski, Krzysztof Kieślowski, and Andrzej Żuławski), Argentina(Gaspar...
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...PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E1P AN5 (1 ECTS) 5 5 6 8 10 13 SEMESTRE 2 CULTURE DES PAYS ANGLOPHONES 2 E21 AN5 (5 ECTS) LANGUE 2 E22 AN5 (4 ECTS) LITTÉRATURE BRITANNIQUE 2 E 23 AN5 (4 ECTS) CIVILISATION BRITANNIQUE 2 ET TRADUCTION (VERSION) 2 E24 AN5 (5 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E2P AN5 (1 ECTS) 14 15 17 18 20 2 L2—DEUXIEME ANNÉE SEMESTRE 3 LANGUE 3 E31 AN5 (6 ECTS) CIVILISATION AMÉRICAINE 3 E32 AN5 (5 ETCS) LITTÉRATURE BRITANNIQUE 3 E33 AN5 (5 ECTS) TRADUCTION (VERSION) 3 ET PRISE DE PAROLE EN CONTINU 3 E34 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 3 21 21 23 24 26 29 E3PF12L5 (6 ECTS) SEMESTRE 4 LANGUE 4 E41 AN5 (5 ECTS) CIVILISATION BRITANNIQUE 4 E42 AN5 (6 ECTS) LITTÉRATURE AMÉRICAINE 4 E43 AN5 (5 ECTS) TRADUCTION (VERSION) 4 ET PRISE DE PAROLE EN CONTINU 4 E44 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 4 30 32 34 36 39 E4PF12L5 (6 ECTS) 3 L3—TROISIEME ANNÉE SEMESTRE 5 LANGUE 5 E51 AN5 (4 ECTS) CIVILISATION AMÉRICAINE 5 E52 AN5 (4 ECTS) LITTÉRATURE 5 E53 AN5 (6 ECTS) TRADUCTION THÈME-VERSION 5 E54 AN5 (4 ECTS) ERASMUS ET PROGRAMMES ANGLOPHONES. TRANSLATION. E54 AN5 (4 ECTS) APPROFONDISSEMENT 5 E55 AN5 (4 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 5 41 ...
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...University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2009 Peeking Out: A Textual Analysis of Heteronormative Images in Prime-Time Television D. Renee Smith University of Tennessee - Knoxville, drsmith@utk.edu Recommended Citation Smith, D. Renee, "Peeking Out: A Textual Analysis of Heteronormative Images in Prime-Time Television. " PhD diss., University of Tennessee, 2009. http://trace.tennessee.edu/utk_graddiss/10 This Dissertation is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a dissertation written by D. Renee Smith entitled "Peeking Out: A Textual Analysis of Heteronormative Images in Prime-Time Television." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Communication and Information. Catherine A. Luther, Major Professor We have read this dissertation and recommend its acceptance: Michelle T. Violanti, Suzanne Kurth, Benjamin J. Bates Accepted for the Council: Carolyn R. Hodges Vice...
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...GENDER ASSESSMENT USAID/HAITI June, 2006 This publication was produced for review by the United States Agency for International Development. It was prepared by DevTech Systems, Inc. GENDER ASSESSMENT FOR USAID/HAITI COUNTRY STRATEGY STATEMENT Author: Alexis Gardella DISCLAIMER The author’s views expressed in this publication do not necessarily reflect the views of the United States Agency for International Development or the United States Government. 2 Gender Assessment USAID/Haiti TABLE OF CONTENTS Page Acknowledgements Acronyms Executive Summary 5 6 7 1. GENDER DIFFERENTIATED DEVELOPMENT INDICATORS 1.1 Demographics 1.2 Maternal Mortality 1.3 Fertility 1.4 Contraceptive Use 1.5 HIV Infection 1.6 Education 1.7 Economic Growth 1.8 Labor 1.9 Agriculture and Rural Income 1.10 Rural and Urban Poverty 1.11 Environmental Degradation 9 10 11 12 2. GENERAL OVERVIEW OF GENDER IN HAITIAN SOCIETY 2.1 Status of Haitian Women 2.2 Haitian Social Structure: Rural 2.2.1 Community Level 2.2.2 Inter-Household Level 2.2.3 Intra-Household relations 2.2.4 Economic Division of Labor 2.3 Economic System 2.4 Urban Society 13 3. ONGOING USAID ACTIVITIES IN TERMS OF GENDER FACTORS OR GENDER-BASED CONSTRAINTS 3.1 Sustainable Increased Income for the Poor (521-001) 3.2 Healthier Families of Desired Size (521-003) 3.3 Increased Human Capacity (521-004) 3.4 Genuinely Inclusive Democratic Governance Attained (521-005) 3.5 Streamlined Government (521-006) 3.6 Tropical Storm Recovery Program...
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...must be holistic. That means considering the role of productive work in life as a whole and the distribution of unpaid work as well as the myriad questions relating to employment. This important anthology brings together the thinking of leading philosophers, economists and lawyers on this complex subject. Selected recent articles from the multidisciplinary International Labour Review are assembled for the first time to illuminate questions such as how we should define equality, what equal opportunity means and what statistics tell us about differences between men and women at work, how the family confronts globalization and what is the role of law in achieving equality. There is an examination of policy – to deal with sexual harassment and wage inequality, for example, as well as part-time work, the glass ceiling, social security, and much more. A major reference on the best of current research and analysis on gender roles and work. Martha Fetherolf Loutfi has been Editor-in-Chief of the International Labour Review, a Senior Economist for the Brandt Commission and in the ILO’s Employment and Development Department and an associate professor of economics. She has written books and articles on employment, women, energy, environment, capital flows and foreign aid. Price: 40 Swiss francs WOMEN, GENDER AND WORK 30.11.2002 ILO c.i+iv_WomGend&Work WHAT IS EQUALITY AND HOW DO WE GET THERE ? WOMEN, GENDER WORK Edited by Mar tha Fetherolf Lout...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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...Area of Study: Belonging * ‘As You Like It’ written by William Shakespeare * ‘Towelhead’ directed by Alan Ball in * ‘The Surfer’ written by Judith Wright | As You Like It | Towelhead | The Surfer | Language Form and Structure | * ‘As You Like It’ is a stage play in the form of a comedy * It also qualifies as a pastoral romance * Shakespeare wrote the lines of the play in both verse and prose | * ‘Towelhead’ is a film | * Poem * 3 stanzas * Free verse | Personal, cultural, historical and social context | * Written during the reign of Elizabeth I and ironically, both Rosalind and Celia would have been played by men * Appealing nature to both lower and higher classes * Used as a model of social critique | * Set in Houston, Texas during the 1990s * Occurred during the Gulf War * Follows the sexual awakening of Jasira (an American-Lebanese girl) | * Set in Australia | Identity One’s sense of belonging is built upon their exploration of self and the confidence they establish through their own identity. | Identity is explored most obviously with Rosalind’s disguise as Ganymede. This concealment of her true identity allows Rosalind to discover whether Orlando truly loves her. It also allows Rosalind to gain a deeper understanding of herself. This is seen through the use of dramatic irony, this enhances the audience’s connection with the characters and adds to the humour of the play. “Nay, you must call me Rosalind”. Ultimately, it...
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..."CHII"IURENGA II 1896 - 1897: A REVISIONIST STUDY THESIS Submitted in Fulfilment of the Requirements for the Degree of MASTER OF ARTS of Rhodes University I by MARK PHILLIP MALCOLM HORN January 1986 The following typog~aphical co~~ections attention since submission of this thesis. have come to my p.i line 8, "Phillip" should ~ead Philip. p.vi, li.ne 11, "Risings" should ~ead Rising. p.Vll, line 12, "~esponce" should ~ead ~esponse. p.3, line 17, "wa~f-io~" should read warriors. p.5, line 4, "96" should read 1896. p .. 8, line 3, IILomangLlndi should read LomagLlndi. p.9, line 2, " (inve~ted comma) missing after "role". p.19, line 9, "triatises" should read treatises. p.28, line 18, "analysis" should ~ead analyses. p.30, line 10, "the and" should ~ead "and the". p.42, line 28, "Histo~ians" should ~ead Histo~ian's. p.47, line 13, "Lomangundi" should ~ead Lomagundi. p.48, line 12, ~ sign missing befo~e the figu~e of 121 000. p.52, line 5, 1. ~5ign missing before the figure of 3. p.55, line 1, ~ sign missing befo~e the figu~es 10 to 60. p.55, line 3, -£ sign missing befo~e the figu~e of 100. p.56, lines 7 - 10, quote to be indented. p.b2, li.ne 1tJ, "dela" should be separated out to read "de la". p.tI4, line 4, "assisthim" should be sepa~ated out to ~ead "assist him"~· p.b"?, line 11, "inte~nicine" should t-ead intet-necine. p.83, line 17, "Ma~ch 1895" should ~ead Ma~ch 1894. p.89, line 5, "faction" should ~ead fl~action. p.95, line 29, fn. 12, "lNA" should ~ead NAZ...
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