...Reginald Beauvoir Mrs. Pellegrini IM1401 10/14/2012 Alfred Hitchcock’s Vertigo While researching film made in the Nineteenth Century I found that the use of technology brought new idea and cause a revelation that effected movie goer worldwide. The following time line shows how each innovation had an effect on the technology that was introduce in that time period. The expectation of movie goers was high as a result the film makers came up with new way of composing motion picture on the big screen. The thought process was open to new possibility. The use of movie projection called magic lantern was introduce in the Seventeenth Century. The use of different filming technique was on the rise. The thought process of movie composer consists of what they were exposed to and to shoot at different perspective. It was well thought out. A movie that was directly influenced by a technological advancement was Alfred Hitchcock, “Vertigo”. To achieve my point, I have organized my paper into four main sections, two of which have sub-sections. In the first section, there is a record of three important events in twentieth century motion picture history: technological changes, the information revolution, a film by Alfred Hitchcock. The techniques he used and how it paved the way for movie director that came after him. It discuss articles a about how the movie Vertigo played an important role and how it impacted the twentieth century film making producer and filming in connecting...
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...Introduction In the present essay, I am going to discuss the use of the flashback in Stage Fright by Alfred Hitchcock. As the flashback has an unusual use in the film and it one of the main elements in it, I am going to write about different elements as are the conventional use of the flashback trying to explain what is a flashback and another example of the use of it by Alfred Hitchcock. How is the flashback used in the film, with especial attention to the reliability, the length of the lie and how the flashback constructs the plot of the film. In the third part of the essay I am going to explain how is the flashback supported during the film, based it in the use of the music, the role of the character of Charlotte Inwood as a femme fatale...
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...Dyeing to be loved! I met him at a mutual friend’s party. At first I thought ...”oh my Gosh, this has got to be the most beautiful man I have ever seen. Why on earth is he devoting all his attention to me when he could have anyone in this room?” The fact that he chose me to engage with that night made me feel like a princess. His words describing my beauty shook my soul and lifted my feet. I felt as though I was floating above myself, looking down on the man that I knew would change my life. I had no idea that allowing this kind and gentle man to sweep me off my feet would nearly cost me my life. The first year was amazing; he went out of his way to make me feel like the only woman that he could ever be with again. I was his angel, his savior, his muse! Every night was filled with overlapping compliments and loving embraces. My life was perfect, I had the man of my dreams, a promise of an upcoming wedding and talk of starting a family to make our lives complete. I was on cloud 9. I remember the first mean thing he ever said to me like it was yesterday. I never thought I would hear the words ugly or fat come out of his mouth especially when he was referring to me. I was crushed…I literally felt a piece of my heart break off into my chest. For what I am sure was only a second I couldn’t breathe, but to me it felt like an eternity. No way was the angel that God sent me intentionally stomping on my heart like this, it felt like a nightmare and I couldn’t wake up...
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...Flighty safety AVIATION CAREER Flight Safety management Studies UCLA, USA Institute of Aviation Medicine, USA Chairman Board of Inquiry by Theo de Jager Essay Flight Safety 1980 - 1984 Survival and flight safety At the end of my pilot training in Canada, a Dutch classmate crashed because of a mistake that these days would be generally qualified as 'human factor'. Even then, already then, I felt a strong awareness of the importance of flight safety. I remember the slogan put into us during flying training: 'Today is your reward for yesterday's flight safety', a slogan that has stayed with me. There is always a choice between unavoidable and avoidable risks, between adequate self confidence and over confidence. Keeping moments in which margins have to be challenged because of operational requirements, as short as possible. Technical developments have made the aircraft the most reliable means, compared with any other form of transport. The majority of air accidents are now due to the unpredictable human factor. The possibility to study Flight Safety Management, Aircraft Accident Investigation and Aviation Physiology, gave me the opportunity to specialise into this aspect of aviation, after many years of experience as operational fighter pilot, followed by cargo- and...
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...criminality. ,one prominent argument advocates that the cause of the unrest was the moral decay of ‘a feral underclass’ (Scrambler; Grover 2011) However, many of such explanations tend to be mostly speculative and they often fail to provide a consistent account of the causes of the riots based on solid evidence (the LSE/theguardian, 2011, Solomos, 2011). Against this background this essay attempts to disentangle the motives of the London 2011 riots, by focusing on the relations of causality between factors and events that led to the burst of the unrest. It argues that urban social inequalities as well as uneven processes of exclusion and inclusion of a marginalised class are the main factor underlying the disturbances. Yet this essay claims that these riots need also to be analysed in the very specific context in which they have arisen: the financial crisis, a society which is becoming increasingly consumerist in its orientation, the disputable role of the police, loss of faith in the political class and hopelessness towards the future amongst the urban youth. In the first part this essay analyses inequality indicators and trends embracing the multidimensional nature of social inequality (Bradley, 1996)....
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...Analysis of the Online Business in Supply Chain Management and Marketing Strategy by © Renjie Wu __________________ 2011 Student Number: WU_11340881 Tutor: Dr Luca Lo Sicco Table of Content |Chapters |Pages | |Abstract |3 | |I. Introduction |4-6 | |1.1 Introduction of online business |4-5 | |1.2 Current situation of online business and the reason for this issue being raised |6 | |II. Research significance of Pattern changes in terms of Supply Chain Management in Fashion industry. |7-9 | |2.1 Definition and the importance of Supply Chain Management |7 | |2.2 Recent changes in Supply Chain Management in retailers under the impact of online business booms |8-9 | |2.3 Identify the advantages and disadvantages of the changes. |9 | |III. Research the Marketing strategy and Analysis |10-15 ...
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...I DIDN’T WRITE I n march 2003 i was having dinner in london with Faber and Faber’s editor of film books, Walter Donohue, and several others when the conversation turned to the current state of film criticism and lack of knowledge of film history in general. I remarked on a former assistant who, when told to look up Montgomery Clift, returned some minutes later asking, “Where is that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to separate personal favorites from those movies that artistically defined film history. Compiling was the easy part—then came the first dilemma: why was I selecting these films? What were my criteria? What is a canon? It is, by definition, based on criteria that transcend taste, personal and popular. The more I pondered this, the more I realized how ignorant...
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...The Difference Between Art and Entertainment by Jeff Goins | 99 Comments Art, they say, is in the eye of the beholder. Which is a nice way of saying it’s whatever you want it to be. But I don’t believe that. Photo credit: Mark Heard (Creative Commons) Although I don’t have an objective perspective (nobody does), and mine is but one opinion, I believe there is such a thing as good and bad art. Maybe that’s asking too much, for us to label art “good” or “bad,” or maybe that feels too restrictive. That’s fine, I suppose; I don’t want to impose my artistic standards on someone else, nor would I appreciate having it the other way around. But what is not okay is calling something “art” when it’s not — when it is, in fact, something else. Art versus entertainment My friend Stephen pointed out recently, quoting Makoto Fujimura I think, that the difference between art and entertainment is subtle, but important: Entertainment gives you a predictable pleasure… Art leads to transformation. If that’s true, then we may have a problem, because what a lot of people call “art” isn’t changing us. At best, it’s entertaining us, dulling our senses and inebriating us to the realities of the world. Which is not the point. Art is supposed to transform: * It surprises. * It wounds. * It changes. Entertainment makes us feel good. It doesn’t surprise us; it meets our expectations. And that’s why we like entertainment: it coddles us. But the problem with entertainment is it leaves...
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...| | |APA Formatting and Style Guide | | | |Compiled by Adelio D. Rico | | | Contents In-Text Citations: The Basics 1 APA Citation Basics 1 In-Text Citation Capitalization, Quotes, and Italics/Underlining 1 Short Quotations 1 Long Quotations 2 Summary or Paraphrase 2 In-Text Citations: Author/Authors 2 Citing an Author or Authors 3 Citing Indirect Sources 4 Electronic Sources 4 Reference List: Basic Rules 5 Basic Rules 5 Reference List: Author/Authors 6 Single Author 6 Two Authors 6 Three to Seven Authors 6 More Than Seven Authors 6 Organization as Author 7 Unknown Author 7 Two or More Works by the Same Author 7 Two or More Works by the Same Author in the Same Year 7 Introductions, Prefaces, Forewords, and Afterwords 8 Reference List: Articles in Periodicals 8 Basic Form 8 Article in Journal Paginated by Volume 8 Article in Journal...
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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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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Life of Pi Theme of Religion At times, Life of Pi reads like a defense of religion. Has science proved religion wrong? Here's a protagonist who believes passionately in both zoology and religion. What about the fact of multiple faiths? Don't these faiths contradict each other, cause wars, and other problems? Here's a protagonist who is Muslim, Christian, and Hindu – all at the same time. The book defends not only the common spirit behind these three religions, but the rituals and ceremonies of each. It's as if all three religions find harmonious common ground in this character. Seems unlikely, but then again, the protagonist argues passionately that the miraculous happens in our darkest moments. Quote #1But I don't insist. I don't mean to defend zoos. Close them all down if you want (and let us hope that what wildlife remains can survive in what is left of the natural world). I know zoos are no longer in people's good graces. Religion faces the same problem. Certain illusions about freedom plague them both. (1.4.14) | Do zoos incarcerate animals in confined spaces and make them miserable? Pi doesn't think so: "Certain illusions about freedom" tempt us to this conclusion. In actuality, an animal's life in the wild is more circumscribed than "a knight on a chessboard" (1.4.8). Predator-prey relationships restrict the animal's movement. A zoo enclosure is actually more like a hearth for an animal: a place of comfort and rest. Likewise, most people think of religion as a restrictive...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced...
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...which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you do know some SAT-type words, but also it may well help you on the actual day of the test. These words have turned up on recent tests; some of them may well turn up on the test you take. The more you study actual SAT critical reading questions, the more you realize one thing: the key to doing well on the critical reading portions of SAT is a strong working vocabulary of college-level words....
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