...Intro to Film Study Film Analysis of Pulp Fiction Pulp Fiction is a movie that seems to have multiple stories being told almost simultaneously. Some will say it is about two hit men or a boxer, but the truth is there is no story behind the film. The whole purpose of the film is to parody every type of film movement created. This film leaves no movement out. The director, Quentin Tarantino, uses the film’s formal properties to express larger themes. First of all, Quentin Tarantino somewhat sticks to the classic Hollywood System for editing. Tarantino does not seem to cross the axis of action. However, there are times when the director breaks with the classic Hollywood System for editing and one way he does this is by having a discontinuous editing system. One example is the end of the movie. Under the rule of continuity editing, it should have been following the beginning of the film. The director, however, did not seem to use crosscutting, which could have worked in his film and makes him adhere to the continuity editing system. Among all the other styles present in the film, film noir and surrealism seem to be the most obvious. Throughout the movie, Tarantino parodies these films styles along with many others. Film noir is one of the most noticeable styles in the movie. First of all, one important aspect of film noir is the fact that each character has no clear moral base. This is very true in Pulp Fiction, especially with Samuel L. Jackson’s character, Jules. In the beginning...
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...paragraph, i.e. “rave, rave, brilliant, rah, rah. This is not one of those films…” DESCRIPTION/SYNOPSIS: * Description or Synopsis * DO NOT REVEAL PLOT POINTS EVER. * If you want to discuss a plot point, write WARNING: SPOILER ALERT. PLOT * Instead of saying what happens, write about the film’s themes or the characters. * What kind of plot is it? Memento, Pulp Fiction, The Usual Suspects, Inception… GENRE * What is the director trying to achieve? Skyfall wants us to sit on the edge of our seats, or wants us to be adrenalized, Dodgeball wants us to laugh... * The Dark Knight Rises wants us to run screaming into a hardware store so we can drill a hole in our heads to erase the memory. AUDIENCE * How does the film make the audience feel? This is why it is important that your review be a public screening? Did everyone get the jokes in a comedy (anecdotal examples: Scary Movie, Braveheart). READERSHIP * Where will the review be published? This should affect the way you relate the film’s audience to your audience as a writer. ANALYSIS * Analysis: The film’s style, structure, narrative, genre etc.) * Evaluation: strengths and weaknesses. * What makes this film the kind of film people should watch? Stars, special effects, story? * Conclusion: try and make this stylish, and not “I recommend that you go and see this film.” LAYOUT * Two examples of innovative layout when it comes to print reviewing: Total...
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...The Communication Process - communication : the sharing of messages - intrapersonal communication within oneself - interpersonal direct sharing of experience between two people - group communication small group organizational - mass communication communication from one person of group of persons through a transmitting device (a medium or channel) to large, diverse audiences Mass Media Definitions - mass media are industries or businesses that create and distribute the following to large numbers of people: songs, novels, newspapers - MM are key institutions in society that affect our culture, buying habits, politics, etc - MM are profit-centered businesses making money is priority #1 concentration of ownership The media are good and bad - At their worst the median can erode out quality of life - at their best help us understand events and trends facilitate connections with others shape our identity - media literacy is crucial we can have a say in the role media play in our lives Media Convergence - convergence refers to the appearance of older media forms on the ewes media channels - convergence also refers to newspaper, broadcast, and internet outlets existing under one corporate roof Models of Mass Communication - linear model : sender -- message -- mass media channel -- (gate keepers) -- receivers media messages - cultural model: culture: the symbols of expression that people use to make sense...
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...The Rise and fall of Nokia Case Study PROJECT TEAM MWMBERS Abdullah Maashi Xiaomeng Guo Fang Zou Jian Zhao PROJECT SUMITTED TO Dr. Bartlomiej Hanus Abstract Nokia is an over 100 year-old communications and technology corporation. It was the word leading mobile handset manufacturer. It evolved gradually from being it pulp paper manufacturer in the 19th century to electronics manufacturer in 1980s to a mobile phones’ in produces 1990s. By the late 2000s the rivalry among the competitors became very strong and the Nokia position as a market leader in mobile devices was threatened by competition lower-cost smartphones producers. It was supposed to make the right decision because it has the longest experience in the field, but it did not. Nokia started to do very well in the 1990s and this is due to the smart CEO Vuorilehto who was appointed to take this position in December 1988. This leader mad the most important decision in the Nokia’s history when he decided to focus selectively and strategically on fewer acquisitions which are the Mobile phones, Nokia Bate, Cables & Machinery, Basic Industries, and Consumer Electronics. In this leader period the net income continue to increase until it reached 675.7 million in 1994 after it was (56.5) million in 1989. Then he stepped down and appointed Jorma Ollila to hold CEO position and the success continued year after year and in 1998 Nokia become the world’s leading mobile phone manufacturer with 23% and 163 million...
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...Running head: DIGITAL FREEDOM FIGHTERS Digital Freedom Fighters: Defending Free Speech in the 21st Century Abstract Many forms of speech have been contested over the course of time with many being banned, but comic books have been the target of many critics over the 75 year time span of publication. The First Amendment of the United States Constitution guarantees that free speech should not be impeded. Many organizations, including the Comic Book Legal Defense Fund, are continuing the legal battle of insuring the right of free speech remains unencumbered. Digital Freedom Fighters: Defending Free Speech in the 21st Century Introduction Comic books have been published for over 75 years with a varied subject matter including superhumans, gods, soldiers, historical events and animals. Originally conceived as a child’s reading fodder, comics have evolved beyond the original audience. A recent study found that over 98% of comic book readers are over the age of 18. (Pantozzi, 2012) No longer an art form exclusively for children, comics have been the target of many censorship attacks. With the advent of 21st century technology, comic books have evolved and the criticisms have evolved with them. Newer challenges to this form of speech can sometimes be overwhelming, but there are many organizations which are focused on protecting these freedoms. These are the digital freedom fighters. They are a safeguard against...
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...Personal Essay in Definition and Purview by Stuart Fischoff, Ph.D. Introduction The subject matter of media psychology is a mother lode of material that psychology has actively mined for decades, but only within the last ten to fifteen years has the enterprise emerged as a distinct and explicit subdivision of psychology. Media psychology found its inspirational roots more than 90 years ago within the discipline of social psychology and in the early work of social psychologist Hugo Münsterberg concerning the psychology and the psychological impact of film. Published in 1916 under the title, The Photoplay: A Psychological Study, it was the first empirical study of an audience reacting to a film. Münsterberg also provided such a keen analysis of a screenplay's (then called a photoplay) grammar of visual construction and nascent cinematic conventions and their psychological impact on the audience, that his incisive words still echo today in numerous film school lecture halls and classroom seminars. And there was psychologist L.L. Thurstone, arguably the Father of Attitude Scale Construction and Measurement (a signature area of theory and research in social psychology), who developed scales for the measurement of attitudes toward movies for the famous and notoriously politicized Payne Fund Research in 1928. This study’s practically avowed purpose was to indict (not investigate) the medium of film as a source of inspiration of bad behavior in a youthful audience. Few psychologists...
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...4141- 4141--- Cherished and Cursed:Towarda Social History of The Catcher in the Rye STEPHEN J. WHITFIELD THE plot is brief:in 1949 or perhaps 1950, over the course of three days during the Christmas season, a sixteen-yearold takes a picaresque journey to his New YorkCity home from the third private school to expel him. The narratorrecounts his experiences and opinions from a sanitarium in California. A heavy smoker, Holden Caulfield claims to be already six feet, two inches tall and to have wisps of grey hair; and he wonders what happens to the ducks when the ponds freeze in winter. The novel was published on 16 July 1951, sold for $3.00, and was a Book-of-the-Month Club selection. Within two weeks, it had been reprinted five times, the next month three more times-though by the third edition the jacket photographof the author had quietly disappeared. His book stayed on the bestseller list for thirty weeks, though never above fourth place.' Costing 75?, the Bantam paperback edition appeared in 1964. By 1981, when the same edition went for $2.50, sales still held steady, between twenty and thirty thousand copies per month, about a quarter of a million copies annually. In paperback the novel sold over three million copies between 1953 and 1964, climbed even higher by the 1980s, and continues to attract about as many buyers as it did in 1951. The durabilityof The author appreciates the invitationof Professors Marc Lee Raphaeland Robert A. Gross to present an early version...
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...An artistic movement whose influence on film has been as profound and enduring as that of surrealism or cubism on painting, the French New Wave (or Le Nouvelle Vague) made its first splashes as a movement shot through with youthful exuberance and a brisk reinvigoration of the filmmaking process. Most agree that the French New Wave was at its peak between 1958 and 1964, but it continued to ripple on afterwards, with many of the tendencies and styles introduced by the movement still in practice today… French New Wave The New Wave (French: La Nouvelle Vague) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism and classical Hollywood cinema. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. "New Wave" is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary type style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism...
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...The Gift of the Magi Themes Love "Gift of the Magi" is the story of a poor, young couple whose love for each other is the most important thing in their lives. Such is their love that they're led to sacrifice their most valuable possessions to find Christmas gifts for each other. The warm home they make together contrasts with the drabness of their poverty and the dreary world outside. Their love seems to know no bounds, though Della (the wife) worries about how her sacrifice will affect her husband because of how it affects her looks. If ever there were a story with the message that all you need to be happy is love, this is it. Sacrifice The two main characters in "Gift of the Magi" are a husband and wife who give up their most precious possessions to be able to afford gifts for each other on Christmas Eve. The story seems to be all about sacrifice. We watch Della go through the process of deciding to make the sacrifice and going through with it, only to discover that her husband has made the same sacrifice. The story's narrator assures us that in their willingness to give up all they have, they have proven themselves the wisest of all gift-givers. It might remain unclear, though, exactly what their sacrifice has accomplished, or how it has affected them. Wealth In many ways, "Gift of the Magi" is a story about what it means for something to be valuable. Does something's value lie in how much money it is worth? Or are other things more valuable than money? The main characters...
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...Module 10 . LearningAcross Bord.ers: Disneyland. theMore on Ml0-25 DisneyGoesto Tokyo Crossingthe Pacific In the mid-I970s, the Oriental Land Company, a ]apanese development company that owned a large tract oflandfill east ofTokyo zoned for pubIic leisure activities, approached Disney with the idea of building a Disneyland in lapan. Six hundred acreswere set asidefor the project. But, in an era of conservative (caretaking) management at Walt Disney Productions, senior executivesat Disney were hesitant. After all, lapan was far away, quite distant in terms of culture, and Tokyo not only had much colder winters than California or Florida but endured a lengthy rainy seasonin lune and July. Yet, after exploring alternativeoptions at some length (including other sitesin Asia), Disney decided to go ahead. Nevertheless,it insisted on a deal that left Oriental Land with virtually all of the risk. Instead of taking an ownership position in Tokyo Disneyland, Disney demanded royalties of I0 percent of the revenues from admissions and rides, and 5 percent of the receiptsfiom food, beverages,and souvenirs. Disney also asked for and more or less received artistic control of the park. Its partner, with its experience in developmer-rt projects in Tokyo, looked after the complex relationships with local planning and regulatory authorities, financing, and adjacent development. At first glance,Tokyo Disneyland seemsto be a close physical and social copy of Disneyland...
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...The Walt Disney Company: A Corporate Strategy Analysis Written by Carlos Carillo, Jeremy Crumley, Kendree Thieringer and Jeffrey S. Harrison at the Robins School of Business, University of Richmond. Copyright © Jeffrey S. Harrison. This case was written for the purpose of classroom discussion. It is not to be duplicated or cited in any form without the copyright holder’s express permission. For permission to reproduce or cite this case, contact Jeffrey S. Harrison (RCNcases@richmond.edu). In your message, state your name, affiliation and the intended use of the case. Permission for classroom use will be granted free of charge. Other cases are available at: http://robins.richmond.edu/centers/center-‐for-‐active-‐business-‐education/research/case-‐network.html November 2012 "Walt was never afraid to dream. That song from Pinocchio, 'When You Wish Upon a Star,' is the perfect summary of Walt's approach to life: dream big dreams, even hopelessly impossible...
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...THE RULES OF THE GAME: NOUVELLE EDITION FRANCAISE/THE KOBAL COLLECTION DEEP FOCUS CANON FODDER As the sun finally sets on the century of cinema, by what criteria do we determine its masterworks? BY PAU L SC H RA D E R Top guns (and dogs): the #1 The Rules of the Game September-October 2006 FILM COMMENT 33 Sunrise PREFACE THE BOOK 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...
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...Preface Let me begin this preface with a confession of a few of my own biases. First, I believe that theory and the models that flow from it should provide the tools to understand, analyze, and solve problems. The test of a model or theory then should not be based on its elegance but on its usefulness in problem solving. Second, there is little in corporate financial theory that is new and revolutionary. The core principles of corporate finance are common sense and have changed little over time. That should not be surprising. Corporate finance is only a few decades old, and people have been running businesses for thousands of years; it would be exceedingly presumptuous of us to believe that they were in the dark until corporate finance theorists came along and told them what to do. To be fair, it is true that corporate financial theory has made advances in taking commonsense principles and providing structure, but these advances have been primarily on the details. The story line in corporate finance has remained remarkably consistent over time. Talking about story lines allows me to set the first theme of this book. This book tells a story, which essentially summarizes the corporate finance view of the world. It classifies all decisions made by any business into three groups—decisions on where to invest the resources or funds that the business has raised, either internally or externally (the investment decision), decisions on where and how to raise funds to finance...
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...Copyediting & Proofreading FOR DUMmIES by Suzanne Gilad ‰ Copyediting & Proofreading For Dummies® Published by Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5774 www.wiley.com Copyright © 2007 by Wiley Publishing, Inc., Indianapolis, Indiana Published by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http://www.wiley.com/go/permissions. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc., and/or its affiliates in the United States and other countries, and may not be used without written permission. All...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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