...Two years ago, I made my first film. It was called “Freelance” and I wanted to make a more realistic-looking film. I don’t like quick cutting or jump cuts. So, I wanted to have longer takes, pans, and medium shots. I would only use close-ups only when it was necessary. I always felt that having too much cutting in a film, jump cuts, and too many close-ups took away from the viewer. I felt that it wouldn’t leave any room for development and give the audience an unsatisfied understanding of the characters’ development. Too much cutting would still allow you to watch the whole story, however it would not let you question any motives or even allow you breathing space to compile all the things you just saw. I can’t and don’t like that at all. It hurt my head and eyes. I need to think and question. Between 1967 and 1971, a man named André Bazin created “What is Cinema?” in which he focused on editing and cinematography. André Bazin is a Realist and he argued that what he saw in film what he called “objective reality". He saw neo-realism and other genres later on become more realistic looking. These directors would become known as invisible. You “look through” not at the film. André Bazin admired “Orson Welles,” who used deep focus in “Citizen Kane”. Myself and Bazin both advocate the use of deep focus, wide shots and shot-in-depth. Bazin referred to those three as "true continuity" through mise-en-scène. I love seeing everything in the frame. As film progressed through experimental...
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...“Field of Bull” Realism is all about showing the truth. A realist will try to defend the assumptions that their film ideas are not influenced, but are a true mirror of the actual world. We rarely notice the style in a realistic movie; they often aim for a gritty look, with the idea that if it’s too pretty, it’s false. Their films are about everyday people and everyday situations. At the opposite side of realism, we have Formalism. Formalist directors have no desire to show reality. They want to show their personal vision of the world and how they want their audience to view it. They are concerned with mythical and spiritual truths that can best be represented by distorting the image of reality. Classicism to bring in a third theory is all about ideal storytelling, it lies somewhere in between realism and formalism. (Understanding Movies 5) The goal of a classicist is to tell a story in the best way possible. They want you to get caught up in the characters and their problems, to feel what they feel, but not be distracted by the filmmaking techniques. The two films we screened in class Bull Durham directed by Ron Shelton, and Field of Dreams based on the novel Shoeless Joe directed by Phil Alden Robinson both demonstrate these film theories throughout their movies but in a very different matter. Bull Durham is a great realistic example of what the sport of baseball means to the men who play it. It's all about the dreams, the desire to compete, and the ultimate goal to one day...
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...“Field of Bull” Realism is all about showing the truth. A realist will try to defend the assumptions that their film ideas are not influenced, but are a true mirror of the actual world. We rarely notice the style in a realistic movie; they often aim for a gritty look, with the idea that if it’s too pretty, it’s false. Their films are about everyday people and everyday situations. At the opposite side of realism, we have Formalism. Formalist directors have no desire to show reality. They want to show their personal vision of the world and how they want their audience to view it. They are concerned with mythical and spiritual truths that can best be represented by distorting the image of reality. Classicism to bring in a third theory is all about ideal storytelling, it lies somewhere in between realism and formalism. (Understanding Movies 5) The goal of a classicist is to tell a story in the best way possible. They want you to get caught up in the characters and their problems, to feel what they feel, but not be distracted by the filmmaking techniques. The two films we screened in class Bull Durham directed by Ron Shelton, and Field of Dreams based on the novel Shoeless Joe directed by Phil Alden Robinson both demonstrate these film theories throughout their movies but in a very different matter. Bull Durham is a great realistic example of what the sport of baseball means to the men who play it. It's all about the dreams, the desire to compete, and the ultimate goal to one day...
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...theatrical spectacle. The use of plastics, steel, aluminum, advanced lighting control, and sound recording equipment drastically changed the face of theatre production and quality. This is also a period of open experimentation both in design and production and has resulted in the development of the minimalistic and fractured realism styles. Minimalism is a style, which reduces the design elements to the least number necessary to produce the production. Fractured realism uses limited realistic elements separated in a fractured nature. Furthermore, a division of the theatre workforce into separate specialized artisans increases both operational efficiency and overall quality. The development of the technical director to oversee the production elements further organizes the modern theater. However, this specialization requires a great amount of trust and collaboration between the director and other artists on the production team. The advent of director/designer teams like Eli Kazan and Jo Melziner are in response to this emerging need for collaboration. Historical Background Obviously, the anti-realism movement is a reaction to the realism movement. However, this was more than a knee jerk reaction to the scientific examination of human relationships to society, culture, and politic. It was a...
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...behind the movie. Each movie has a different message and anyone can find it. If you fully analyze a film you can learn so much and see how much went in to making the film from the filming to the color and lighting and most importantly editing. As we move into the future and the technology advances I hope that people will look at movies as more than just something to do on a Saturday night and turn it into a learning experience that will last forever. In the filmmaking world there is always that someone that gets looked over and forgotten and that is the person behind the film known as the director. Directors are brilliant people who jobs are to create a film that people will enjoy while putting a meaning behind it. Roberto Benigni is an amazing director who not only directs his movies but writes and stars in them as well. Benigni has created masterpieces such as Life is Beautiful, Pinocchio and his most recent film The Tiger and the Snow, which have brought him such awards as an Oscar for Life is beautiful. Along with being a director Benigni prides himself on being a family man which is why his wife Nicoletta Braschi plays his love interest in most of his movies. Overall Benigni is a great director who blends comedy and romance in most of his movies. His movies might be a little out there but that’s just who Roberto Benigni is and I can’t wait to see his next film. “The Tiger and The Snow” was produced in 2005, written, directed, and starred in by Roberto Benigini;...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...NOT FOR DISTRIBUTION: USE ONLY IN COMPLIANCE WITH COPYRIGHT: DAVID RISSTROM AN INTERPRETATION OF LAW IN CONTEXT Bottomley, S., Gunningham, N. and Parker, S., 1991, Law in Context, The Federation Press, Leichhardt. { } = additional material from lectures. ( ) = my comments. (See ‘x’) refers to book page number. A short (somewhat boring) message from the summary executioner before you dive in; These notes are an interpretation of the book Law in Context and the lectures given as part of the 1991 Course. They are not a satisfactory substitution for reading the text. You are only likely to get the maximum value out of this summary by reading it in conjunction with the text. The question of ‘the law in whose context’ may be worth keeping in mind as you read. This is an interpretation seen through my eyes, not yours. My comments are not unbiased, as it is as equally unlikely that yours may be. So my ‘advice’ is consider what is said here and in the book considering the need to understand the ‘mechanics’ that help make sense of the more involved themes that develop in the book as you progress through Law in Context. The observations, important in their own right, may be particularly useful for seeing how their often ubiquitous expression is taken as ‘normal’ in the areas of wider society, such as in discussions of economics and power. It is unlikely that you will find any ‘right answers’ from this summary, but I do hope it helps you in synthesising...
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...И. В. АРНОЛЬД Лексикология современного английского языка Издание третье, переработанное и дополненное Допущено Министерством высшего и среднего специального образования СССР в качестве учебника для студентов институтов и факультетов иностранных языков Сканирование, распознавание, проверка: Аркадий Куракин (ark # mksat. net), сен-2004. Орфография унифицирована к британской. Пропущены страницы: 50-53, 134-139, 152-161, 164-171, 201-202, 240-243 Москва «Высшая школа» 1986 Мультиязыковой проект Ильи Франка www.franklang.ru ББК 81.2 Англ-923 А 84 Рецензент: кафедра английской филологии Оренбургского государственного педагогического института им. В. П. Чкалова (зав. кафедрой д-р филол. наук Н. А. Шехтман) Арнольд И. В. А 84 Лексикология современного английского языка: Учеб. для ин-тов и фак. иностр. яз. — 3-е изд., перераб. и доп. — М.: Высш. шк., 1986. — 295 с., ил. — На англ. яз. Учебник посвящен слову как основной единице языка, его семантической и морфологической структуре, особенностям английского словообразования и фразеологии. Английская лексика рассматривается как непрерывно развивающаяся система. В 3-м издании (2-е—1973 г.) обновлен теоретический и иллюстративный материал, расширены главы, посвященные теории слова и семасиологии. А 4602010000—443 001(01)—86 215-86 ББК 81.2 Англ-923 4И (Англ) © Издательство «Высшая школа», 1973 © Издательство «Высшая школа», 1986, с изменениями Мультиязыковой проект Ильи Франка www.franklang.ru CONTENTS ...
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...PHILIPPINE LITERATURE Philippine literature is the body of works, both oral and written, that Filipinos, whether native, naturalized, or foreign born, have created about the experience of people living in or relating to Philippine society. It is composed or written in any of the Philippine languages, in Spanish and in English, and in Chinese as well. Philippine literature may be produced in the capital city of Manila and in the different urban centers and rural outposts, even in foreign lands where descendants of Filipino migrants use English or any of the languages of the Philippines to create works that tell about their lives and aspirations. The forms used by Filipino authors may be indigenous or borrowed from other cultures, and these may range from popular pieces addressed to mass audiences to highly sophisticated works intended for the intellectual elite. Having gone through two colonial regimes, the Philippines has manifested the cultural influences of the Spanish and American colonial powers in its literary production. Works may be grouped according to the dominant tradition or traditions operative in them. The first grouping belongs to the ethnic tradition, which comprises oral lore identifiably precolonial in provenance and works that circulate within contemporary communities of tribal Filipinos, or among lowland Filipinos that have maintained their links with the culture of their non-Islamic or non-Christian ancestors. The second grouping consists of works that show...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...THE CONSEQUENCES OF MASS COMMUNICATION Cultural and Critical Perspectives on Mass Media and Society Kirk Hallahan ii For Jean and Jenna Copyright info to be set by McGraw-Hill. iii Foreward This book is a brief survey of contemporary ideas about the cultural impact of mass media on society. The use of consequences in the title reflects the fact that most cultural researchers prefer this term (instead of media effects) to describe media's influence on human experience. During the past 30 years, culture has emerged as a major theoretical framework in which to investigate media. Chapter I examines how media influence culture generally, as suggested by various contemporary media scholars and others. Chapter II then focuses on critical-cultural theories about the nature of media power and its potentially negative influence. This book can adopted as a supplementary text in introductory mass media courses along with a survey text such as Joseph R. Dominick's The Dynamics of Mass Communication (available from McGraw-Hill). It also can serve as a foundational text for other assigned readings in advanced courses dealing with mass media and society, communication theory, or cultural studies. Students are encouraged to focus thoughtfully on the main ideas, not attempt to merely memorize details. Important concepts and names appear in boldface and are defined in italics. The abridged Subject Index lists the page with the primary discussion of each topic. Sidebars throughout...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...> 168159 CD >m Gift of YALE UNIVERSITY With the aid of the ROCKEFELLER FOUNDATION 1949 OSMANIA UNIVERSITY LIBRARY Call No. Author %&V/S#/ 2-^ & Accession No. - . This bookihould be returned on or before the date last marked below. WHAT IS LITERATURE? JEAN-PAUL SARTRE Translated from the French by BERNARD FRECHTMAN PHILOSOPHICAL LIBRARY NEW YORK Copyright, 1949, by Philosophical Library, Inc. 15 EAST 40th Street, New York, N.Y. Printed in the United States of America TABLE OF CONTENTS Foreword I II What Why is Writing? Write? Whom Does One Write? 7 38 III For IV Situation of the Writer in 1947 161 Index 299 67 FOREWORD want to engage yourself," writes a young imbecile, "what are you waiting for? Join the Communist Party." A great writer who engaged himself often and disengaged himself still more often, but who has forgotten, said to me, "The worst artists are the most engaged. Look "If you at the Soviet painters" "You want tres is to murder An old critic gently complained, literature. spread out insolently all Contempt for belles-let- through your review." A petty mind calls me pigheaded, which for him is evidently the highest insult. An author who barely crawled from name sometimes awakens men accuses me of not being one war to the other and whose languishing memories in old concerned with immortality; he knows, thank God, any number of people whose chief hope it is. In the eyes of an American...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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