...Bonnie and Clyde Arthur Penn’s Bonnie and Clyde changed the way violence was perceived and displayed in American cinema. Penn’s stylistic innovations and camera techniques were most noticeable during the ending death scene of Bonnie and Clyde. The 30 seconds of brutal and nonstop violence has had a lasting impact on audience for decades. Prince stated, “Penn was the first American filmmaker to conjoin multicamera filming, montage editing and slow motion systematically in the visualization of screen violence.” Though Penn was the first American filmmaker to use such a technique to depict violence, he was greatly influenced by Akira Kurosawa’s The Seven Samurai. Bonnie and Clyde, was to American cinema as The Seven Samurai, was to Arthur Penn. The intercutting of shots and the slow/normal motion effects through a montage sequence was mastered by Kurosawa and used my many filmmakers after that. The usage of this technique shows the passage of time and creates a more moving and intense scene. The acceleration and deceleration of the death sequence makes the audience tremble and uncomfortable. Without the use this montage sequence, the death scene would be like any other “boring” and “mediocre” death. Many cinematic and theme similarities can be drawn from rescuing scene from The Seven Samurai, and the death scene from Bonnie and Clyde. The Seven Samurai is about a poor town that is held hostage by bandits, and is liberated by seven samurais. The shot, which uses such techniques...
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...What is quicker than he vicious viper more complex than an Atom but excruciatingly ignorant? It is man kind's hideously hypocritical opinion. One's opinion is a deceiving and misrepresents others. The iconic couple Bonnie and Clyde's character is victim to our misconceived ignorance. In order to open you're mind you must know the full story. Clyde Barrow was born on March 23, of 1909 in Ellis County Texas. Even from birth it seems the odds are unfavorable for Clyde. He was the fifth out seven children and lived in a two bedroom shack. Clyde's dream from childhood was to be a country musician but sadly that dream will never leave his heart. Young Clyde often had to dig through the trash cans for food and steal to get by. Although he stole for survival it was still against the law. As result he was sentenced to 10 years for nonviolent crimes at the East ham prison farm. Eastham was notorious for it's disgusting condition and violence....
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...Bonnie and Clyde: Legends or Economics? What accounts for the persistence of the legend of Bonnie and Clyde? For two not particularly distinguished criminals from a bygone era in American history, the staying power in the collective consciousness of Clyde Barrow and Bonnie Parker is nothing short of remarkable. In part, the media has played a substantial role, with the early 1967 Arthur Penn film having been succeeded in 2013 by a television miniseries about the duo and their gang. I hope to demonstrate through an examination of the historical source material that the reason for Bonnie and Clyde’s persistence is explainable in one single word: economics. What Bonnie and Clyde signify for later generations of interested readers is a response (howsoever criminal) on the part of ordinary people to the Great Depression that defined America during the Presidency of Herbert Hoover. Although certain other aspects of their short career—particularly their reliance on automobiles to commit their crimes, in a decade when automobiles were a more or less new national phenomenon—may play a role in maintaining the fame of Bonnie and Clyde long after their deaths, it is as a symbol of economic revolt, particularly in an era when the overall economy must have seemed perpetrated by criminals who operated on a much grander scale than these Texas youths, that their story finds its ultimate resonance. It is worth noting that the economic circumstances of both Clyde Barrow and Bonnie Parker...
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...Bonnie and Clyde: Legends or Economics? What accounts for the persistence of the legend of Bonnie and Clyde? For two not particularly distinguished criminals from a bygone era in American history, the staying power in the collective consciousness of Clyde Barrow and Bonnie Parker is nothing short of remarkable. In part, the media has played a substantial role, with the early 1967 Arthur Penn film having been succeeded in 2013 by a television miniseries about the duo and their gang. I hope to demonstrate through an examination of the historical source material that the reason for Bonnie and Clyde’s persistence is explainable in one single word: economics. What Bonnie and Clyde signify for later generations of interested readers is a response (howsoever criminal) on the part of ordinary people to the Great Depression that defined America during the Presidency of Herbert Hoover. Although certain other aspects of their short career—particularly their reliance on automobiles to commit their crimes, in a decade when automobiles were a more or less new national phenomenon—may play a role in maintaining the fame of Bonnie and Clyde long after their deaths, it is as a symbol of economic revolt, particularly in an era when the overall economy must have seemed perpetrated by criminals who operated on a much grander scale than these Texas youths, that their story finds its ultimate resonance. It is worth noting that the economic circumstances of both Clyde Barrow and Bonnie...
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...Effects of Visual Media Your Name HUM/176 June 2, 2013 Instructor’s Name Effects of Visual Media As film technology has advanced through the years of development to the media outlet it is today, films have shaped culture and attitudes through stories and other content. As more movies are produced, views and values of society continue to alter based on the images portrayed. These changes in society occur because moviegoers absorb the styles and attitudes of idolized characters from films. For example, in the late 1960s, several movies were released depicting rebellion and violence. Movies such as “The Wild Bunch” and “Bonnie and Clyde” let to more liberal attitudes toward social order as well as an acceptance of violence and sex on-screen (Lule, 2012). More films were produced to specifically shape the viewpoints of the audience once filmmakers took notice. The movie “Super-Size Me” is one example of a movie produced specifically to alter perceptions of society. Television provided a source of at home visual entertainment beginning in the 1950s. Initially, television was a family oriented activity with programming such as “Leave it to Beaver” featuring white families living in suburban communities with a focus on issues of family life but not on issues of society. These types of shows depicted the ideals of the time. As society events began to create stress in everyday lives during the 1960s, shows like “Bewitched” provided a world of fantasy and escape, but still...
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...This document is attributed to Jack Lule and Flat World Knowledge 8.2 Movies and Culture LEARNING OBJECTIVES 1. 2. Recognize how movies reflect cultural attitudes, trends, and events. Indicate how movies influence culture. Movies Mirror Culture The relationship between movies and culture involves a complicated dynamic; while American movies certainly influence the mass culture that consumes them, they are also an integral part of that culture, a product of it, and therefore a reflection of prevailing concerns, attitudes, and beliefs. In considering the relationship between film and culture, it is important to keep in mind that, while certain ideologies may be prevalent in a given era, not only is American culture as diverse as the populations that form it, but it is also constantly changing from one period to the next. Mainstream films produced in the late 1940s and into the 1950s, for example, reflected the conservatism that dominated the sociopolitical arenas of the time. However, by the 1960s, a reactionary youth culture began to emerge in opposition to the dominant institutions, and these antiestablishment views soon found their way onto screen—a far cry from the attitudes most commonly represented only a few years earlier. In one sense, movies could be characterized as America’s storytellers. Not only do Hollywood films reflect certain commonly held attitudes and beliefs about what it means to be American, but they also portray contemporary trends, issues, and...
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...Eminem “My words are like a dagger with a jagged edge...”- “Criminal”, from “The Marshall Mathers LP” An average rap artist wouldn’t be able to grace the covers of VIBE, Rolling Stone, Entertainment Weekly, and Spin while on a national tour months before their major debut album is released. An average rapper couldn’t say that he’s collaborated with Dr. Dre, Elton John, and Dido, all in the same year. Then again, Marshall Mathers III, better known as Eminem isn’t your average rapper. No other artist has ever been the center of such heated and conflicting debates. He’s hailed as brilliant by some critics and deemed as indecent and disgusting by others. But the controversy isn’t as simple as that. This is an artist and a man who is as complex as he is talented. “...no labels wanted to sign me, almost gave up... until I met Dre, the only one to look past, gave me a chance, and I lit a fire up under his ass...”- “White America” Eminem was born in Kansas City, Missouri. During his early years Marshall Mathers and his mother moved between Kansas and Michigan until the age of twelve when they settled in east Detroit. During these years there would be much turbulence to get through. Tragedies including the suicide of his beloved cousin Ronnie and being abandoned by his father threw his world into what could’ve been an irrevocable downward spiral. They would prove to be haunting to the tortured youth. Without stability finding friends and staying out of trouble became...
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...wording, the almost universally accepted opinion was that it guaranteed an individual right. It was in 1934 that the first attempt at universal gun control on a national level occurred. In 1934, the United States was at the height of the Great Depression (Kangas, 1997). In 1933, the 18th Amendment to the Constitution had finally been repealed, marking the end of the noble experiment known as “prohibition”. The fourteen years of prohibition had nurtured an atmosphere of speakeasies, bootlegging, gangsters, and mafia. The year following the repeal of prohibition was marred by some of the worst gangster violence in American history. John Dillinger and Baby Face Nelson were on the run. Bonnie and Clyde were killed in that year (1934 in the United States, 2013). The nation had just finished its war with Al Capone’s gang (Al Capone, 2013). The people were tired of the unrestrained violence and, in an apparent classic effort to obtain safety at the expense of liberty, were willing to accept limits on the right to bear arms. Although this discussion is not about the history of gun control but about the right to bear arms, it bears mentioning that, in almost all cases in which federal gun control has been enacted, the legislation was enacted following an acute emotional crisis or tragedy that either frightened people or tugged at their heart strings (Garrett). In 1968, following the assassinations of President Kennedy, Rev. Martin Luther King, and Robert F. Kennedy, Congress passed the...
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...Final Film Critique: O Brother, Where Art Thou? Robert L. Forbes ENG 225 Film: From Watching to Seeing. Instructor Ebony Gibson April 29, 2013 Final Film Critique: O Brother, Where Art Thou? Everyone likes to laugh, and this film is no stranger to the call. O Brother, Where Art Thou is indeed a comical action/adventure and musical romp Directed by Joel Coen and Produced by Ethan Coen. The Cast consist of many favorites in film such as George Clooney, John Goodman, Holly Hunter, John Turturro, and Tim Blake Nelson. The film O Brother, according to well-known film critic Roger Ebert (2000), “is based on Homer’s The Odyssey” (p.1), this is an epic Greek poem around 700 B.C. Although the setting is much different, the Homeric journey of three would be prisoners of the late 1930s are similar to The Odyssey and its theme of perseverance. The movie O Brother, Where Art Thou however has a comical twist accompanied by great Gospel/Bluegrass music, and scenes that play into an allegorical concept including references to repentance and salvation during the depression of that era. The storyline in this movie the collaborating efforts of the Coen brothers and cinematographer Roger Deakins bring together...
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...In Cold Blood Truman Capote I. The Last to See Them Alive The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call "out there." Some seventy miles east of the Colorado border, the countryside, with its hard blue skies and desert-clear air, has an atmosphere that is rather more Far West than Middle West. The local accent is barbed with a prairie twang, a ranch-hand nasalness, and the men, many of them, wear narrow frontier trousers, Stetsons, and high-heeled boots with pointed toes. The land is flat, and the views are awesomely extensive; horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them. Holcomb, too, can be seen from great distances. Not that there's much to see simply an aimless congregation of buildings divided in the center by the main-line tracks of the Santa Fe Rail-road, a haphazard hamlet bounded on the south by a brown stretch of the Arkansas (pronounced "Ar-kan-sas") River, on the north by a highway, Route 50, and on the east and west by prairie lands and wheat fields. After rain, or when snowfalls thaw, the streets, unnamed, unshaded, unpaved, turn from the thickest dust into the direst mud. At one end of the town stands a stark old stucco structure, the roof of which supports an electric sign - dance - but the dancing has ceased and the advertisement has been dark for several years. Nearby is another building...
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...In Cold Blood Truman Capote I. The Last to See Them Alive The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call "out there." Some seventy miles east of the Colorado border, the countryside, with its hard blue skies and desert-clear air, has an atmosphere that is rather more Far West than Middle West. The local accent is barbed with a prairie twang, a ranch-hand nasalness, and the men, many of them, wear narrow frontier trousers, Stetsons, and high-heeled boots with pointed toes. The land is flat, and the views are awesomely extensive; horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them. Holcomb, too, can be seen from great distances. Not that there's much to see simply an aimless congregation of buildings divided in the center by the main-line tracks of the Santa Fe Rail-road, a haphazard hamlet bounded on the south by a brown stretch of the Arkansas (pronounced "Ar-kan-sas") River, on the north by a highway, Route 50, and on the east and west by prairie lands and wheat fields. After rain, or when snowfalls thaw, the streets, unnamed, unshaded, unpaved, turn from the thickest dust into the direst mud. At one end of the town stands a stark old stucco structure, the roof of which supports an electric sign - dance - but the dancing has ceased and the advertisement has been dark for several years. Nearby is another building...
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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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...M A G A Z I N E FA L L 2 0 0 2 Volume 20 Number 2 SPANNING THE GLOBE Duke Leads the Way in International Law Teaching and Scholarship inside plus Duke admits smaller, exceptionally well-qualified class Duke’s Global Capital Markets Center to launch new Directors’ Education Institute from the dean Dear Alumni and Friends, It is not possible, these days, for a top law school to be anything other than an international one. At Duke Law, we no longer think of “international” as a separate category. Virtually everything we do has some international dimension, whether it concerns international treaties and protocols, commercial transactions across national borders, international child custody disputes, criminal behavior that violates international human rights law, international sports competitions, global environmental regulation, international terrorism, or any number of other topics. And, of course, there is little that we do at Duke that does not involve scholars and students from other countries, who are entirely integrated with U.S. scholars and students. Students enrolled in our joint JD/LLM program in international and comparative law receive an in-depth education in both the public and private aspects of international and comparative law, enriched by the ubiquitous presence of foreign students; likewise, the foreign lawyers who enroll in our one-year LLM program in American law enroll in the same courses, attend the same conferences...
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...M A G A Z I N E FA L L 2 0 0 2 Volume 20 Number 2 SPANNING THE GLOBE Duke Leads the Way in International Law Teaching and Scholarship inside plus Duke admits smaller, exceptionally well-qualified class Duke’s Global Capital Markets Center to launch new Directors’ Education Institute from the dean Dear Alumni and Friends, It is not possible, these days, for a top law school to be anything other than an international one. At Duke Law, we no longer think of “international” as a separate category. Virtually everything we do has some international dimension, whether it concerns international treaties and protocols, commercial transactions across national borders, international child custody disputes, criminal behavior that violates international human rights law, international sports competitions, global environmental regulation, international terrorism, or any number of other topics. And, of course, there is little that we do at Duke that does not involve scholars and students from other countries, who are entirely integrated with U.S. scholars and students. Students enrolled in our joint JD/LLM program in international and comparative law receive an in-depth education in both the public and private aspects of international and comparative law, enriched by the ubiquitous presence of foreign students; likewise, the foreign lawyers who enroll in our one-year LLM program in American law enroll in the same courses, attend the same conferences...
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...I'm OK-You're OK By Thomas A. Harris MD Contents: Book Cover (Front) (Back) Scan / Edit Notes About The Author Illustrations Author's Note Preface 1. Freud, Penfield, and Berne 2. Parent, Adult, and Child 3. The Four Life Positions 4. We Can Change 5. Analysing the Transaction 6. How We Differ 7. How We Use Time 8. P-A-C and Marriage 9. P-A-C and Children 10. P-A-C and Adolescents 11. When Is Treatment Necessary? 12. P-A-C and Moral Values 13. Social Implications of P-A-C References Index (Removed) Scan / Edit Notes Versions available and duly posted: Format: v1.0 (Text) Format: v1.0 (PDB - open format) Format: v1.5 (HTML) Format: v1.5 (Ubook-HTML) Genera: Self-Help Extra's: Pictures Included Copyright: 1969 Scanned: November 8 2003 Posted to: alt.binaries.e-book (HTML-PIC-TEXT-PDB Bundle) alt.binaries.e-book (HTML-UBook) Note: The U-Book version is viewable on PC and PPC (Pocket PC). Occasionally a PDF file will be produced in the case of an extremely difficult book. 1. The Html, Text and Pdb versions are bundled together in one rar file. (a.b.e) 2. The Ubook version is in zip (html) format (instead of rar). (a.b.e) ~~~~ Structure: (Folder and Sub Folders) {Main Folder} - HTML Files | |- {PDB} | |- {Pic} - Graphic files | |- {Text} - Text File -Salmun About The Author Thomas A. Harris is a practising psychiatrist in Sacramento, California. Born in Texas, he received his B.S. degree in 1938 from the University of Arkansas Medical School and his M.D. in 1940 from Temple...
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