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Sexual Bahavior
Considering my perspective of sexual behaviour, I find the tolerant sexual habit closer to me, and this result majorly fro ...
Sexual Bahavior
Considering my perspective of sexual behaviour, I find the tolerant sexual habit closer to me, and this result majorly from the knowledge I have with ...
SMC Loren P Q Baybrook Dancing Driftwood an Occurrence at Owl Creek Bridge Essay
GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, "Dancing Driftwood: An Occurrence at Owl Cre ...
SMC Loren P Q Baybrook Dancing Driftwood an Occurrence at Owl Creek Bridge Essay
GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, "Dancing Driftwood: An Occurrence at Owl Creek Bridge" and share your ideas about the criticism in a discussion post (you MUST quote the passage). The post is meant to be a response specifically to THIS CRITICISM. So write at least three full paragraphs [or more if you wish] on this criticism [in relation to the short story] for the full 20 points.GradingClick on the rubric to see how the discussion will be graded.Read the following criticism and post a reply to the threaded discussion.http://www.ambrosebierce.org/journal1baybrook.html (Links to an external site.) DANCING DRIFTWOOD IN "AN OCCURRENCE AT OWL CREEK BRIDGE"AMBROSE BIERCE'S "An Occurrence at Owl Creek Bridge" (1890) depicts the heroic delusions of a citizen saboteur as he is being hanged by the Union army. Peyton Farquhar believes -- as do the readers -- that he has escaped execution and, under heavy gunfire, has made his way back home. But by the end, he is dangling from a rope, his adventure unceremoniously squelched. Bierce does more in this story, however, than play with his readers' assumptions. "Owl Creek Bridge" is also a case study in Farquhar's moral deformity.A generation earlier, Edgar Allan Poe, with whom Bierce is often compared because of their interest in the psychology of the grotesque, had begun to investigate the deformities of self-engrossment, that wayward spirit of independence so determinedly American, like Emerson's glossy and self-reliant Yankee or Dickinson's brooding "Soul" that seals itself up in a vault of its own society. Milton, battling for the character of his own England during civil war, considered narcissism the precursor to anarchy. Satan is indicted in Paradise Lost (1667) as intractably "self-roll'd"; he cannot see beyond himself, a failure that darkens all of hell. Poe translates that hell of narcissism to a pitch-black apartment in which the speaker of "The Tell-Tale Heart" (1843) murders his landlord, whose "evil eye" has "vexed” him. The problem is that the speaker can't shut up. Indeed, having exploded in a confession to the police, the convict now adjures his audience to "Hearken! and observe how healthily -- how calmly I can tell you the whole story." Even as he pleads obsessively to be judged sane, his maniacal focus on the audience's eyes upon him mirrors his previous obsession with his victim's. The madman is continually hanging himself -- and hanging on to himself -- with his tongue. [1] (Links to an external site.)In "Owl Creek Bridge," the protagonist's self-aggrandizing narrative appears, at first, to be perfectly realistic and reasonable. [2] (Links to an external site.) We know Poe's speaker to be mad from the start, but Farquhar seems only to have bitten off more than he could chew -- trying to burn down a bridge used by Union troops -- so we forgive him for his error and indulge his final delusion. Bierce, however, does not. In fact, subtly though not always discreetly, he is hanging him for it. Why? Because Farquhar is an impostor. Genteel southern ideals about noble soldiering -- "the larger life of the soldier, the opportunity for distinction" -- have loomed over Farquhar like father and judge. [3] (Links to an external site.) They have been the vexing eye upon him, despite the absence of any condescension or condemnation from his community. In a bit of narrative reflexivity, Bierce's description of the man mirrors Farquhar's own warring consciousness: praise and sympathy -- Farquhar "was at heart a soldier" -- mixes uneasily with cryptically subversive commentary: "Circumstances of an imperious nature" had kept Farquhar, a well-to-do, politically-connected plantation owner, out of the war, apart from the "gallant" actions of soldiers, immobilized by "inglorious" and "humble" spectating (307). What "imperious" circumstances might prevent a wealthy politician from enlisting? The author's innuendo soon verges on mockery: when the soldier requests water at the house, Mrs. Farquhar, says Bierce, fetches him water "with her own white hands," nobly abasing herself in "aid of the South" (307). But nobility in the Farquhar family is always faintly ridiculous. The "thumbnail burlesque of martial rhetoric," as F. J. Logan describes Farquhar's delusory heroics, is established almost from the beginning of the story. [4] (Links to an external site.) Bierce comments that the patron himself, "without too much qualification," accepted "the frankly villainous dictum that all is fair in love and war" (307).Toward dubious glory, then, as a guerrilla soldier, Farquhar has sought out the "great quantity of driftwood" that the disguised Union scout had told him one could ignite under the strategic Owl Creek Bridge (308). This sabotage will release Farquhar's true "energies," which the "inglorious restraint" of his having escaped -- perhaps dodged -- the Civil War has thus far suppressed (307). These supposed "energies" thus become the very substance of his fantasy escape. When Farquhar is hanged, his senses, like those of Poe's narrator, expand and deepen to become "preternaturally keen and alert"; they are "exalted and refined," recording phenomena "never before perceived" (309). Farquhar notes the minutest sensuous details of his surroundings and acquires astounding abilities, dodging and deflecting bullets ("Some of them touched him on the face and hands, then fell away" [311]), shrewdly calculating the timing and trajectory of cannon fire, and noting arcane military tactics. Farquhar has finally become a heroic soldier, "himself the pivotal point" (310).Most readers grow suspicious by the time Farquhar cries, "God help me, I cannot dodge them all!" (311) -- a point that confirms the fantastic nature of his escape even as it foreshadows its collapse. Having fled the river and arrived at the street leading home, Farquhar hears "whispers in an unknown tongue" (312), and at that word -- "tongue" -- Bierce returns his protagonist to the reality of his hanging, contracting the play of Farquhar's preternatural senses to the image of his tongue swelling and thrusting forward. The strange "whispers" he had been hearing were, in the clinical perspective of asphyxiation, the gasps emanating from that same tongue. Farquhar is literally choking on his own tale.Farquhar's demise has come not through a beating heart, the "tell" convulsing in Poe's madman, but through eyes that bulge and cannot close and through a tongue that whispers a tale of vanity. Why is Bierce so unyielding here? Perhaps because Farquhar's vanity is deeper than we suspect. Back on the bridge, awaiting his execution, Farquhar was given one final moment to consider his moral plight -- perhaps to focus on the family he had abandoned for his warrior's adventure: "He closed his eyes in order to fix his last thoughts upon his wife and children" (306). But this narration actually occurs from within the fantasy already begun. His "last thoughts" before hanging were not of his family at all. On the bridge, having noted the swiftness of the stream's current, Farquhar has observed a pivotal object floating upon it. This is the "tell" Bierce gives us. Time and space are suddenly altered, and Farquhar thinks, "What a sluggish stream!" (306). His dream begins, perhaps before the hanging itself commences. Fittingly, the object floating down the stream is a "piece of dancing driftwood" (306), the very same driftwood that, had he succeeded at burning it, would have served as the crowning instrument of his heroism. Torching that driftwood would have rescued Farquhar from a life of indistinction, illuminating the gallant knight of the Confederacy. In this moment of willful misperception, however, the man's character turns grotesquely inward, toward a final self-absorption and delusion. Everything after that point is dancing driftwood, the idealized story of heroic piety. Farquhar thus adopts the stock portrait of the chivalrous southern soldier, the fearless patriot who, dwelling faithfully on wife and children, faces death with stoic endurance -- and he rewards himself with a perilous escape.Apart from the question of why -- and when -- Farquhar enters this fantasy, Bierce's story would amount to little more than an entertaining gimmick. But the driftwood becomes a metaphor for Farquhar himself. Like Poe's insane narrator, Farquhar needs eyes upon him (a visual motif continued by the "Owl" moniker), so, upon his demise, he retreats not merely to southern pieties about caste and chivalry, which his and his wife's "white hands" have exploited, but to the private vanity he has kindled from them. [5] (Links to an external site.) His enthrallment with the driftwood, fantastically distorting his perception of time and space, pre-empts any final reconnection to his life in a real world. This is Bierce's most concentrated realism, unmasking the vainglory and personal arrogance of a Romantic culture.Unlike Poe's narrator, Farquhar becomes his own vulturous eye, simultaneously judging and exalting himself. As hero manqué, his self-image is concocted not for his country or his family but wholly for reflection of himself. The Union soldier, for example, who, on the bridge, fires at Farquhar, has gray eyes not simply because such eyes, which Farquhar believes to be the "keenest," increase the risk to him, nor simply because Confederate soldiers wear "gray" uniforms (310); the soldier has gray eyes because Farquhar's own eyes are "large and dark gray" and must therefore be equally keen (306). [6] (Links to an external site.) Farquhar is populating his world with his own eyes. This mirror vision, like a Lacanian double, confirms his ideal stature within the fantasy. So he becomes his own seer, watching himself serve valiantly on both sides. Bierce hints at this conflation by referring to both players anonymously, as the "man": "The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle" (310). With his gray eye looking squarely at himself and with his mind's eye stuck fatally on the dancing driftwood, Farquhar never leaves the world to which his vanity has led him.Bierce allows his readers to believe in Farquhar’s fantasy because it builds on sentimental conventions about war, in which glory is a flash of fire away. And southern military idealism is archetypal because it evokes ancient European chivalric codes. Poe diagnoses the narcissism at the root of evil, but Bierce, if only briefly and cryptically, applies Poe's insight to an entire culture. From beginning to end, the man of driftwood, dead inside already, floats on a romantic dream, lost in the imagined blaze of himself. Repentance, reflection, confession, moral protestation, love of friends or family or children -- these are all just props in the narcissistic dance. So Bierce chokes his protagonist's grandiose fantasy back down into the proportions of a footnote, a meager "occurrence" in which a minor bridge survives a vain and inglorious man.
Grand Canyon University Unit 6 Discussion and Responses
Discussion Question 1 (10 points)Part I – Describe an example of an occurrence and discuss where your school/school dist ...
Grand Canyon University Unit 6 Discussion and Responses
Discussion Question 1 (10 points)Part I – Describe an example of an occurrence and discuss where your school/school district, etc., took action, created policy, etc., which was specific to upholding and protecting students Constitutional rights.Part II – Describe an example of litigation involving your school regarding student Constitutional rights. Explain any change which followed (handbook revision, policy, etc.)Part III – After analyzing the Teacher Code of Ethics, discuss which code you think the new generation of teachers is most unaware of.Write 3 responses as if you were replying back to classmates after you have completed the discussion. Code of Ethics Link:https://www.mdek12.org/sites/default/files/documents/code-of-ethics_final.pdf
7 pages
Environmental Ethics
The video is a news segment done by vice news on the struggles of a group of people in Toulouse, French, to stop deforesta ...
Environmental Ethics
The video is a news segment done by vice news on the struggles of a group of people in Toulouse, French, to stop deforestation, which was commissioned ...
SC Orson Welles instrumental figure in Theater & Film Best Shots Discussion
The Assignment:
Please demonstrate your knowledge of the influence of Welles by citing an example of a trick shot from bo ...
SC Orson Welles instrumental figure in Theater & Film Best Shots Discussion
The Assignment:
Please demonstrate your knowledge of the influence of Welles by citing an example of a trick shot from both The Best Years of Our Lives
AND a modern film. Please also post a link from the modern film
example to show your point. This assignment is not a lengthy writing
exercise and should be easily done in less than a page. Please note one trick shot (deep focus, long tracking shot ( see here
for examples of long, unbroken shots), fast/slow motion photography,
long zoom, use of mirrors, etc.) in the film "The Best Years of Our
Lives" and, more importantly, a recent movie. What is really helpful is
when you can link an example of the shot via a YouTube URL or other
means. For example, check out some showmanship filmmaking in this trailer (Links to an external site.)
for the picture "Requiem for a Dream".
If you are slightly confused about what to look for in a movie for
your analysis, let me help. The idea is that there are tons of really
creative "trick" shots in modern movies that originated in how Welles
and Tolland thought movies should look like. Think about City Lights, It Happened One Night or Casablanca.
They are shot very straightforwardly with the camera simply capturing
the action. Welles and Tolland changed all that by creating the idea of
a showman director who will do tricks with the camera that create a
whole different experience for the audience that they could never get,
say, from watching a stage play. A trick shot is NOT a pan or a tilt or
wind blowing through somebody’s hair. Nor is it a stunt. It is a shot
unlike others because it uses highly creative visual imagination and
great skill to accomplish. A long, unbroken takecan qualify as can the creative use of split screening, fast/slow motion, shooting “through” walls (herecombined with a long shot)
As discussed, Orson Welles created the whole trick shot showcase in Citizen Kane. Look at the opening of this shot (Links to an external site.)as the camera soars over the rooftop, through a sign, through glass and
finally descending down into a close up. That is one trick shot. Or herewhere we pull through a wall via the open window and then continue to see the action both inside and outside.
There are many other director stunts such as going for long stretches of no dialogue that are also common in film.
Consider this clip, here we have all kinds of trick photography such as slow motion and fast motion, stylized costuming, stylized color correction, etc. It is an artistic leap way beyond It Happened One Night and is a direct child of Welles' concepts of what a movie could and should be.Now for a sample analysis:Children of Men makes use of the long tracking shot throughout the
entire movie. The long takes give the film a real time feel and make the
scenes seem more dramatic. There are scenes throughout the movie that
go for more than two minutes without cutting. My favorite scene is where
the heroes are trying to escape with the pregnant girl but are
attacked. The entire car chase scene is film in one shot even with the
car escaping in reverse. This (Links to an external site.) is the longest clip I could find but the actual scene in the movie continues.(There is more to this analysis where it cites The Best Years of Our Lives but I cut it so as to not give away a scene from that movie to you)The influence of Welles is all over film, it should not be hard to
find some really fascinating examples! Try to have some fun with this
one.
I need to write a essay for art survey, NO Wikipedia, No internet resources
1. Discuss the symbolism used at the Taj Mahal2. Discuss the political implications of the painting of Jahangir and S ...
I need to write a essay for art survey, NO Wikipedia, No internet resources
1. Discuss the symbolism used at the Taj Mahal2. Discuss the political implications of the painting of Jahangir and Shah Abbas.3. Briefly describe the characteristics of Chinese literati painting. Use an example of this style4. Examine how the plan of the Forbidden City reflects Chinese cultural values of the Ming dynasty.5.Discuss the aesthetics of the Japanese tea ceremony.6. Discuss the kinds of subject matter that was favored in Japanese woodblock prints known as ukiyo-e. Who was the audience for these prints?7. Discuss the sculpture of the Goddess Coatlicue in relation to the Aztec belief system.8. Looking at Bill Reid's The Spirit of Haida Gwaii, examine how this artist uses traditional Native American forms while including contemporary commentary.9. Discuss the function and symbolism used in Asmat Spirit Poles.10. Meeting houses were (and are) particularly important for Polynesian cultures. Looking at the Maori Meeting House in New Zealand, discuss the role these houses play in society and discuss the symbolism used in their construction.11. Explain the role of masquerade in African art by analyzing the rite-of-passage ceremony of the Bwa culture.12. Using the Reliquary Guardian of the Fang people in Africa as your example, discuss the role of ancestors in this culture.
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Sexual Bahavior
Considering my perspective of sexual behaviour, I find the tolerant sexual habit closer to me, and this result majorly fro ...
Sexual Bahavior
Considering my perspective of sexual behaviour, I find the tolerant sexual habit closer to me, and this result majorly from the knowledge I have with ...
SMC Loren P Q Baybrook Dancing Driftwood an Occurrence at Owl Creek Bridge Essay
GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, "Dancing Driftwood: An Occurrence at Owl Cre ...
SMC Loren P Q Baybrook Dancing Driftwood an Occurrence at Owl Creek Bridge Essay
GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, "Dancing Driftwood: An Occurrence at Owl Creek Bridge" and share your ideas about the criticism in a discussion post (you MUST quote the passage). The post is meant to be a response specifically to THIS CRITICISM. So write at least three full paragraphs [or more if you wish] on this criticism [in relation to the short story] for the full 20 points.GradingClick on the rubric to see how the discussion will be graded.Read the following criticism and post a reply to the threaded discussion.http://www.ambrosebierce.org/journal1baybrook.html (Links to an external site.) DANCING DRIFTWOOD IN "AN OCCURRENCE AT OWL CREEK BRIDGE"AMBROSE BIERCE'S "An Occurrence at Owl Creek Bridge" (1890) depicts the heroic delusions of a citizen saboteur as he is being hanged by the Union army. Peyton Farquhar believes -- as do the readers -- that he has escaped execution and, under heavy gunfire, has made his way back home. But by the end, he is dangling from a rope, his adventure unceremoniously squelched. Bierce does more in this story, however, than play with his readers' assumptions. "Owl Creek Bridge" is also a case study in Farquhar's moral deformity.A generation earlier, Edgar Allan Poe, with whom Bierce is often compared because of their interest in the psychology of the grotesque, had begun to investigate the deformities of self-engrossment, that wayward spirit of independence so determinedly American, like Emerson's glossy and self-reliant Yankee or Dickinson's brooding "Soul" that seals itself up in a vault of its own society. Milton, battling for the character of his own England during civil war, considered narcissism the precursor to anarchy. Satan is indicted in Paradise Lost (1667) as intractably "self-roll'd"; he cannot see beyond himself, a failure that darkens all of hell. Poe translates that hell of narcissism to a pitch-black apartment in which the speaker of "The Tell-Tale Heart" (1843) murders his landlord, whose "evil eye" has "vexed” him. The problem is that the speaker can't shut up. Indeed, having exploded in a confession to the police, the convict now adjures his audience to "Hearken! and observe how healthily -- how calmly I can tell you the whole story." Even as he pleads obsessively to be judged sane, his maniacal focus on the audience's eyes upon him mirrors his previous obsession with his victim's. The madman is continually hanging himself -- and hanging on to himself -- with his tongue. [1] (Links to an external site.)In "Owl Creek Bridge," the protagonist's self-aggrandizing narrative appears, at first, to be perfectly realistic and reasonable. [2] (Links to an external site.) We know Poe's speaker to be mad from the start, but Farquhar seems only to have bitten off more than he could chew -- trying to burn down a bridge used by Union troops -- so we forgive him for his error and indulge his final delusion. Bierce, however, does not. In fact, subtly though not always discreetly, he is hanging him for it. Why? Because Farquhar is an impostor. Genteel southern ideals about noble soldiering -- "the larger life of the soldier, the opportunity for distinction" -- have loomed over Farquhar like father and judge. [3] (Links to an external site.) They have been the vexing eye upon him, despite the absence of any condescension or condemnation from his community. In a bit of narrative reflexivity, Bierce's description of the man mirrors Farquhar's own warring consciousness: praise and sympathy -- Farquhar "was at heart a soldier" -- mixes uneasily with cryptically subversive commentary: "Circumstances of an imperious nature" had kept Farquhar, a well-to-do, politically-connected plantation owner, out of the war, apart from the "gallant" actions of soldiers, immobilized by "inglorious" and "humble" spectating (307). What "imperious" circumstances might prevent a wealthy politician from enlisting? The author's innuendo soon verges on mockery: when the soldier requests water at the house, Mrs. Farquhar, says Bierce, fetches him water "with her own white hands," nobly abasing herself in "aid of the South" (307). But nobility in the Farquhar family is always faintly ridiculous. The "thumbnail burlesque of martial rhetoric," as F. J. Logan describes Farquhar's delusory heroics, is established almost from the beginning of the story. [4] (Links to an external site.) Bierce comments that the patron himself, "without too much qualification," accepted "the frankly villainous dictum that all is fair in love and war" (307).Toward dubious glory, then, as a guerrilla soldier, Farquhar has sought out the "great quantity of driftwood" that the disguised Union scout had told him one could ignite under the strategic Owl Creek Bridge (308). This sabotage will release Farquhar's true "energies," which the "inglorious restraint" of his having escaped -- perhaps dodged -- the Civil War has thus far suppressed (307). These supposed "energies" thus become the very substance of his fantasy escape. When Farquhar is hanged, his senses, like those of Poe's narrator, expand and deepen to become "preternaturally keen and alert"; they are "exalted and refined," recording phenomena "never before perceived" (309). Farquhar notes the minutest sensuous details of his surroundings and acquires astounding abilities, dodging and deflecting bullets ("Some of them touched him on the face and hands, then fell away" [311]), shrewdly calculating the timing and trajectory of cannon fire, and noting arcane military tactics. Farquhar has finally become a heroic soldier, "himself the pivotal point" (310).Most readers grow suspicious by the time Farquhar cries, "God help me, I cannot dodge them all!" (311) -- a point that confirms the fantastic nature of his escape even as it foreshadows its collapse. Having fled the river and arrived at the street leading home, Farquhar hears "whispers in an unknown tongue" (312), and at that word -- "tongue" -- Bierce returns his protagonist to the reality of his hanging, contracting the play of Farquhar's preternatural senses to the image of his tongue swelling and thrusting forward. The strange "whispers" he had been hearing were, in the clinical perspective of asphyxiation, the gasps emanating from that same tongue. Farquhar is literally choking on his own tale.Farquhar's demise has come not through a beating heart, the "tell" convulsing in Poe's madman, but through eyes that bulge and cannot close and through a tongue that whispers a tale of vanity. Why is Bierce so unyielding here? Perhaps because Farquhar's vanity is deeper than we suspect. Back on the bridge, awaiting his execution, Farquhar was given one final moment to consider his moral plight -- perhaps to focus on the family he had abandoned for his warrior's adventure: "He closed his eyes in order to fix his last thoughts upon his wife and children" (306). But this narration actually occurs from within the fantasy already begun. His "last thoughts" before hanging were not of his family at all. On the bridge, having noted the swiftness of the stream's current, Farquhar has observed a pivotal object floating upon it. This is the "tell" Bierce gives us. Time and space are suddenly altered, and Farquhar thinks, "What a sluggish stream!" (306). His dream begins, perhaps before the hanging itself commences. Fittingly, the object floating down the stream is a "piece of dancing driftwood" (306), the very same driftwood that, had he succeeded at burning it, would have served as the crowning instrument of his heroism. Torching that driftwood would have rescued Farquhar from a life of indistinction, illuminating the gallant knight of the Confederacy. In this moment of willful misperception, however, the man's character turns grotesquely inward, toward a final self-absorption and delusion. Everything after that point is dancing driftwood, the idealized story of heroic piety. Farquhar thus adopts the stock portrait of the chivalrous southern soldier, the fearless patriot who, dwelling faithfully on wife and children, faces death with stoic endurance -- and he rewards himself with a perilous escape.Apart from the question of why -- and when -- Farquhar enters this fantasy, Bierce's story would amount to little more than an entertaining gimmick. But the driftwood becomes a metaphor for Farquhar himself. Like Poe's insane narrator, Farquhar needs eyes upon him (a visual motif continued by the "Owl" moniker), so, upon his demise, he retreats not merely to southern pieties about caste and chivalry, which his and his wife's "white hands" have exploited, but to the private vanity he has kindled from them. [5] (Links to an external site.) His enthrallment with the driftwood, fantastically distorting his perception of time and space, pre-empts any final reconnection to his life in a real world. This is Bierce's most concentrated realism, unmasking the vainglory and personal arrogance of a Romantic culture.Unlike Poe's narrator, Farquhar becomes his own vulturous eye, simultaneously judging and exalting himself. As hero manqué, his self-image is concocted not for his country or his family but wholly for reflection of himself. The Union soldier, for example, who, on the bridge, fires at Farquhar, has gray eyes not simply because such eyes, which Farquhar believes to be the "keenest," increase the risk to him, nor simply because Confederate soldiers wear "gray" uniforms (310); the soldier has gray eyes because Farquhar's own eyes are "large and dark gray" and must therefore be equally keen (306). [6] (Links to an external site.) Farquhar is populating his world with his own eyes. This mirror vision, like a Lacanian double, confirms his ideal stature within the fantasy. So he becomes his own seer, watching himself serve valiantly on both sides. Bierce hints at this conflation by referring to both players anonymously, as the "man": "The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle" (310). With his gray eye looking squarely at himself and with his mind's eye stuck fatally on the dancing driftwood, Farquhar never leaves the world to which his vanity has led him.Bierce allows his readers to believe in Farquhar’s fantasy because it builds on sentimental conventions about war, in which glory is a flash of fire away. And southern military idealism is archetypal because it evokes ancient European chivalric codes. Poe diagnoses the narcissism at the root of evil, but Bierce, if only briefly and cryptically, applies Poe's insight to an entire culture. From beginning to end, the man of driftwood, dead inside already, floats on a romantic dream, lost in the imagined blaze of himself. Repentance, reflection, confession, moral protestation, love of friends or family or children -- these are all just props in the narcissistic dance. So Bierce chokes his protagonist's grandiose fantasy back down into the proportions of a footnote, a meager "occurrence" in which a minor bridge survives a vain and inglorious man.
Grand Canyon University Unit 6 Discussion and Responses
Discussion Question 1 (10 points)Part I – Describe an example of an occurrence and discuss where your school/school dist ...
Grand Canyon University Unit 6 Discussion and Responses
Discussion Question 1 (10 points)Part I – Describe an example of an occurrence and discuss where your school/school district, etc., took action, created policy, etc., which was specific to upholding and protecting students Constitutional rights.Part II – Describe an example of litigation involving your school regarding student Constitutional rights. Explain any change which followed (handbook revision, policy, etc.)Part III – After analyzing the Teacher Code of Ethics, discuss which code you think the new generation of teachers is most unaware of.Write 3 responses as if you were replying back to classmates after you have completed the discussion. Code of Ethics Link:https://www.mdek12.org/sites/default/files/documents/code-of-ethics_final.pdf
7 pages
Environmental Ethics
The video is a news segment done by vice news on the struggles of a group of people in Toulouse, French, to stop deforesta ...
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The video is a news segment done by vice news on the struggles of a group of people in Toulouse, French, to stop deforestation, which was commissioned ...
SC Orson Welles instrumental figure in Theater & Film Best Shots Discussion
The Assignment:
Please demonstrate your knowledge of the influence of Welles by citing an example of a trick shot from bo ...
SC Orson Welles instrumental figure in Theater & Film Best Shots Discussion
The Assignment:
Please demonstrate your knowledge of the influence of Welles by citing an example of a trick shot from both The Best Years of Our Lives
AND a modern film. Please also post a link from the modern film
example to show your point. This assignment is not a lengthy writing
exercise and should be easily done in less than a page. Please note one trick shot (deep focus, long tracking shot ( see here
for examples of long, unbroken shots), fast/slow motion photography,
long zoom, use of mirrors, etc.) in the film "The Best Years of Our
Lives" and, more importantly, a recent movie. What is really helpful is
when you can link an example of the shot via a YouTube URL or other
means. For example, check out some showmanship filmmaking in this trailer (Links to an external site.)
for the picture "Requiem for a Dream".
If you are slightly confused about what to look for in a movie for
your analysis, let me help. The idea is that there are tons of really
creative "trick" shots in modern movies that originated in how Welles
and Tolland thought movies should look like. Think about City Lights, It Happened One Night or Casablanca.
They are shot very straightforwardly with the camera simply capturing
the action. Welles and Tolland changed all that by creating the idea of
a showman director who will do tricks with the camera that create a
whole different experience for the audience that they could never get,
say, from watching a stage play. A trick shot is NOT a pan or a tilt or
wind blowing through somebody’s hair. Nor is it a stunt. It is a shot
unlike others because it uses highly creative visual imagination and
great skill to accomplish. A long, unbroken takecan qualify as can the creative use of split screening, fast/slow motion, shooting “through” walls (herecombined with a long shot)
As discussed, Orson Welles created the whole trick shot showcase in Citizen Kane. Look at the opening of this shot (Links to an external site.)as the camera soars over the rooftop, through a sign, through glass and
finally descending down into a close up. That is one trick shot. Or herewhere we pull through a wall via the open window and then continue to see the action both inside and outside.
There are many other director stunts such as going for long stretches of no dialogue that are also common in film.
Consider this clip, here we have all kinds of trick photography such as slow motion and fast motion, stylized costuming, stylized color correction, etc. It is an artistic leap way beyond It Happened One Night and is a direct child of Welles' concepts of what a movie could and should be.Now for a sample analysis:Children of Men makes use of the long tracking shot throughout the
entire movie. The long takes give the film a real time feel and make the
scenes seem more dramatic. There are scenes throughout the movie that
go for more than two minutes without cutting. My favorite scene is where
the heroes are trying to escape with the pregnant girl but are
attacked. The entire car chase scene is film in one shot even with the
car escaping in reverse. This (Links to an external site.) is the longest clip I could find but the actual scene in the movie continues.(There is more to this analysis where it cites The Best Years of Our Lives but I cut it so as to not give away a scene from that movie to you)The influence of Welles is all over film, it should not be hard to
find some really fascinating examples! Try to have some fun with this
one.
I need to write a essay for art survey, NO Wikipedia, No internet resources
1. Discuss the symbolism used at the Taj Mahal2. Discuss the political implications of the painting of Jahangir and S ...
I need to write a essay for art survey, NO Wikipedia, No internet resources
1. Discuss the symbolism used at the Taj Mahal2. Discuss the political implications of the painting of Jahangir and Shah Abbas.3. Briefly describe the characteristics of Chinese literati painting. Use an example of this style4. Examine how the plan of the Forbidden City reflects Chinese cultural values of the Ming dynasty.5.Discuss the aesthetics of the Japanese tea ceremony.6. Discuss the kinds of subject matter that was favored in Japanese woodblock prints known as ukiyo-e. Who was the audience for these prints?7. Discuss the sculpture of the Goddess Coatlicue in relation to the Aztec belief system.8. Looking at Bill Reid's The Spirit of Haida Gwaii, examine how this artist uses traditional Native American forms while including contemporary commentary.9. Discuss the function and symbolism used in Asmat Spirit Poles.10. Meeting houses were (and are) particularly important for Polynesian cultures. Looking at the Maori Meeting House in New Zealand, discuss the role these houses play in society and discuss the symbolism used in their construction.11. Explain the role of masquerade in African art by analyzing the rite-of-passage ceremony of the Bwa culture.12. Using the Reliquary Guardian of the Fang people in Africa as your example, discuss the role of ancestors in this culture.
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