Watch either a War film made in the last 25 years or a Neo Noir film from the list, Neo Nior Films 1982 - 1999.pdf . (It cannot be your favorite movie.)If you watched a War film, what does it have in common with the War films in the Week Five content? If you watched a Neo Noir film, what does it have in common with the Film Noir films in the Week Five content (other than being in color).(Week 5 links provided below)How does color play a part in the film you watched for this week? Identify at least three places that color stood out in the film.Does there seem to be a predominate color or does a color seem to be missing from the film? If so, what is that color and do you think it had an impact on the film? If so how, if not why not?If you did not see a predominate color or a color that seems to be missing from the film describe an addition place in the film where color plays a part.Respond to at least two of your classmates.http://www.filmsite.org/warfilms.htmlhttp://www.oxfordreference.com.ezproxy.umuc.edu/view/10.1093/acref/9780199587261.001.0001/acref-9780199587261-e-0763?rskey=ESqDWs&result=1http://www.digitalhistory.uh.edu/teachers/modules/...http://www.telegraph.co.uk/culture/10441108/How-po...http://www.oxfordreference.com.ezproxy.umuc.edu/vi...http://www.imamuseum.org/blog/2012/01/17/how-color...

First post Choose one of the five parts of The Waste Land and define the function of two of the three techniques discussed in this lesson in Eliot (fragmentation, juxtaposition, allusion). How does Eliot make the transition from scene to scene? Does there seem to be one speaker or two? How do we make a sense of meaning out of the rush of words? NOTE: Make sure you don't misspell Eliot---it's only one L, not two (not Elliot, or Elliott). LEARNING OBJECTIVES: STRONG OPENING THESIS, DEVELOPMENT (500 words), SUPPORT (quotations), OBJECTIVE TONE (No "I" or "we").  Post # 2 Two questions: 1.Define the function of external symbolism as Anderson and Fitzgerald employ it. How does external symbolism reveal characters' states of mind in "Hands" and "Babylon Revisited"? What type of reading demands does this approach make on the audience? 2. Define the function of internal symbolism as Porter and Hemingway employ it. In other words, define interior monologue and/or stream of consciousness and show how the authors use them in "Flowering Judas" and "The Snows of Kilimanjaro" to dramatize specific forms of thought (hallucinations, dreams) to convey their internal states of mind.   

This watercolor and oil on paper work by Paul Klee, entitled "They're Biting," 1920, shows a cartoon style scenario of a boy fishing with his dad. The boy has caught a fish, a larger fish is about to take the hook of the father’s line. Following the lines from the fishing rods is a little bit like games found in children’s puzzle books, where the loops and curves must be traced from one symbol to another. Amongst the symbols for fish we also find two recognisable typographic symbols in the full-stop and the exclamation mark. These represent methods of indicating much larger concepts, such as conclusion and surprise, in a very simple abstract way. The exclamation is above a fish that is big enough to swallow both father and son. And what do fish do: big fish eat little fish. A series of events have been set in motion that will reach a final conclusion with the big fish being caught by one of the fishers. The ratio will be reversed and the struggle to land the catch could go ‘either way’.Could this be seen as a metaphor for a child becoming an adult, the evolution from childhood to manhood? Why do you think the artist chose to paint the lines faintly rather than emphatically? Do you think this lends a childlike quality to the overall work? Must be 500 words and have 3 citations from credible sources.Must be at least 500 words and have 3 citations minimum.