Dance‚ Girl‚ Dance is a film from the Classical Hollywood period that presents a complicated reading when viewed through a feminist lens. The 1940 film was directed by Dorothy Arzner‚ one of the most notable female directors and the only prominent woman in Hollywood at that time. Arzner presents her audience with an array of female characters‚ the main characters being Judy O’brien and Bubbles/Tiger Lily White. Judy is a dedicated dancer‚ honing her talents as a ballerina. Bubbles‚ on the other hand
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what was there. The camera was given the nickname‚ “the mirror with a memory.” People who viewed a photograph were occasionally not able to see any aesthetically pleasing images. Later on‚ developments were made and cameras that were previously large became smaller and more portable. An example is the Kodak camera that shot higher quality shots. Riis’s goal was not to make pretty pictures. He used a primitive camera and his photos came out bleak compared to those from newer cameras. The picture called
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Learning to be a Depth Camera for Close-Range Human Capture and Interaction Sean Ryan Fanello1‚2 1 Cem Keskin1 Shahram Izadi1 Pushmeet Kohli1 David Kim1 David Sweeney1 Antonio Criminisi1 Jamie Shotton1 Sing Bing Kang1 Tim Paek1 Microsoft Research 2 iCub Facility - Istituto Italiano di Tecnologia a b c e g d f h Figure 1: (a‚ b) Our approach turns any 2D camera into a cheap depth sensor for close-range human capture and 3D interaction scenarios. (c‚
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Artist Research – Mary Ellen Mark Mary Ellen Mark was born was born in 1940 in Philadelphia‚ Pennsylvania. She showed great interest in the visual arts from a young age and attended the University of Philadelphia‚ where she graduated with a Master’s Degree in photojournalism (Habert). After graduating she received a scholarship to photograph Turkey and she also visited other European countries such as Greece‚ Spain‚ Germany‚ England‚ and Italy (“Mary”). In 1967‚ Mark moved to New York and began to
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speech pathologist‚ to assist‚ and potentially cure Bertie of his speech condition. The King’s Speech unravels the tale of how two entirely adverse characters end up the greatest of friends. Leading cinematographer‚ Danny Cohen‚ has used a variety of camera shots‚ angles‚ movement and lighting to greatly enhance the transformation of the characters and the growth of their friendship. Cohen opens the hero’s introductory scene with a wide shot and grim lighting to develop an uncomfortable sensation
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lens and with open eyes. In this case‚ I agree with Sontag in the fact that we can’t learn about the world just from what the camera has captured‚ but disagree with her idea that photography is negative in the way that it allows for us to fill our minds and makes us feel. Sontag says that "photography implies that what we know about the world if we accept it as the camera records it. (LI‚ P1)"A photographer takes a picture of a regular‚ old weapons factory; a simple picture. In reality‚ this is a
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the son slaps him. After slapping the man the son says‚ “Don’t touch my mama‚ and don’t touch my Doritos.” This 2010 Super Bowl Doritos commercial is an example of visual rhetoric‚ because it appeals to the audience using pathos‚ ethos‚ and what the camera focuses to not just persuade the viewers to buy Doritos‚ but also to keep Doritos on the viewer’s mind. This commercial uses pathos mostly through the son. You begin to see the use of this particular appeal when the man admires the mother’s back
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order to communicate what is going on. It is a movie in which you really have to pay attention to keep up with what is going on. There were many things that stuck out to me‚ but a few really stood out from the others; first the dialogue‚ second the camera shots‚ and third the characters. To begin‚ the dialogue in this movie is extremely funny. I noticed that most of the “good” people had the stereotypical Minnesotan accent and the “bad” people did not. I think this had to do with communicating the
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way out‚ wandered in the city‚ and entered a shop selling cameras. There he finds a magical camera that vanquishes corrupt men. Eventually‚ politicians scamper to get hold of Juan’s power. Juan found himself resocializing because he has not seen the world for twenty years and is not aware of the changes. He has to adjust himself to the new surroundings but he did not have the chance to do that because something dreadful happened. The camera got stuck in his hand and the only way to get rid of it
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of memory and seals it into the history of those involved in the process. Susan Sontag’s didactic text “On Photography” digs deep into the meaning of photography and claims that it has unlimited power within modern society. Her exclamation that “cameras are fantasy-machines” exerts the idea that photography brings the world closer together‚ yet seems so distant as if it were all but an illusion. Sontag starts off her text by asserting that humans are still in Plato’s cave. She argues that humans
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