Film as Mirror in Hitchcock’s Vertigo Alfred Hitchcock’s Vertigo is a master’s class in subtle and effective filmmaking - its noirish tale of obsession and loss is considered one of his best works. This is due in no small part to the directors’ use of the various elements of film as a mirror. Hitchcock intends to create a sense of repetition and a cyclical nature to the life of the characters in the film; following Scottie (James Stewart) through his descent and ascent into madness deals significantly
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“Whiteness refers to a multitude of individual‚ collective‚ intentional‚ unintentional‚ isolated‚ systemic‚ actions that synergistically work to sustain and constantly regenerate relationships of unequal power between whites and nonwhites.” Blackness does not directly correlate to the color of ones’ skin‚ but equates ones use in “civil society”. The abolishment of Sati‚ or ritual burning‚ was delegitimized by the British Empire. As the British Empire swept through India and predisposed what was
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penchant for skin bleaching. As an introduction to this Special Issue of the Journal of Pan African Studies focusing on skin bleaching and global White supremacy‚ the purpose of this paper is to critically examine the symbolic significance of whiteness‚ particularly for
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November 2008 The Whiteness of Ceremony Throughout Ceremony by Leslie Marmon Silko‚ there is a constant reminder of the “whiteness“ surrounding the Laguna Pueblos. Through this reminder‚ Silko proves that the Native Americans gain nothing but pain and sadness from this “whiteness.” The whiteness looms over the Pueblos like clouds over the plains. The “whiteness” shown in Ceremony is represented by the white smoke‚ the white people‚ and
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A filmmaker is endowed with the creative responsibility of understanding what needs to be allowed to be created by using the camera and the film rather than what the camera and the film creates. A safe conclusion: a director has to deal with what happens within the image which considerably enhances the area and scope of his responsibility of being merely a caretaker of the photographed world. The filmmaker and more precisely the director has the big task at his hand to transfer his vision to the
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whale was the symbol of the world’s evil and had to be destroyed. On the other hand‚ Ishmael sees that the color white can mean many various and opposing things. It would be dangerous to settle upon any one single meaning. In the chapter‚ The Whiteness of the Whale‚ Melville explains the importance of duality of meaning in the world‚ as opposed to man’s (and Ahab’s) desire to see only one meaning in any one thing. Melville utilizes the symbol of the color white to show us that‚ no one thing means
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drifting into the path of trying to comprehend the overlying theme of the story; a theme‚ that often gets identified by using technical devices such as images and words. With the well-endowed analogy formulated by Mitchell Stephens‚ in By Means of the Visible‚ readers can quickly note the strengths and defects of both devices. Defects‚ that ranges from words‚ lacking the ability to portray abstract ideas to images‚ not being coherently clear to display one perception. Had it not been for the level of preparation
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A film is also called a movie which produced by recording photographic image with cameras. In order to make a complete film‚ there are some several steps we need to do. First‚ we need to find a ‘property’. ‘Property’ means the story which the film is based on. The idea can be original or an adaptation that can be used as the focus of the script‚ around which to tell a story. After the property has been found‚ we start to write the script. Script is a general term for a written work detailing story
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The Heart of Whiteness Confronting Race‚ Racism‚ and White Privilege Robert Jenson Comm-365-X01 October 5‚ 2011 Joshua J. Shepherd I. Introduction: In this paper‚ I will be reviewing Robert Jensen’s “The Heart of Whiteness. Confronting Race‚ Racism‚ and White privilege”‚ along with developing a critical analysis of this work. I will be comparing my analysis with the opinions of others that have reviewed this book along with utilizing concepts from James W. Neulieps textbook‚ Intercultural
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or other form of technology to get that aerial shot. One example I can think of that we watched in class was the short film of Auschwitz. Granted‚ it might not have been absolutely breathtaking having every shot by an aerial drone shot‚ but those types of shots are great for establishing shots when introducing scenes. Another example I can think of in a big budget film was one film (of course‚ I’m forgetting the movie name‚ though I want to say Jurassic Park) where for one shot they
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