There are many different photographers in different genre that hold their own styles. Barbara Kasten makes her unique style unique because of the way she plays around with the light and shadow and the mediums that are used in her projects‚ which make her style‚ stand out. What makes Barbara Kasten’s photography unique? While other photographers take photographs of people or landscapes‚ Barbara Kasten takes photographs of objects that are not usually used in photography. By taking photographs of a
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Tennynson is a reflection of the Victorians ideas‚ who show how the women was seen in society‚ and as an artist. The poem can be approached from the Carl’s Jung perspective‚ because of the archetypes that can be identified and analyzed‚ namely the Shadow‚ the Anima/Animus‚ and the Self. Of course this is not the only method in analysing the poem‚ but by using this I try to explain what is happening with The Lady from this point of view. Firstly‚ we should explain what archetypes are. They are inborn
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of a tower‚ with a mirror as her only window to the outside world. Though she is trapped against her will‚ “in her web she still delights / to weave the mirror’s magic sights”. Into her endless tapestry‚ she weaves in all the images shown to her in the mirror‚ such as funerals‚ weddings‚ and the people who pass by on the road to Camelot. This creation of art is her only pleasure in life. However‚ after what is implied to be years of isolation‚ she becomes “half sick of shadows” and loses her artistic
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futility of the excessive scrutiny of images and simultaneously contrasts traditional and modern forms of mediation. One of the foremost elements of this painting is the seemingly improper reflection of the man. Because the man is standing facing the mirror‚ the viewer would expect to see the man’s face reflected‚ yet only the backside of the man is shown. This portion of the work confronts the common obsession with discovering the concealed‚ deeper meaning that is assumed to be behind every image by
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A Dream World Imagine walking along the dark shale cliffs of the English coast. Down below the waves crash upon the cliffs creating a soothing wish wash of sound. The rays from a sunset cast shadows that stretch out before you. A bird takes flight enjoying the thermals that the days heat has brought. Everything feels perfect. The temperature feels not one degree too hot. The wind whooshes gently and soothingly. The sounds blend together to create a melody of music. The salty smell of the ocean washes
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outside in the first shot‚ which he returns to several times in this scene. This “green window” signifies a doorway into Scotties damaged mind with dark shadows in the shape of bars on it‚ as if he is a prisoner of his own sick world filled with ghosts and unreachable fantasies and desires. Hitchcock also uses shadows as symbols in his film “Shadow of a Doubt” (1943) in the shot where Uncle Charlie (Joseph Cotton) is standing on top of the
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symbols are the tapestry‚ the mirror‚ and the curse. The tapestry is the world that the Lady of Shalott exists in. It is her reality. She looks through the mirrors distorted view and weaves what she sees. It is her experience and memory. But‚ the Lady of Shalott does not se true reality but a distorted view. The mirror represents the Lady of Shalott’s naiveté and innocence It is the rose-colored glass through which she sees reality. Furthermore‚ because‚ a mirror is not the truth‚ and is instead
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first act of the film‚ the audience is unable to look at Paul’s face completely due to the overwhelming presence of shadows. For example‚ when Jeanne goes up to the apartment for the first time she is startled by Paul sitting alone in an empty room in the dark. He is unsure of who he is at this point in his life‚ if he doesn’t know that‚ then how or why should anyone else. Shadows are a great way to portray this to an audience because they are only limited to how much they can see of
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she holds a music box with a mirror. As the slow paced creepy toy music plays‚ the shot slowly zooms towards her. A close-up from over Lorraine’s shoulder begins zooming into the mirror‚ implying that there will be something scary in the mirror. Then another close-up shot is used to zoom into Lorraine’s fearful eyes. Her emotions can be reflected to the audience making them also feel scared for her as well as themselves. When Lorrain finally begins to lower the mirror‚ Bathsheba‚ the evil spirit‚
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the Great Depression) mirrors its diegetic performance (a Broadway musical about the Great Depression)—neither of which reflects the actual conditions of the “real” Great Depression. Why? During the 1930s‚ Americans went to see filmic musicals to escape the harsh confines of their reality‚ to glimpse a world of fantastical opportunity. Therefore‚ the cinematic musical’s supra-diegetic music‚ extravagant sets‚ and geometric choreography—specifically within the number “Shadow Waltz” directed by Busby
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