“Zombieland” is a film where a lot of stylistic choices were made. Especially the opening scene says a lot about the film and the characters. Mise-en-scene‚ cinematography‚ editing and sound shape the film’s effect on the viewer. The film begins in the middle of a zombie apocalypse. The first shot is unbalanced to prime our expectation that something will change position. The shot is of the American flag‚ which is focused while the background is unfocused which means it indicates that the flag
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Mary Poppins on Broadway Mary Poppins is about a nanny who comes to the Banks family to take care of two young children‚ Jane and Michael. Mr. Banks does not like her in the beginning‚ however as she teaches the children manners and to have respect for others in fun ways‚ he starts enjoying having her around. The children and the family are soon happy with everything Mary Poppins has done for them. The playwright of this Broadway show comes from a movie that was presented in 1964. I believe
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entire show. This brings me onto costumes. The costumes in this production were very bare and essential for quick changes while on stage‚ and this gave the play a comic feel because they changed on the stage in front of the audience. Many times the costume was a plain suit and the actors played different characters by simplistically putting so a hat‚ coat or a prop. I enjoyed this because it helped me associate different characters with the little bit of costume they had. The sound and music in
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On March 16 at 8:00pm‚ the Tower Dancers performed their yearly concert. The concert contained eight dances with varying music styles and themes. The concert was composed of entirely live music and sounds‚ which provided a different spin on the ordinary dance performance. Even though the live music was somewhat distracting from viewing the dancers‚ the live music allowed for variation within each performance. The dance Lone‚ choreographed by Sophie Marie Goreki and performed to Madelyn Sneckner’s
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supposed to play as husband and wife. The audience can gather this by the mise-en-scène that is set throughout the seven instances of the couple sitting at the table. Through the acting‚ costumes and set‚ it is clear that there is a steady decline in the amount of
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Dolly and her friends noticed prom was coming up. Although‚ Dolly had no one to go with yet she was still interested in going with this one guy named Carlos. He was an old school guy that dressed like a pachuco‚ Dolly loved that about him. Dolly and her friends gathered around the avenue‚at their spot‚ right after school to discuss about the upcoming event. Dolly and her friends were undecided on going to prom or the upcoming kickback with the old veterans. They discussed about it all night‚ but
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that mise-en-scene relays foreign sentiments within the film. The dimensionality of Ardath and Helen is associated with their foreign background because their evil is represented as a one-dimensional attribute. This scene uses the close-up and lighting techniques to portray Ardath and Helen as foreigners as well as the dimensionality of their characters. The function of the foreigner within the scene plays an integral role in understanding the time period’s common anti-immigration sentiment. A
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Example of such dances are a.holding breathe to swimming b.glancing to dancing c. breathing to running 1.1.5 “Dance Anthropology views dance in its…social and cultural context” 1.1.6 “Encoded in the form (the shapes and colors of the bodies‚ costumes‚ and props‚ the sound and rhythm of the music‚ etc.)‚technique (the methods by which dancers and musicians learn the dance)‚ and structure(how the components of the dance are organized into a larger whole) of every dance are meanings and values of
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the woman with fur (played by Alexandra Zadak)‚ the costume designer Amanda Holtzman‚ did an exceptionally outstanding job with that character’s outfit. When the woman appeared on stage‚ she was glamorous. She wore pointed-toe heels‚ a silky log sleeve top that was paired with some silky bottoms that gleamed in the light‚ and she has this humongous fur coat that covered most of her outfits. This woman walked with class and superiority. Her costume gave her this extra aristocratic vibe that made my
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history‚ the making and the production of opera “Armide” by Opera Atelier. Marshall Pynkoski as the Director‚ David Fallis as the Conductor‚ Jeannette Lajeunesse Zingg as Choreographer‚ Gerard Gauci as Set Designer‚ Dora Rust D’Eye as Costume Designer‚ Bonnie Beecher as Lighting Designer‚ Jennifer Parr as Fight Director‚ Arwen MacDonell as Production Stage Manager‚ and Charles Di Meglio as French Diction Coach. On March 7‚ 2012‚ Mr. Kettle’s band classes had the honor to experience a one-day workshop at
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