Catherine Opie’s Joanne‚ Betsy‚ & Olivia best represents “quoting” documentation. Catherine specializes in documentary photography and explores aspects such as domestic everyday activities. Her methods of documenting certain moments in real life situations directly reflect quoting. In this photograph‚ it is almost like the audience is catching a glimpse of this families day to day lives. The house is messy with the toddlers toys everywhere and it looks as if they just finished a meal. These people
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directors can match. He has a quirky yet creepy imagination‚ he brings characters to life by putting them in a habitat they don’t belong‚ His movies Alice in Wonderland‚and Edward Scissorhands all demonstrate how one of a kind his movies are. Using cinematic techniques‚ Burtons points out the misfit character and shows how different they are then everyone else. Burtons use of camera angles‚ lighting‚ and sound give the viewers a different perspective on the movies‚ and help pick out the individual character
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achieved by building a 2/3rds size model of the Titanic (viewed from the side) on location in Mexico. The scenes towards the latter stages of the film portraying the ships dramatic plunge into the icy waters of the Atlantic Ocean have gone down in cinematic history as a both visually gripping and tragically depicted end to the ships short career. Subtle touches James Cameron added here and there helped to rivet the viewer to their seats‚ (Although poor quality rivets and brittle iron make up of
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although there are points during which the transitions are spotty‚ the overall aesthetic of the film transitions is very good. They seamlessly transition‚ making the film quite enjoyable to watch and striking. Overall‚ “ A Time to Kill” is an excellent cinematic in regards to the plot of the film. However‚ if it were to be remade‚ I would streamline some of the side stories. While the side stories add to the plot of the film‚ they sometimes detract from the main points. When I went through the plot‚ I realized
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I will argue that Paths of Glory exemplifies a formalist use of the cinema’s frame in its realistic depiction of a World War I court marshaling of three French Soldiers sentenced to death for cowardice. Dudley Andrew discusses the differences between the formalist view of screen as frame and the realist view of screen as window within film theory and I will use his arguments to better understand how Paths of Glory can at once accept realist theory and formalist theory through its conscious exploitation
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Full Synopsis Cast & CrewAwardsRelated MoviesBased on the Pulitzer Prize-winning novel by Alice Walker‚ The Color Purple spans the years 1909 to 1949‚ relating the life of Celie (Whoopi Goldberg)‚ a Southern black woman virtually sold into a life of servitude to her brutal husband‚ sharecropper Albert (Danny Glover). Celie pours out her innermost thoughts in letter form to her sister Nettie (Akousa Busia)‚ but Albert has been hiding the letters Nettie writes back‚ allowing Celie to assume that
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to empathize with the characters in the movie. The movie begins with the pianist‚ Szpilman‚ in the studio playing the piano while the community of Warsaw is being bombed. A woman who will help him later in the movie approaches The Pianist’ is a cinematic masterpiece by the Polish director Roman Polanski. One of the key ideas that appear throughout much of the film is that of ‘hope being instrumental in our survival’. This idea is portrayed through Wladyslaw Szpilman‚ a Polish pianist‚ as he struggles
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motivations behind the attack‚ he identifies the plan of the attack‚ the basic science behind it‚ and some of the major aftereffects as well. During the explanation of the attack on the twin towers‚ Amis makes an intense statement: “no visionary cinematic genius could hope to recreate the majestic abjection of that double surrender‚ with the scale of the building conferring its own slow motion.” This sentence is beautifully terrorizing. It indirectly describes the falling of the towers; however‚ it
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Tennessee Williams’ "The Night of the Iguana" and David Mamet’s "Speed the Plow" and also debuted on Broadway in Yasmina Reza’s "Art"‚ for which he received a Tony Award nomination in 1998. He is a member of the Royal Shakespeare Company and made his cinematic debut in Steven Spielberg’s Raiders of the Lost Ark (1981) He then landed many supporting roles in movies like Mike Leigh’s Meantime (1981)‚ Peter Yates’s Eleni (1985) ‚ Richard Donner’s Ladyhawke (1985) and Dusan Makavejev’s Manifesto (1989)‚ to
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Cinematic Connections A memorable scene in “The Great Gatsby” is the last scene. Wilson has killed Gatsby and himself. Nick is planning the funeral and no one shows up‚ not even Daisy. To start the scene off‚ with a panning shot of Gatsby’s house. The foggy and gloomy lake makes this scene feel even sadder. There are not many lights on in the house. We then move inside house‚ where the camera is set at a low angle to demonstrate how Nick is small compared to the lavishing house. Viewers then see
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