A true film genre relies on shared iconography‚ formalistic themes and similar narrative structures and content. ‘What genre does is recognize that the audience any one film within a context of other films‚ both those they have personally seen and those they have heard about or seen represented in other media outlets. …In general‚ the function of genre is to make films comprehensible and more or less familiar. (turner 97)’. Action/adventure‚ the Western‚ Gangster/Crime‚ Detective/Film Noir‚ Comedy
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To define genre is to embark on a conjectural journey within a theoretical minefield. Genre theory has drawn immense debate and contemplation throughout literary history‚ however‚ several conclusions have emerged. Genre types are unfixed categories whose characteristics differ considerably among the specific genres; furthermore‚ the role of literary history plays a significant role in discussions of genre‚ for genre types evolve and shift with each new literary text. An approach to the discussion
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time to time to figure out a relationship‚ but to use this as a motive will not fulfill a partner’s desires. Steering clear of a loved one is the first step to an unhealthy relationship. Talking situations out will lead to a much happier result. Todorov feels that simply caring for someone is not sacrificed because people find greater enjoyment in caring (Grondahl 10). He is trying to portray that it is not easy to give up something for somebody‚ so there is a pain in sacrificing‚ therefore not feeling
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such explicit imagery in a war-torn and divided Germany. These censorious tendencies‚ leading to what is often phrased as a voluntary and collective social amnesia’ have traditionally followed such culturally cataclysmic events as the Holocaust. As Todorov examines in his seminal work Facing the Extreme this cultural will to erase serves to deepen the wounds. By only allowing literal understandings of the history‚ and ignoring the exemplary and processed history we disseminate the consequences of
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COM 3703 MEDIA STUDIES: MEDIA CONTENT AND MEDIA AUDIENCES SEMESTER 2‚ 2013 PORTFOLIO TABLE OF CONTENTS PAGE 1. INTRODUCTION 3 2. COMMUNICATION AND MEDIA SEMIOTICS 3 3. TEXTUAL ANALYSIS 3 4. NARRATIVE ANALYSIS 5 5. MEDIA AND VISUAL LITERACY 7 6. MEDIA‚LANGUAGE AND DISCOURSE 8 7. CONCLUSION 10 8. SOURCES CONSULTED 10 9. SELF ASSESSMENT 10 10. ADDEDUM A 11. ADDENDUM B 12. ADDENDUM C 13. ADDENDUM D 14. ADDENDUM E 1. INTRODUCTION
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Topic A – Final Felipe Fernandez- Armesto has written that the Spanish conquest of the Aztec has long been attributed to what he calls the “conquistador myth”: the notion that the Spanish were able to conquer the Aztecs “because they were in some sense better‚ better equipped‚ technically morally or intellectually”. Do you agree with Fernandez- Armesto that this is a myth? If explain why? If so explain why not. The question of how a small Spanish army was able to conquer one of the greatest ancient
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Summary On the eve of his death‚ an unnamed narrator opens the story by proclaiming that he is sane‚ despite the wild narrative he is about to convey. This narrative begins years before‚ when the narrator’s honorable character is well known and celebrated. He confesses a great love for cats and dogs‚ both of which‚ he says‚ respect the fidelity of friendship‚ unlike fellow men. The narrator marries at a young age and introduces his wife to the domestic joys of owning pets. Among birds‚ goldfish
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Democracy - the best government system Democracy- the best way to govern. The term ‘democracy’‚ like many other political terms‚ was first discovered in Ancient Greece. It consists of two short words: ‘demos’ which means either ‘a citizen in a particular city-state’ or ‘the lower orders’‚ and ‘kratos’ which means either ‘rule’ or ‘power’ - but these two are not of the same meaning. The original meaning of democracy is the rule by the poor or by the rabble. Aristotle had a clear argument stating
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Bulgarian-French cultural philosopher Tzvetan Todorov singles out four major roles in “historical narrative[s] with an ethical dimension: benefactor‚ beneficiary‚ malefactor‚ and victim” (142). The roles of benefactor and victim are of particular interest to him insofar as they are central to two dominant forms of “historical narration”: “the heroic narrative‚ which lauds the triumph of ‘our side’‚ and the victim narrative‚ which relates its sufferings” (142). Todorov further remarks on the emergence of a
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Barr‚ Kevin. "Narrative Structure in Film: ’Pulp Fiction’ & ’Citizen Kane’" Suite101.com. N.p.‚ 8 Feb. 2011. Web. 27 Oct. 2012. . Summary: The article "Narrative Structure in Film: ’Pulp Fiction’ & ’Citizen Kane’” from Suite101.com by Kevin Barr evaluates the directing style of Quentin Tarantino in Pulp Fiction by delving into the reasons behind the unconventional narrative style (linear vs. fractured narrative). As such with how Vincent is shot dead by Butch‚ but returns on-screen a few scenes
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