Film

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common interpretation of globalization is that it is an 'exogenous' autonomies - a force to be resisted, through the pursuit of autarchic or separatist strategies to protect the domestic heartland. Another interpretation is that globalization offers the opportunity for local or national renewal - the promise of new ideas, new people, new investment, new opportunities for embarking upon a different development parts of the world consider a wider set of possible lives than they ever did before. One important source of this change is the mass media, which present a rich, ever-changing store of possible lives...Until recently […] traditions provided a relatively finite set of possible lives, and fantasy and imagination were residual practices, confied to special persons or domains, restricted to spcial moments or places. In general, imagination and fantasy were antidotes to the finitude of social experience… More persons throughout the world see their lives through the prisms of the possible lives offered by mass media in all their forms. That is, fantasy is now a social practice, it enters, in a host of ways, into the fabrication of social lives for many people in many societies. (Appadurai, 16 5-54)

Ud fra ovenstående citater kan man altså tolke, at folk ikke mindst via massemedierne får indblik i andre levemåder, i andre former for tilværelser end deres egen. Tilværelser de kan drømme om. Her er det værd at påpege, at Appadurai skelner mellem 'fantasy' og 'imagination', idet 'fantasy' ofte blot forbliver en fantasi, en drøm, hvorimod 'imagination' ofte er et skridt på vejen til fysisk handling. Altså at man rent faktisk før en indsats for at opnå det man drømmer om, det man forestiller sig kunne blive en del af ens egen tilværelse. Samtidig er det vigtigt at have sig for øje, at disse forestillinger om et andet liv, et bedre liv nødvendigvis er et positivt aspekt for alle. Som Apparudai påpeger, så betyder det ikke, at verdenen pludselig er et bedre sted med langt flere muligheder for den enkelte, derimod giver det selv den mest fattig og forarmede sjæl mulighed for at lege med tanken om et bedre liv, en bedre tilværelse ligesom det vedkommende har set eller hørt gennem massemedierne.

Appardurai har højst sandsynligt haft forarmede børnearbejdere eller lignende i tankere når han skriver om de mennesker, der blot kan lege med tanken om et andet og bedre liv, men i kraft af min beskæftigelse med det japanske samfund og ikke mindst de unge japanere, mener jeg at kunne se en rød tråd mellem Appardurai's refleksioner om de drømme og fantasier det globale samfund medfører hos det

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Cow pond

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La Marc Aux Vaches (The Cow Pond)

I arrived at the art museum. To fulfill the assignment, I had to find a piece of artwork that I deemed worthy of my time and attention. I wandered the entire house. Beginning my search on the first floor, I saw many interesting works of art. There were sculptures, paintings, glass-works, all very beautiful but none completely drew me in. I walked up the magnificent staircase, admiring its unbelievable woodwork. Continuing to the second level, I saw more extravagant pieces of art and also a very appealing room with a chapel-type look. Many people stopped here to sketch the beauty of this room, as well as myself until I realized that it would be a nearly impossible task to capture the detail. I headed back on my search for the perfect piece. Walking down the staircase, I saw a piece I must have missed on my way up. It was titled La Marc Aux Vaches or The Cow Pond. I saw it as the most appealing in the museum, at least to my eye. I was drawn in by how natural of a scene it was. There were no machines or evidence of human existence, just nature and cows. Pierre Etienne Theodore Rousseau, the painter, had captured the scene so beautifully, giving intricate detail where needed. Everything in the painting was amazing. The sky was many shades of blue as well as white for clouds. The trees had detail for many of the leaves plus the trunks. The cows were small, but at the same time had just enough detail to see them clearly. And the ground was various shades of green, for grass. All the cows were either drinking from the pond or going closer to get a drink. I thought this was the most appealing piece, to me, because it was such a simple scene, captured so magnificently. No details were left out and everything was easy to see. I'm not saying that this is the best piece in the entire museum, because there were many others that were just as beautiful as this, but this was the most personally appealing. I attempted to sketch it, as part of the assignment, but that didn't turn out all that well, as you may be able to see. But I think I was able to get the basic design. I went online to find a good picture of it, but everywhere I looked all there was were different paintings of his.

I enjoyed the trip to the museum. Being part of an art-based English class, I thought it was beneficial to see some artwork. The Paine Art Museum is a beautiful place, inside and out. I never went behind the building, but after looking at the Paine website I wish I had. The backyard was gorgeous in the pictures and I'm sure it was even better in person. This was my first visit to this museum and I had a very pleasant experience so I'm sure it won't be my last.

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Character Analysis of Alice Garrison

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Alice Garrison was one of the main characters of the play "I Never Sang for My Father" written by Robert Anderson. In her early forties, Alice Garrison was described as an attractive, realistic, and brisk woman with an outspoken mind. She left her parents, Tom and Margaret Garrison, to marry her current husband Sidney. Sidney, a doctor, was a man that Tom had disapproved of but nonetheless, Alice still married him. Alice's outspokenness contrasts with her younger brother Gene's indecisiveness.

Alice was just as stubborn as her father but and did not want to give in to his stubbornness so she rebelled against him. Alice saw through Tom's stubbornness and was appalled by it. She was also appalled at Tom's callousness towards Margaret's death. After Margaret's death, Tom did not want to disown Alice anymore and only wanted to get close to her, to love her again. Alice sympathized with Tom and even offered to help him find a full time house keeper to take care of him.

Gene on the other hand, a 40 year old teacher who loved his mother with all his heart and wanted to love his father. Gene was assertive when his mother, Margaret took control of his life, but at the same time wanted him to be happy. Gene wanted to move out west to California to get married to Peggy, a woman he met on his sabbatical. Tom had no one to live with nor did he have anyone to look after him. Therefore, Gene was reluctant to leave his father, even though Tom was a self-centered man who refused help from anyone.

Gene absorbed his father's condescending attitude and denial about his condition with passiveness. Whereas, Alice was the complete opposite- she spoke of the reality of his condition after Margaret's death, which was the last thing Tom wanted to hear. Alice had recognized that Tom had become a burden that neither Gene nor Alice should have to bear. In conclusion, there really was no resolution to Gene or Alice's situation. Gene moved out west and got married to Peggy. Alice and Gene took turns visiting Tom and Tom visited Gene on occasions. Both Alice and Gene put much effort into trying to love Tom but found it difficult because Tom had trouble getting close to anyone. Though Alice shared differences with Tom, she still loved Tom even though he disowned her. On one of Tom's visit to California, Tom had passed away. With no resolution in mind, Gene felt guilt inside that he never sang for his father. Alice on the other hand regretted not being able to love her father and it took her mother's death to bring her and Tom to talk to each other.

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KNOWLEDGE & TRUTH

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In Athens, Protagoras' books were burned and he was exiled forever because of his beliefs. Protagoras was a philosopher that believed that there is no absolute truth. He was a sophist; a teacher or professor that taught for a fee and traveled around to manipulate the way people thought. Protagoras and sophists were thought highly of and were considered "wise men". He influenced people and changed their way of thinking.

Protagoras was basically saying that everything is true. Protagoras' idea makes one reevaluate life itself, how are you to know that what is said is really true? As humans we may never really know. This shows that teaching is not always the truth. Like an individual that was taught that discrimination is right versus another individual that may have been taught that discrimination is wrong, this shows that a person can be taught something that is wrong but in their mind frame it could be right. Society is yet a changing idea. Generation after generation is taught differently. Who knows what will be taught in the generation yet to come.

Your perception of things is your knowledge. What you see can be totally different in the eyes of another person. Everything is not viewed as the same. One may believe in God the other may believe in Buddha but who am I to say that your beliefs are wrong and that mine are right? We as a society live in a diverse world there are many different beliefs, values and moral standards that are implanted in each and every mind. One may choose to change one's opinion on what they believe in only by choice. No one is force to do anything or believe anything you do it on your own will.

One person may know things that you may not know and yet still they are not smarter than you.

How am I to know that my boyfriend loves me if there is not truth? How am I supposed to know if there really is a God? Sometimes you just have to believe and have faith, the questions have to cease. You just cannot go around questioning everything then there would be no solutions for anything. The world would be full of confused people. There would not be order or self-control amongst us. There would be chaos against each other. These are the reasons why Protagoras was exiled because he caused confusion among the people.

Everyone is usually used to something that is traditional and cut and dry. Some may not like the thought of someone coming in and changing what they are used to. That is why the world is so corrupted today because people are narrow-minded. They don't want to look at the big picture. They see only what is ahead of them and that is all. They look at things as though things will never change.

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Mise en scène

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The term of the Mise EN itself with the procedure coded

‚in scene setzen of the resembleal.

The codes, which find within cinematic productions application,

können both film-specific nature its  - and for example the

assembly, which tries to cover temporal aspect of the film, when also

derived from other ¼nsten its, as the film under other composition

principles the static painting ernimmt.

Die Codes der Mise en Scène vereinigen in sich klassische künstlerische Stilmittel, fügen jedoch jeweils die für die filmische Darstellung relevanten Aspekte der Bewegung des Bildes sowie der räumlichen Tiefe hinzu.

Die Mise en Scène umfasst zusamengefasst folgende stilistische Komponenten

·Filmische Bedeutung des Bildformates

Nach konventioneller Lesart bedeutete dies, dass ein enges Bildformat eine intime Atmosphäre zu kreieren versucht, eine Dehnung des Formates hingegen Panoramablicke des Rezipienten hervorrufen soll.

·Filmische Bedeutung der Grenzen des Bildes

Grenzbereiche des Bildes führen zu einer geschlossenen oder offenen Form der Einstellung.

Innerhalb einer geschlossenen Form rückt das betrachtete Objekt in den Vordergrund und ist daher schon allein aufgrund der Größe, die es auf der Leinwand einnimmt vom Rezipienten als bedeutungsvoll zu identifizieren.

Eine offen gestaltete Einstellung bezieht auch das Umfeld des Objekts in die Bildgestaltung ein und provoziert somit sakkadisches Lesen des Rezipienten.

·Filmische Bedeutung der Komposition

Zielsetzung des kompositorischen Arbeitens ist es Beziehungen herzustellen. Aufschluss über den Grad der Beziehung zwischen Objekten geben hierbei Proportionen und räumliche Distanz der betrachteten Objekte.

Insbesondere die Anordnung von Menschen innerhalb eines Bildes verleihen nicht nur eine ästhetische Dimension, sondern geben auch eine soziale Ordnung wieder.4

Maßgebend für den Aufbau der Komposition ist die Bildebene, die durch die Tiefenebene sowie die geographische Ebene beeinflusst und ergänzt wird.5

·Filmische Bedeutung von Farbe, Linie und Form

Die Relevanz dieser Elemente entwickelt sich oftmals erst durch den Kontext, indem sich bestimmte Farben oder Objekte leitmotivisch und redundant durch den gesamten Film ziehen und dadurch besonderes handlungstragendes Schwergewicht erlangen.

Des weiteren wirken Farbe, Linie und Form durch kompositorische Anordnung innerhalb einer Einstellung.

·Filmische Bedeutung der Beleuchtung

Die Beleuchtungsmöglichkeiten gelten als wichtigstes Mittel zur Unterstützung der Wirkung von Farbe, Linie und Form, da es der Grad der Beleuchtung möglich macht, die Klarheit der Farben abzuschwächen bzw. zu verstärken sowie Formen und Linien hervorzuheben bzw. zu verklären.

Beleuchtungswinkel ermöglichen es außerdem, dramaturgische Effekte zu erzielen und Atmosphären zu kreieren.6

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