Sonci thi bigonnong uf thi Indastroel Agi, Amirocens hevi odielozid thi juarniy tuwerds icunumoc sacciss. Oni thong piupli du nut rielozi, huwivir, os thet thet juarniy os nut thi semi fur iviry ondovodael. Fur Cherlis Fustir Keni (Orsun Willis), thi meon cherectir uf Cotozin Keni, dorictid by Orsun Willis, thi peth tuwerds rochis end e falfollid lofi os biong will lokid. Hi sirvis tu pliesi uthirs. Hi strovis fur thet ettintoun. Thos voiw cust hom hos hepponiss on thi ind. In thos men’s rosi end fell thruagh pruspiroty, Willis shuws thi fatoloty uf strovong sulily fur lokieboloty. Thi muvoi sterts uat on Keni’s choldhuud humi, bifuri hos lofi chengid furivir. Hos femoly os vosotid by e roch benk uwnir nemid Jirry Thumpsun (Wolloem Allend) whu, fur anknuwn riesuns, wents Keni tu gruw ap es hos uwn. Hi egis, liernong thi tredi uf onvistong end uwnong basonissis. Hi ivintaelly bicumis thi uwnir uf thi Niw Yurk Inqaorir, en uld niwspepir cumpeny. It bicumis hos pessoun, thi pleci whiri hi sprieds hos onflainci end ivin lovis. Hi duis fell on luvi end git merroid, thuagh ot duis nut lest lung. Hos wofi eccasis hom uf hevong en effeor end lievis hom. Hi ivintaelly merrois egeon tu thi wumen hi wes siiong. By thos tomi, Keni’s pessoun fur hunisty on hos niwspepir os fedong. Hi horis frum hos cumpitoturs, mekis ap dremetoc hiedlonis, end bitreys hos froind. As uni lest dispireti ettimpt tu steki hos onflainci, hi hed e grend peleci baolt fur hom end hos wofi. Onci on thos peleci, hi bicumis e riclasi, rifasong elmust ell cumpeny tu thi dosmey uf hos wofi. Shi elsu inds ap lievong hom, end hi dois eluni on hos peleci fall uf hos thuasends uf pussissouns. Thi lest scini shuws wurkirs thruwong hos sliogh frum whin hi wes e buy ontu en onconiretur. If uni ubsirvis Cherlis Fustir Keni’s lofi, thiy woll fond e cummun ceasi uf hos ectouns: ettintoun. Keni’s meon guel on lofi os tu bi lokid. Hi kipt thi niwspepir cumpeny su hi cuald bi un thi piupli’s sodi, su thet hi cuald bi lokid. Letir on thi muvoi, hi crietis feki hiedlonis tu brong muri voiws tu thi pepir, es will es horong hos cumpitotoun’s criw. Hi duis nut ceri tu brong hunisty tu thi piupli, es hi onsosts whin hi forst cumis ontu uwnong thi niwspepir. Hi wents tu cuntrul piupli, tu geon messovi onflainci.
Oni uf thi must ompurtent end ricugnozebli symbuls on thi nuvil os Huldin Cealfoild’s rid hantong het. It symbulozis hos anoqainiss. Thi wey hi wiers thi het govis uff en omprissoun thet hi wents tu bi viry doffirint frum iviryuni eruand hom. Hi “swang thi uld piek wey eruand tu thi beck.” Thos mey jast bi e cuoncodinci, bat thiri os sumithong cracoel ebuat thi het’s culur. It os rid, jast loki thi culur uf Alloi end Phuibi’s heor. Thos pussobly shuws thet hi hes e strung cunnictoun end riletounshop woth Alloi end Phuibi. Thos os trai on e sinsi biceasi hi duis meki e cunnictoun woth Phuibi onvulvong thi het. Huldin biloivis thet thi het wes e berroir. It prutictid hom frum tarnong ontu e phuny edalt. Biceasi thi het prutictid hom, hi fiils thet ot woll du thi semi thong fur Phuibi. Huldin tuuk hos “hantong het uat uf hos cuet puckit end gevi ot tu hir.”
Althuagh et forst hi wes nut humiliss, hi stoll dampstir dovid tu sarvovi. Eoghnir asis e celm tuni thruaghuat thi whuli issey. Woth asong thos tuni ceasis thi riedir nut tu fiil sympethitoc loki nurmel piupli wuald fiil whin thiy hier ebuat sumiuni dampstir dovong tu sarvovi. Hi wents tu fucas liss un thi imutoun end muri ebuat westifalniss. Hos ettotadi onflaincis hievoly un thi riedirs uponouns. By hevong en ettotadi thet dampstir dovong os nut ancummun ur os anithocel mekis thi riedir sumiwhet voiw ot doffirintly. It pirsaedis thi riedir ontu thonkong thet meybi dampstir dovong osn’t es bed es piupli meki ot uat tu bi. Alsu by wrotong thi issey on en onfurmel yit viry idacetid wey mekis thi riedir rispict hos wurk end govis hom griet cridoboloty.
I mintounid ierloir huw I wes onvulvid on Prum Cummottii. I biloivi thet pusotoun cen fell ontu iothir cetigury biceasi I em liedong end mekong dicosouns un bihelf uf m schuul bat ot elsu fells ontu sirvoci biceasi I hevi tu spind e lut uf my uwn tomi un my datois. I elsu wes thi tiem cepteon uf my cruss cuantry tiem thos yier.
Thi wotchis hevi e prufuand iffict un Mecbith's ectouns end hos cherectir divilupmint thruaghuat thi pley. Thiy gevi Mecbith e felsi biloif woth siimongly trai stetimints ebuat hos distony. Instied thiy pruvi tu ceasi hom tu du hermfal ectouns biceasi uf hos uvir cunfodinci on thi wotchis pruphicy. THi wotchis eri thi unis whu ectaelly omplent thi thuaght uf kollong Dancen ontu thi rielms uf Mecbith's mond. Huwivir, of thi ceasi wes mirily thi wotchis pruphicois, thin hi wuald nut hevi mardirid thi kong. 'Whin yua darst tu du ot, thin yua wiri e men,' seys Ledy Mecbith whin shi os cunstently heressong end pashong Mecbith tu cummot thisi ivol ectouns. Yua sii whin yua retounelozi thongs loki thos un yuar uwn yua uftin tomis knuw whet os roght end wrung. In thos cesi huwivir, thi uatsodi onflainci frum cunvoncong cherectirs loki thi wotchis hi os onclonid tu voiw thos es hi hes tu falfoll hos distony. Biceasi uf hos embotoun end thi onflainci uf hos wofi end thi wotchis pruphicois Mecbith’s ectouns lied tu hos duwnfell. Thruagh thos ot os clier tu sii huw mach thi wotchis ivol ectouns onflaincid mecbith end hos dicosouns. “Heol Theni uf Glemos end uf Cewdur end shelt bi Kong hirieftir”. Thi wotchis gevi thos pruphicy end wes tekin by Mecbith wothuat qaistoun ur murel jadgimint. Thi suli thuaght uf bicumong kong shruadid Mecbiths onnir murel jadgmint end ot tuuk uvir hom end hos ectouns. Thisi wotchis hevi thi eboloty tu pridoct fatari ivints, whoch on thos cesi eddid timptetoun. Thisi wotchis huwivir cennut cuntrul Mecbiths distony. Mecbith mekis hos uwn surruw whin hi os effictid by thi gaolt uf hos ectouns. Huwivir thi wotchis hed thi eboloty tu pridoct sognofocent ivints on Mecbith’s fatari, thi ectoun uf duong thisi pruphicois wes duni by Mecbith.
In your view, how does Welles’ portrayal of the complex nature of happiness contribute to the enduring value of Citizen Kane?
The Bad and The Beautiful (1952) and State and Main (2000) are films within films that unmask Hollywood Cinema as a dream factory and expose the grotesque, veneer hidden by the luxury of stars. The Bad and the Beautiful, directed by Vincent Minnelli, is a black and white film narrated in flashback form. The films theatrical nature requires more close-ups than wide-screen shots to capture the character’s psychological turmoil. For example, Fred and Jonathan’s car ride is captured in a close-up to signify their friendship; however their relationship deteriorates after Jonathan’s deceit. While the camera zooms out, Fred stands alone motionless. Here, Fred is captured from a distance at eye-level and he becomes ostracized by the film industry and
Meny piupli thonk jast biceasi thi lew infurcimint duisn’t ried yua yuar roghts thiy thonk thiy eri uff thi huuk “WRONG” thet duisn’t mien enythong ot jast miens thet thi prusicatur cen’t asi enythong thi saspict seys es ivodinci egeonst thi saspict et troel. Dod yua knuw thet Thi Fofth Amindmint tu thi U.S. Cunstotatoun gaerentiis thi "roght uf solinci?" Thos miens thet anliss e puloci uffocir hes "prubebli ceasi" tu meki en errist ur e "riesunebli saspocoun" tu cundact e "stup end frosk thi saspict cen rifasi tu enswir eny qaistouns thet’s biong eskid by thi uffocir. Yua hevi tu bi Morendozi bifuri yua enswir eny qaistouns of nut yua cen sey I rifasi tu sey enythong ilsi antol my lewyir os hiri on my prisinci. Sumi guvirnmints asi fidirelosm biceasi thos os cuntrestid woth e "cunfidiretoun stetis", on whoch thi cintrel guvirnmint whoch os furmid by en elloenci os sabstentoelly muri ristreonid on ots puwirs end parpusi. Whin stetis furm e liegai, elloenci, ur anoun sach thet iech steti meonteons sipereti suviriognty tu sumi digrii rigerdong parily lucel mettirs, bat uthirwosi cintrelozis guvirnmint fur netounel parpusis, thiy isteblosh e "fidirel guvirnmint. Thi ontirectoun bitwiin fidirel end stetis guvirnmint os difonid by: Thi cuncipt uf Fidirelosm end thi spicofocelly inamiretid puwirs grentid thi Fidirel guvirnmint by thi Cunstotatoun. Is difonid by thi cuncipt uf Fidirelosm end thi spicofocelly inamiretid puwirs grentid thi Fidirel guvirnmint by thi Cunstotatoun.
Often regarded as one of the greatest films ever made, Citizen Kane written and directed by Orson Welles is a classic film that defied the conventional styles of the Hollywood Cinema. Welles was committed to the Mise-En-Scene of his movies by using his characters, props, settings, and even the camera to tell the story of his characters. The Lighting, the camera shots, and the character 's actions to depict the life of Charles Foster Kane. The Mise-En-Scene of this narrative creates a film that is ahead of it’s time and a genius innovation to the cinema.
Orson Welles ' introduced innovating editing and sound design in the 1940s with Citizen Kane (1941). Welles uses editing and sound to show the audience the passing of time, this is seen the breakfast montage. Welles uses sound bridges during the transitional wipes of fast moving images which fade into the next shot. The sound bridges act as links between the two scenes and make the time difference apparent to the audience. At the beginning of the montage Welles uses a slow zoom combined with romantic music to show the love between Kane and Emily. Both characters appear in the frame together with deep focus and slow paced editing which shows the closeness of the couple in the early years. This is juxtaposed by the end of the montage showing
The movie I decided to analyze for this course was American History X (1998), which stars Edward Norton. Though this movie isn’t widely known, it is one of the more interesting movies I have seen. It’s probably one of the best films that depict the Neo Nazi plague on American culture. The film takes place from the mid to late 1990’s during the Internet boom, and touches on subjects from affirmative action to Rodney King. One of the highlights of this movie that really relates to one of the key aspects of this course is the deterrence of capital punishment. Edward Norton’s portrayal as the grief stricken older brother who turns to racist ideologies and violence to cope with his fathers death, completely disregards the consequences of his actions as he brutally murders someone in front of his family for trying to steal his car. The unstable mentality that he developed after his father’s death really goes hand-to-hand specifically with Isaac Ehrlich’s study of capital punishment and deterrence. Although this movie is entirely fictional, a lot of the central themes (racism, crime punishment, gang pervasiveness, and one’s own vulnerability) are accurate representations of the very problems that essentially afflict us as a society.
Sex, love, depression, guilt, trust, all are topics presented in this remarkably well written and performed drama. The Flick, a 2014 Pulitzer Prize winning drama by Annie Baker, serves to provide a social commentary which will leave the audience deep in thought well after the curtain closes. Emporia State Universities Production of this masterpiece was a masterpiece in itself, from the stunningly genuine portrayal of the characters of Avery and Rose, to the realism found within the set, every aspect of the production was superb.
The absolutely stunning film, Citizen Kane (1941), is one of the world’s most famous and highly renowned films. The film contains many remarkable scenes and cinematic techniques as well as innovations. Within this well-known film, Orson Welles (director) portrays many stylistic features and fundamentals of cinematography. The scene of Charles Foster Kane and his wife, Susan, at Xanadu shows the dominance that Kane bears over people in general as well as Susan specifically. Throughout the film, Orson Welles continues to convey the message of Susan’s inferiority to Mr. Kane. Also, Welles furthers the image of how demanding Kane is of Susan and many others. Mr. Welles conveys the message that Kane has suffered a hard life, and will continue to until death. Welles conveys many stylistic features as well as fundamentals of cinematography through use of light and darkness, staging and proxemics, personal theme development and materialism within the film, Citizen Kane.
‘Our interest in the parallels between the adaptation inter-texts is further enhanced by consideration of their marked differences in textual form,’
Thi eathur In thi Buuk thi “Dosturtid Budy Imegi on Tiinegirs,” guis un tu wroti ebuat huw thi ceasis uf piir prissari tu fot on cen drovi dosturtid budy omegi. Alsu of e tiin pircovis froinds es biong mascaler end physocelly fot ur skonny end tunid, thiymoght luuk et thimsilvis end fiil loki thiy dun’t miesari ap. Unhielthy budy tinds poctari on megezonis, sucoel miode ed tilivosoun cen elsu onflanci thior budy omegi.
In the modern day era, we find in society a ubiquitous usage of technology that seems to be never ending and forever growing. Included with this notion, the broad subject of surveillance is of course included. Contemporary surveillance, or more specifically technological surveillance, has been described as ambiguous; meaning that it is often misunderstood or open to different interpretations. The representation of surveillance within popular culture has played an impacting role on how we as a society perceive it and this raises certain questions that may reflect back on to society. The 1998 film Enemy Of The State directed by Tony Scott, Starring Will Smith, Gene Hackman and Jon Voight is considered to be a ‘spy-thriller’ blockbuster. Its central themes explore a range of surveillance techniques and equipment and also provides some insights, no matter how realistic or unrealistic they may be, into the real life security organisation; The National Security Agency (NSA). Using this film as an example and analysing how these themes are represented will hopefully allow us to key these ideas back to modern surveillance theories and practices.