In Wim Wenders’ 1984 film, Paris, Texas, we find its theme of loneliness harboured in Travis Henderson, but very much so in the film’s imagery, eloquently captured by Dutch cinematographer, Robby Müller, “When I choose to work on a film, the most important thing to me is that it is about human feelings. I try to work with directors who want their films to touch the audience.” And his imagery does just that in Paris, Texas.
Müller’s shots range from vast and spacious Texas deserts, to the quiet suburbs of Los Angles, and then to the southern state highways, eateries, motels and petrol stations, cool and smothered in neon lighting (Figure1.6)- (Figure 1.7). It is these locations that will make up the lonely and spacious American backdrops that
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137). It is in these seemingly ‘inhospitable’ locations, that Paris, Texas is able to form a symbiotic relationship between character and environment, creating a backdrop of empty spaces, for an equally empty man. Thomas Dunn helps to illustrate my point in his book: Loneliness a Way of Life, where he suggests that, “The very spaciousness of the film encourages us to think about the meaning of emptiness and the habitations of the human.” (p.104). Additionally in Wim Wenders’ book: The Logic of Images: Essays and Conversations (1992) he describes his view upon the relationship between the image and the story, suggesting that he, “sees the story as a kind of vampire, trying to suck all the blood from an image.” (p. 53) This exemplifies Wenders’ approach to filmmaking; each shot is executed within its own realm of beauty. Nevertheless this highlights Wenders’ intentions of portraying loneliness more through the imagery than anything
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
For almost fifty years, from 1827 to 1876, seven constitutions were adopted and implemented for Taxes and each one has its set of laws and contained specific ways, aimed at correcting the deficiencies and drawbacks of the previously adopted order. The Constitution of 1876 is the sixth one, which set the rules and laws for Texas government since the state has achieved its independence from Mexico in 1836. The constitution established the principles of Texas Democratic Government and specified the laws, which were applied to the three branches of government: legislative, juridical and executive.
The Texas Legislature is far too archaic to provide consistent leadership for a state government; Congress has become too enmeshed with the executive branch and leaves blurry lines drawn in its separation of powers. The ideal legislature would be a modernized version of what the Texas Constitution created.
Distinctively visual language and cinematic techniques highlight to the responder the particular literal and metaphorical experiences characters are faced with, within a text. Peter Goldsworthy’s novel Maestro, Don McLean’s song ‘Vincent’ and the intriguing film Australia by Baz Luhrrman, explore the ways in which the human experiences of an individual’s connection to landscape is fundamental in shaping one’s sense of identity, personal growth and development. Composers further explore the realisation that our lives can be enriched by an understanding and appreciation of art as well as a deeper understanding of the importance of love and lust. The depiction of characters is conveyed through distinctively visual images to highlight the subsequent development of courage and resilience leads responders to a deeper understanding of how human experiences can create a sense of individuality.
Keathley, Christian. "Trapped in the Affection Image" The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Ed. Thomas Elsaesser, Alexander Horwath, Noel King. Amsterdam: Amsterdam University Press, 2004. 293-308. Print.
Canadian filmmaker and cinephile, Guy Maddin once said, “I do feel a bit like Dracula in Winnipeg. I’m safe, but can travel abroad and suck up all sorts of ideas from other filmmakers… Then I can come back here and hoard these tropes and cinematic devices.” Here, Maddin addresses his filmmaking saying that he takes aspects from different film styles and appropriates them into his own work. In The Saddest Music in the World (2003), Maddin uses a combination of French Surrealist filmmaking and classical American Hollywood cinema, specifically melodrama, to create his own style. In an article by William Beard, Steven Shaviro talks about Maddin’s filmmaking, and he links Surrealism and melodrama together saying, “Maddin’s films are driven by a tension between romantic excess [melodrama] on the one hand and absurdist humour [Surrealism] on the other.” In regards to The Saddest Music in the World, the relationship between Surrealism and melodrama is not one of tension, as Shaviro suggests, but one of cooperation. This paper will analyze two films by filmmakers Maddin was familiar with —Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali on the Surrealist side, and All That Heaven Allows (1955) by Douglas Sirk on the melodrama side—to showcase the important elements of each, concluding with an analysis of The Saddest Music in the World in conjunction with both film styles. Ultimately, it will be shown how Guy Maddin combines French Surrealist cinema and Hollywood melodrama in The Saddest Music in the World, to create his own unique film style.
Around five to six years ago, Dallas started growing cotton and never looked back. After fifty years, cotton has come back to his district and is becoming more and more popular. This is due to development of new varieties for the climate, the round bale harvester, and water becoming more readily available. The area continues to profit from the cotton industry and sees a positive outlook for the commodity in the future.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
El Paso, also referred to as the "sun city", is a beautiful city that is located on the border between Texas and Mexico and lays the farthest city west of Texas. El Paso has a desert climate with beautiful weather where natural disasters are very rare. El Paso is a massive city that has an estimated population of 862,350 making it the 4th largest city in Texas but when you consider the other places in the area the population grows to 2.2 million living in and around the area , although El Paso is a beautiful and large city, it still seems to lack In the entertainment industry.
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
Maya Angelou once said, “you may not control all the events that happen to you, but you can decide not to be reduced by them.” Jean Paul Sartre devotes his second chapter in Being and Nothingness on ‘The Body,’ demonstrating his historical knowledge, following an influence embedded in Hegel’s theory. In the film, Cleo From 5 To 7 , director Agnès Varda demonstrates a reflective perspective on freeing oneself from the bias of what others view as the ideal vision of beauty. Sartre shows that the being-for-itself, or the human being starts to become more aware of his or her own moral existence, only when he or she sees themselves being perceived by another being for-itself. Sartre says that we become more aware of ourselves in the hands or comparison
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
I traveled on a school trip to New Orleans with a group of around 30 classmates. On the trip, we built and repaired houses, made fences, and explored New Orleans and the surrounding Louisiana area. We made and restored houses in the Lower Ninth Ward, where there was still damaged from Hurricane Katrina in 2005 because of limited government aid. We were there for only a week, therefore when we worked on houses, we had to be efficient in order to get most of the tasks done in a small time frame. Putting in drywall required the most productivity because with measuring, cutting, lifting, and nailing involved, one small miscommunication could cost us time and materials. We had to always be vocal and paying attention to the task at hand.
The reclusive film director Terrence Malick has to date, only directed a small number of films. His twenty year hiatus between directing Days of Heaven (1978) and The Thin Red Line (1998), may provide the explanation for such a sparse back catalogue. Malick’s refusal to talk with the media, has led to hearsay, as to how he occupied his time during the hiatus. Malick’s directing debut Badlands (1973) is a collection of concepts, all carefully moulded together to create one iconic piece of film. This process draws in and also alienates the audience. Malick’s style is positively noted by critics to be influenced by European philosophy. This is clearly due to Malick’s study of philosophy at Harvard and Magdalen College Oxford. There is no given explanation to the mindless violence featured within the film, mainly due to the films resistance to the straight forward approach. The familiar and the unknown are carefully merged together. The only way of gaining an understanding into the hidden meanings within Badlands is by breaking down the film, by looking at the characters, the use of sound, the visual setting and the films genre. The illusionary effect of Malick’s style means that all is not as it seems.
The Texas City Disaster of 1947 was a disaster that really left a impact to the world. The Texas City Disaster of 1947 was one of the world's worst industrial disasters.