Dawe uses television jargon to further elaborate how consumerism has dehumanised humanly values. “Right between the Carol Burnett and the David Nixon show they fell in love.” Through the use of television and consumer jargon along with the satirical nature of the poem, we understand how consumers have been impacted through the media. Through the poem Dawe allows us to see how the predominance of the media has impacted the values in relationships. “But the course of true etcetera, Etcetera.” Through Dawe’s use of the word “Etcetera” he shows us how love is no longer relevant in between relationships. Therefore, the media dehumanises the quality of humanly values and relationships.
More recent schools of thought such as that expressed by Linda Schulte-Sasse3 suggest that filmmakers including Riefenstahl were indeed propagandists, but that this is justifiable in context, therefore that they also ought to be praised for their contribution to culture. The popular school of thought suggests that those viewing Riefenstahl’s films as masterpieces are viewing them “in a vacuum”, without any reference to the context of the time. In Triumph des Willens, for example, Hitler, it is suggested, is deified. Seemingly endless marching scenes are said to glorify the militarisation (against the Treaty of Versailles) of Germany. The content of one of the speeches can be seen to
In other words, the medium of film itself is placed under inspection, so rather than only experiencing the subjectivity of its author, the subjectivity of cinema in general is made apparent. Corrigan relates self-refraction in cinema to the same mode in pre-existing media in the introduction to his chapter, by referring to the mode as “art through art… (that extends) “back through many centuries of literature and visual representation and forward into film history” (181). The difference Corrigan points out is the tendancy for self-refractive essay films to “aim at where aesthetic experience unwinds at the intersection of public and private life” (198). The self-refractive essayistic mode of filmmaking is a
"See the cat? See the cradle?" retorts the midget Newt in an attempt to explain the inspiration for a grotesque and confounding painting of his. This singular quote is the namesake for Kurt Vonnegut's novel Cat's Cradle, and embodies the leitmotif of this tongue-in-cheek canon on religion, sex, politics, and everything in between. In the years following its publication, Vonnegut's novel became fodder for the counterculture movement of the 1960's because it countered the restrictive societal norms of mainstream culture.
Scapegoating is defined as blaming a group or a person for a problem. In the speech Kane is blaming Gettys for the problems in the world. Apple polishing means, appealing to someone’s vanity to persuade him or her. In the beginning of the speech the campaigner refers to Kane as “the fighting liberal” and “the friend of the working man.” The ad hominem fallacy is described as attacking a person rather than attacking an argument. There were two incidents of ad hominem that I found in the speech.
Parable of the Sower properly belongs to the category of dystopia. Dystopias come in many forms. George Orwell's 1984 (1948), for example, depicts an oppressive, totalitarian society. A more recent form of dystopia is the "cyberpunk" novel, such as Neal Stephenson's Snow Crash (1992), in which highly sophisticated information technologies exist alongside environmental degradation, rampant crime, and the domination of ruthless corporations. Yet another form is the feminist dystopia, in which women are systematically oppressed, as in Margaret Atwood's The Handmaid's Tale (1986) and Suzy McKee Charnas's Walk to the End of the World (1974).
what message is he trying to relay to the viewer? The best propaganda is the one in which the audience is unaware of the message being conveyed to them. Film has the ability to accomplish this by forcing the viewer to dive head first into a world created by the director. Film provides a sense, to the viewer, of real time and real world interactions with what is going on the screen. Editing techniques and careful scene development have the potential to elicit strong emotional responses in the viewer – a crucial aspect in converting someone’s preconceived beliefs to those of your own.
Rosencrantz and Guildenstern: Critical Evaluation of Opening Scenes Tom Stoppard’s film adaption of his play, Rosencrantz and Guildenstern Are Dead, has a distinct difference from its original performance script. From the opening scenes, modifications have been made to change the emphasis on certain ideas. Stoppard subtly changes the meaning of the narrative through emphasising particular aspects in characterisation and changes in the script. With a realistic setting and the point of view created by the camera, the changes are furthered simply by the medium of film. The opening scene of the adaptation differs from that of the play script in that Rosencrantz and Guildenstern are travelling through an ominous, mountain landscape, rather than being still in “a place without any visible character”.
The theme of the story is to show how Barbie dolls are negatively influencing young girls and the drastic change they had on young girl’s observations of relationships, self-image, and childhood innocence. At a young age, these girls are creating stories of infidelity and aggression that mimic how relationships are viewed through the media. “Every time the same story. Your Barbie is roommates with my Barbie, and my Barbie’s boyfriend comes over and you steal him okay?” (Cisneros, pg 576) This is giving girls a distorted insight of what occurs in normal relationships. These stories, the young girls create using theses dolls, make it seem okay if these types of unhealthy relationships occur.
Aesthetic, social and technological. From this we shall derive a conclusion as to its relevant interests to the film historian. When we refer to aesthetic film history, we are considering films as an art form. The immediate problem with film history as a study of art is that what constitutes art is subjective in itself. It is very easy to dismiss Titanic as being a ‘formulaic’ Hollywood blockbuster made with the sole intent of making capital, a special effects laden epic combined with a love story.