In a compelling thread about the cattle industry that runs through the entire book, Pollan begins by describing how he decided to view the life-cycle of a cow by buying a steer. Pollan describes his interest in buying the steer as not “financial, or even gustatory. No, (his) primary interest in this animal was educational” (66). Although this has a nearly clinical tone, Pollan nearly immediately begins using pathos to evoke an emotional response for the steer. First, and very importantly, Pollan refers to steer 534 as ‘he’, not ‘it’.
Even thought both paintings or portraying the general idea of the open range and the wild west, each one seems to tell a different story. For example, L. Caton’s painting shows the loneliness and the hard work it takes to run a cattle drive and Oldham’s painting is showing the fading of what the old west used to be like and how it is
Nick Ray ENGL 102- Dr. Milam April 19, 2013 Parody of Western Genre Blazing Saddles, a Mel Brooks’ film, is a parody of the western genre. The main purpose of this film is to make fun of the western genre. Mel Brooks is known for his satire in films and other genres. Blazing Saddles, in some opinions, is one of the funniest films made by Brooks. Many of the film’s ideas and problems are common of westerns, but Brooks puts a switch in Blazing Saddles.
“The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansas call “out there.” Some seventy miles east of the Colorado border, the countryside, with its hard blue skies and desert-clear air, has an atmosphere that is rather more Far Western than Middle West”.(p. 4) This paragraph is from Truman Capote’s “In Cold Blood” and it shows us an example how new journalism is used to involve the reader in the story. If the reader didn’t know before reading the text that it was a creative non-fictional work, then the reader would easily mistaken it for a fictional text. Mr. Herbert William Clutter is the main person of the story, Capote uses
In the article “This must never happen again” by Cathy Martin, Coldstream in The Age, published on June 9th 2011, she is telling the reader that only humans are only dominant enough to declare themselves owner of all other animals, which leads them with a huge role of responsibility. Cathy Martin would rather see meat prices go up instead of seeing the animals get hurt and harmed like they did shown on Four Corners. I would have to agree with this because it is wrong in so many ways with was done to the cattle. I would also feel sympathy for the 1200 peoples’ lives and jobs depend on the live export trade but maybe the ones that are to lose their jobs could help form a new authority to oversee the strict new standards relating to the future slaughter of Australian animals. The last argument supported in this issue is the use of the restraining boxes; a restraining box is used to restrain animals and to “stun” them quickly and accurately before slaughter- and in which a ‘stun gun’ is to render the animal unconscious.
The year 1892 was a time before electronics, when gentleman would watch the natural world in all its beauty as it was in one point in time just to relax their mind and body after a hard day’s work. Monte Walsh displays true old western life. In the opening scene, the cowboys are herding cattle. There are the old western stores in the town such as the general store, and the barber and bath house, pointing out part of the way of life back in the 19th century. In the winters the cowboys would ride down to Texas then up to Canada for work and come back with their pay waiting for them.
(Economist,1) All because the on going battle to have horses legally considered companion animals instead of live stock. The United State Department of Agriculture has been “stingy” (McGraw, 1) to give out any information on horse slaughter. (Economist,1) except to say “Horses are livestock, same as cows and pigs” (McGraw,1) Many people around the country beg to differ. It can probably be agreed by most that horses are owned for recreational purposes, generally not for work any longer. However, it can be found in the far western states that horses still work dawn to dusk, the long hours of cowboys.
It was loosely based on the historical French stronghold in 1916, during the Battle of Verdun, which Kubrick critically judges and successfully emphasizes the gap between those in authority and those under it. The visual effects and camera operation, in particular, are what make the audience feel involved in the conspiracy of war and forget the low-budget Kubrick had to work with. The question is; why does the camera positioning and editing add to the composition of “Go on the Whistle” in Paths of Glory? Some would argue that the effect of diegetic and non-diegetic sound visually represent Kubrick’s efforts in suggesting the film’s irony of blending shown and implied opposition.1 This theory however does not support the idea of camera position effecting visual composition. Therefore, the camera positioning and editing of the “Go on the Whistle” scene augments the point of view and overall visual stimulation of the film.
The dark and gloomy mean streets emphasise the film noir aspects present in the film, and the slow eerie Vangelis music and constant acid rain is used by Scott to create a melancholy ambience. In contrast, the Tyrell Corporation is depicted as a majestic Mayan inspired pyramid. This dreary and depressing landscape shows audiences the impact of technology and mass consumerism on the environment. Both Brave New World and Blade Runner depict chilling dystopic futures where the materialistic scientific and economic ways of thinking have been allowed to quash the humanistic morals and values, in the name of progress. Through language features and film techniques, stark pitiful visions of a future devoid of nature and humanity are presented to question
For example the shot of the draught horse and dray against Book’s smashed car and having the car pulled into the barn by the horse symbolising the uselessness of modernity in this Amish world and gives the viewer the impression that, perhaps, this world isn’t so quaint and downtrodden after all. Later, the close-up shot of the boy’s small hand holding the gun brings us sharply to the realisation that Book’s mere presence in this community could be disastrous in destroying the tranquil nature of the world. In ”The Rabbits”, Shaun Tan’s evocative and unusual drawing style adds new depth and subtext to the written word. He shows bare, barren landscapes with huge imposing machines demonstrating the power of the rabbits and the futility of the future for the numbats. It also points out how the new arrivals have affected not only the people but also the land.