Citizen Kane Questionnaire View the movie CITIZEN KANE (1941) for discussion in class on week four and to submit week five. Be sure to view the film at least twice before workshop number four. Read the information in this syllabus about this movie. Research it online at http://www.filmsite.org/citi.html http://en.wikipedia.org/wiki/Citizen_Kane, http://www.imdb.com/title/tt0033467/, etc. Then complete the following questionnaire A.
He finds himself restricted by the social hierarchy of a 16th century society in which birth and pedigree equate to status and he resents it. “I know my price, I am worth no worse a place” (1.1.11) He envies Cassio’s promotion to lieutenant, the position that he wanted to be in and he determines that it is the fault of his superior, Othello, as even though his master is black he has a higher rank and status because of Othello’s prowess as a general. Iago’s character parallels a low ranking character in the other play, The Duchess of Malfi. Bosola too is denied the opportunity to rise through the tight social structure. “Blackbirds fatten best in hard weather; why not I in these dog days?” (1.1.37) He too searches for a way to raise his profile in society and concludes that entering the corrupt system by employment in the name of Ferdinand, Duke of Calabria his only option, “He and his brother are like plum trees that grow crooked over standing pools; they are o’erladen with fruit, but none but crows, pies, and caterpillars feed on them” (1.1.48) The simile is representative of the
It classifies a different approach to painting. Neoclassicism pertains mainly to the Greek and Roman era. Neoclassicism is the preceding Rococo style because the women are no longer seen cavorting like mermaids or even luxuriously dressed, similar to the Duchess of Polignac. In many of the Neoclassicism paintings women are posing in the nude rather than being seen for their luxurious living styles. In the painting by Jacques Louis David, The Emperor Napoleon in his study at the Tuileries, 1812 is a formal looking painting with dark colors and the painting is in focus unlike the Impressionism painting technique.
This is the effect of the subjectivity of perception on recollection, by which observers of an event are able to produce substantially different but equally plausible accounts of it. The colors he uses, particularly blue, represents a political theme. The balance is achieved because the unity and variety complement each other. The painting is on a political scale, hence the color I mentioned earlier represents politics. By using human proportion the poster brings you in direct contact with Mr. Barak Obama, forcing you stop for a moment and take notice.
At dinner, Tom is the one who speaks the most, who dominates the conversation. He tells Nicks about “the Rise of the Colored Empire” which is a racist book, basically saying that aristocratic need to watch out for colored people (and people from the middle class) who are becoming richer and might overtake them… It shows really well that the Buchanans but the upper class in lives completely disconnected with its time: racist sayings during the Harlem renaissance?
Unlike the first piece I described, Turner’s The Slave Ship is more dramatic and intense. Through this piece, Turner aims to reveal his anger towards the issue behind the slave trading. His use of quick brush strokes and powerful colors of red, yellow, and black parallels the intensity of the piece. His innovative style of painting by defining outlines expresses both the painter’s emotional response to the slave trade and the forces
Spike Lee’s films, deal with different aspects of the black experience, they are innovative and controversial even within the black community. Spike Lee refuses to be satisfied with presenting blacks in their acceptable stereotypes. His characters are three-dimensional and often vulnerable to moral criticism. Lee’s collection of films with the theme racism, stood out for me because he is more interested in subverting the status quo of black history, so it isn’t just typical films which show racism. I also liked Lee’s intimate describing of his experience, and how some of his films had interesting elements to them because he was part of the black society.
The presence of these colors emphasizes the high class luxuries that come along with the people at Gatsby’s party. He further notes the “yellow bug” (43) and various “primary colors” (44) that are strung throughout the lively party. The bright colors surrounding the people parallel their vibrant and exuberant life styles. However, in commenting on the colors of the party, Fitzgerald mentions a “blue garden” (43) and a “blue dress”, possibly symbolizing a sense of false happiness. It is easy to see that behind the facades of enjoyment and bliss lies the truth of unfaithful spouses, suppressed women, and unhappy lives.
In fact, Hurston was criticized by many of her male contemporaries for ignoring those realities in her work. Richard Wright and Alain Locke were among her many detractors. In a review of her novel Their Eyes Were Watching God, Wright wrote that her use of dialects "manage[d] to catch the psychological movements of the Negro folk-mind in their pure simplicity," but felt her work was "counter-revolutionary" to the interest of Black people nationwide. Locke also complained of her use of folklore, believing it posed an imposition on the reality of her characters' lives (Bloom 80). Yet Hurston's biographer, Robert E. Hemenway asserts in his essay "Crayon Enlargements of Life" that "[Hurston's] fiction represented the processes of folkloric transmission, emphasizing the ways of thinking and speaking which grew from the folk environment" (81).
Marvel continued its trend of making better villains, as Michael B. Jordan’s Killmonger represents an impressive antagonist. Jordan conveys the anger and convictions of his character quite well, as screenwriters Ryan Coogler and Joe Robert Cole make the excellent choice to have his character represent black anger and desires for militancy (more on that soon). Coogler, who also directed, brings one of the most noteworthy visual styles yet seen in the MCU to the film. Everything from the bright and exotic color palette to the traditionally African-influenced production design by Hannah Beachler and costuming by Ruth Cart makes this film stand out among its compatriots. Coogler and cinematographer Rachel Morrison also show off some flashy camera tricks here and there.