Новая немецкая медицина. Советы от немецкая медицина. Клиника немецкой семейной медицины. Почему в израиле хорошая медицина. Главные новости медицины израиля. Медицина в израиле отзывы. Аденома простаты лечение. Быстрое народное лечение аденомы простаты. Аденома простаты и простатит. Легкий способ перестать курить. Как перестать курить уже сегодня. Как перестать хотеть курить. Уход за кожей лица. Качественный уход за кожей летом. Домашний уход за кожей. Боли на ранних сроках беременности. Быстрое лечение на ранних сроках беременности. Ощущения на ранних сроках беременности. Воспаленные гланды лечение. Чем лечить воспаленные гланды дома. Воспаленные гланды симптомы. Прыщи на лице как избавиться. Как навсегда избавиться от прыщей с лица. Прыщи на подбородке как избавиться.
 

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French Cinema

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“Jeunet’s Post-Modern style creates a unique experience for his audience”. Discuss with close reference to Amélie and Delicatessen.

Jeunet’s films take the audience on a bizarre ride, to places they have never been. Two of Jeunet’s films, Amélie and Delicatessen are completely different but both create a unique experience for the audience and are, in some ways, distinctively similar. In both Amélie and Delicatessen, Jeunet uses colour, characters and themes to bring the story together and to deliver a production that the audience would never expect.

Jeunet uses colour very creatively in his films. Just by adjusting the colouring, he can make the audience see differences in small things and make them sense changes in emotions. In Amélie, Jeunet uses colour change to show when Amélie moves from childhood to adulthood. The colours change from sepia tones to lighter, real colours. This suggests that Amélie is moving from a safe, secure childhood, to the real world that is full of dangers. Jeunet also uses sepia saturation to help convey connotations of the past. The warm colours suggest a nostalgic, safer world.

Jeunet also uses sepia saturation in his film Delicatessen, although, this time he uses the sepia saturation to bring about a feeling of loneliness and isolation. This feeling is enhanced by the look of the downtrodden apartment block and its wild-looking inhabitants. Jeunet uses dark colouring to accentuate the dark nature of the film. The dark colourings are used to compliment the characters and the plot. At the end of this film, Jeunet lets the fog and sepia saturation clear away, giving us a glimpse of the bright sky. This symbolises the end of a horrible era, and the beginning of a better world.

Core Concepts of Film Analysis

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“What is drama, after all, but life with the dull bits cut out?”- Alfred Hitchcock

The art of storytelling has been a central component of human culture for the entire history of human existence. For millennia, stories, legends and fables were passed down orally from one generation to the next. These stories carried the weight of their respective cultures with them; it is how culture itself was passed along and kept alive. These legends and mythologies functioned on multiple levels; the plot and characters served as vessels for the underlying meaning of the story. The manner in which stories have been told has changed with advancements in technology, from the written word all the way up to the relatively new medium of film. Filmmakers can now bring to bear virtually any thematic and visual elements conceivable, but the basic functions of good storytelling remain the same as the earliest mythologies. Put simply, the act of examining and analyzing the elements that comprise a film allow us to better understand the underlying meaning of that film.
At the root of most films is the central plot, the surface story. Some films seem not to have much “meaning,” in the sense that they may be simple, direct stories with familiar plotlines and narrative devices. We have seen untold numbers of “boy meets girl” films; those plotlines are as old as time. Still, even the simplest of stories carry an underlying meaning, in that they reinforce or transmit basic components of our culture, affirming social mores and offering the comfort of the familiar. In other cases, the plot of a film may be convoluted and inscrutable, requiring intense concentration or even multiple viewings for the meaning to become clear. In some cases, the plot may intentionally be left open to interpretation, allowing each viewer to discover his or her own “meaning”(Bellour & Penley, 2000)

The Movie Crash

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For this cultural analysis paper, I have chosen to discuss the movie Crash. This film focuses on prejudice based on race, culture, social status, and personal values. It strongly illustrates how individuals are wrongly prejudged based solely upon their color, religion, or even their occupation.

This work follows a number of characters and the many stereotypes, their prejudices, and the labels that are given and accepted by individuals. The stories take place over a 48-hour span in a post-911 Los Angeles, California and identify racism, bias based upon social status, religion, and even occupation. In focusing on these main characters and the interactions between them, the audience begins to understand how widespread this negative behavior is and how these characters show their personal values, or lack thereof, in situations that bring them together in one way or another. The subtle bias of some characters is countered by the blatant outright bigotry by others within the story, and shows that not only are the individuals who are judging perpetuate these stereotypes, but one of the characters himself, by continuing to exhibit behavior that is appropriate in his mind based upon his race. In this paper, I will be looking at the encounters and the ways in which they exhibit and experience prejudice during a “crash” moment, and how they create barriers between themselves and others.

The first encounter involves a black police detective named Graham who is involved in a collision. He says, “It’s the sense of touch. In the real cities, you walk, you know? You brush past people, people bump into you. In LA, nobody touches you. We are always behind this metal and glass.

The New Types of Art, Music, and Entertainment

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I would like to take some time to describe the new types of art, music, and entertainment that have become popular during this time period. It is 1933 and Germany continues to achieve success under the Weimer Republic. During this age of prosperity in Germany, many new types of art, music, and architecture have become popular. In art, I looked at pictures that depicted expressionism, cubism, and Dadaism. I looked at “Stormtroops Advancing Under Gas” by Otto Dix in 1924. This picture is an example of expressionism and it represents the tragedies and terribleness from the Great War. The painting is filled with pain and suffering of the German soldiers that perished in the war. Another painting I have viewed is “Three Musicians” by Pablo Picasso. The painting was painted in 1921 and is painted in a cubism style. Cubism was a style of art that portrayed the disarray and confusion that immediately followed the Great War. Figures were formed abstractly as a way of showing how abstract and unpredictable our lives would be following the war. I also viewed a painting entitled “Republican Automatons” which was painted by George Grosz in 1920. This painting was done in the Dadaism style and it depicts how German people robotically listened to their government and agreed to the war. Since Dadaism was an anti-war style of painting, this artist was against Germany fighting in the Great War. All of the current styles of art are depressing and represent post-war feeling. I think that art will become more lively and optimistic as we continue to prosper.

Crime Fiction

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Crime Fiction is the genre of fiction that deals with crimes, their detection, criminals and their motives. The genre can also be divided into four sub-genres; detective fiction, legal thriller, courtroom drama and hard-boiled fiction. The Crime Fiction genre emerged during the mid-19th century, although it can be difficult at times to tell where crime fiction starts and ends. This is largely attributed to the fact that love, danger and death are central motifs in fiction. Crime Fiction and the film industry have become more renowned over the later 19th and 20th centuries. This is largely due to both catering to the need of the average society to escape into an idealist world, where the good reaps the rewards, and the bad incur their punishment.

Alfred Hitchcock’s, Rear Window (1954), expands on traditional themes of the Detective Fiction Genre. The Hitchcokian film compels to audience into a thrilling crime story; one that ranges from rear-window observations of a ballet dancer to the murder of a salesman’s wife. The audience view’s the private lives of those within the closed walls of the apartments, where as the public is portrayed to be out past those walls. The ideal detective figure encompassed traits of superiority, intelligence, wit and a keen sense for observation. The lead detective in Rear Window is a sophisticated character that is not bound by the limitations of the law. This is explored through the use of visual aid and techniques, providing contrast and variation on the common themes within the genre.

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