The American Love Story through the Ages
The American Love Story through the Ages Too often people wrongly pigeonhole screwball as any comedy with zany components, from films with personality comedians such as the Marx Brothers to the wacky modern comedy styling's of Jim Carrey. Wes Gehring says, "To clarify the nature and role of screwball comedy, the films of the genre can be examined for five key characteristics of the aforementioned comic antihero: abundant leisure time, childlike nature, basic male frustration (especially in relationship to women), a general propensity for physical comedy, and a proclivity for parody and satire," (Gehring, p.29). In addition to Gehring's assertions, the screwball comedy genre can be characterized by a questioning of conventional marriage, mockery of authority and the rich, and lack of rational discourse through our comic antihero protagonist. However, screwball comedies are often confused with populist and romantic comedies. While this confusion is understandable, the genres are, in truth, very different. For example, romantic comedy's earnestness regarding love, as found in the slow establishment of characters and story to build a strong audience/character connection and provocative adult conversation concerning impassioned conclusions about right and wrong are entirely absent from screwball comedy, and if they were, such sentiments would immediately be subject to satirical
Is prosperous sustenance of contemporary art the fiscal responsibility of the government? Noel Carroll's article "Can government funding of the arts be justified theoretically?" analyzes this question.
Is prosperous sustenance of contemporary art the fiscal responsibility of the government? Noel Carroll's article "Can government funding of the arts be justified theoretically?" analyzes this question. The justifications as presented by Carroll can be seen as an approach towards appeasing the irate tax payers who are demanding to know the reasons behind the spending of public money on prospective art. In light of recent controversies in North America over the merit of artistic work, it's funding and purchase by government institutions, the public has the right to demand the reasons for such allocations of their hard earned dollars. Carroll presents a wide range of theoretical justifications for such spending of public money. These justifications range from issues concerning public welfare to moralistic role of art in society. The main focus of the article lies upon direct funding in the form of grants for the creation of contemporary art. Carroll describes the importance of museums which serve the purpose of preserving the culture and therefore, public funding for museums is a legitimate function of the State. This preservation is critical for educating the public about our past and our cultural roots. Sadly, the same argument cannot be applied to contemporary art because it '...is not part of our heritage yet' (22) and does not possess any educational value. Carroll's
Jamal Rodriguez Writing 202: Lawrence November 12, 2008 The Underlying Message Art is a high disputed concept due to the human perception of what is actually considered to be art. With artists using grotesque portrayals to express their feelings and beliefs to others, some are unable to see such creations as art. Gory, bloody sculptures and paintings are being discredited by some as art, along with pieces created solely on the basis of the artist's interest in money. One artist who is continually having his pieces of work undermined by art critics is Damien Hirst. Hirst, a British artist, uses the exploration of morality as a central theme to many of his works. In order to display this central theme, Damien used the conceptual art form. According to Merriam-Webster's Dictionary, conceptual art is an art form in which the artist's intent is to convey a concept rather than to create an art object. The Natural History series, one of Damien's best known series, uses the morality theme by presenting dead animals in tanks of formaldehyde as memento mori, reminding people of their mortality. This series has seen much criticism due to its lack of artistic value, but Hirst has a tendency to focus more on conveying ideas and beliefs in his art using simple techniques, yet still creates very visually appealing works of art. Along with this series, Hirst also has other pieces
Melvin Udall utilises a number of defence mechanisms in dealing with his feelings of anxiety. Repression, being the primary defence mechanism, is utilised a great deal by Melvin. He seeks to eliminate all forbidden id impulses
Pervin and John define anxiety as a "painful emotional experience that signals or alerts the ego to danger."(2001, 107). They argue that humans are incapable of sustaining prolonged anxiety due to the fact that it is a highly painful state (2001, 86). Anxiety is created by forbidden id impulses that are seeking expression (McNeil, 1970: 17). In dealing with such intense anxiety people develop mechanism of defence that serve to repress the forbidden impulses (Pervin & John, 2001: 86). Defence mechanisms according to Freud are unconscious ways of reducing anxiety by distorting reality and excluding some thoughts, wishes, and, feelings from awareness (Pervin & John, 2001: 86). Melvin Udall utilises a number of defence mechanisms in dealing with his feelings of anxiety. Repression, being the primary defence mechanism, is utilised a great deal by Melvin. He seeks to eliminate all forbidden id impulses by his use of repression. Repression is also a common feature of many other defence mechanisms that are used by Melvin. Projection is one of the most frequently used defence mechanisms by Melvin. We see, in many cases throughout the movie, Melvin projecting his feelings of inadequacy onto other people. He does this by insulting them with racial remarks, sexual remarks, and general slander. Empirical evidence has shown that many people will at times project unfavourable traits onto
Down by Law
MOV 351 Comparative Film Analysis Ko Iwagami 4/17/08 "Down by Law" Jim Jarmusch is one of the prominent post-modernist directors whose works produced a profound impression on the audience and often evoked quite controversial emotions. His films are very original and convey the authentic message of the author, but the director often chooses such means of conveying his ideas that his works are perceived in different way by different people. In fact, some people enjoy his films and believe they are genius. One the other hand, there are people who do not really understand his works and are very critical in relation to his works. At the same time, it should be said that his films are destined not only for specialists but also for the mass audience, though the director's ideas may be not always clear for ordinary viewers. Nevertheless, the artistic value of his works is practically undeniable. As a rule, his films are stylistically and artistically rich. The director skillfully applies different stylistic devices, which help him convey his message to the audience. Among films created by Jim Jarmusch, it is possible to single out his film "Down by Law", which depicts the tragedy of main characters who have to pass through serious challenges in the course of the film. At the same time, this film is a perfect sample of post-modernist films, where main characters confront severe
Examine either overt or covert relationships with the work of particular artists or movements and the political contexts in which they where made.
Examine either overt or covert relationships with the work of particular artists or movements and the political contexts in which they where made. Art movements through out history have been created in the midst of various political upheavals. Even though the larger part of art has always given an impression of no politicisation as it would have liked itself to be known as an autonomous entity functioning with no political aspirations, or under the banner of any political correctness. Having itself looked upon as a form of expression with the sole purpose of providing aesthetic pleasure. Which was very much the view provided by prominent art critics and the more mainstream galleries. But the authenticity of this ideological concept was contradicted and faced head on in the late 1950's with the emergence of a predominately American Art movement by the name of Pop Art. Pop emerged in the late 50's and managed to thrive in the 60's and way in to the late seventies. It utilized the imagery and techniques of consumerism and popular culture. Many perceived pop as a mere continuation of abstract expressionism, well at least in part, or if anything more a reaction against it. Emerging from a shift of various sources. Surrealism with its appeal to the subconscious was replaced by dada, with its concern with the frontiers of art. This was not a purely intellectual choice. There were
The 20th century has seen a huge upsurge in the importance placed by Western society on physical beauty, particularly for women.
The 20th century has seen a huge upsurge in the importance placed by Western society on physical beauty, particularly for women. The fashion, cosmetics and plastic surgery industries have thrived on 20th century preoccupation with physical appearance. It is a preoccupation that affects women in every sphere, whether they choose to pander to it or not. This essay examines female beauty in the 20th century in terms of popular culture, in particular fashion, cinema and advertising. before exploring these areas, I intend to deal briefly with basic definitions of beauty. The main body of the essay will then be concerned with an overview of each decade's particular take in female beauty. According to Kant, the judgement of beauty is different from cognitive or moral judgement because it is effected subjectively, that is, exclusively in reference to the person making the judgement. For a judgement to be truly "aesthetic", rather than merely idiosyncratic, the person making the judgement must be adamant that their opinion be consensus. "A person who describes something as beautiful insists that everyone ought to give the object in question his approval and follow suit." Plato, one of the earliest philosophers to concern himself with beauty, defined it as a "property intrinsic in objects" which could be measured in "purity, integrity, harmony and perfection." Definitions of beauty
Les Valeurs Personnelles. The artwork chosen for this paper is Les Valeurs personnelles painted by Ren Magritte in 1952. It was done in oil on canvas, measuring 31 1/2 x 39 3/8 in.
Les Valeurs Personnelles . The artwork chosen for this paper is Les Valeurs personnelles painted by René Magritte in 1952. It was done in oil on canvas, measuring 31 1/2 x 39 3/8 in. 2. This painting highlights the tension between reality and fantasy by transforming everyday objects into representations, which is characteristic of Magritte's style of surrealism. Surrealism, beginning in the early 1920s, was a movement founded by artists and writers against reason and traditional forms of expression governing European culture. Les Valeurs personnelles, known for its play with reality, is one of the key surrealist works that break with the usual standards to reach a deeper reality. 3. Rene Magritte, the Belgium surrealist painter, was born to a textile merchant family in 1898. His artistic development was initiated by two events--an encounter with an artist painting in a cemetery and his mother's suicide, the latter of which seemed to be the source of his works painted in 1927-1928 of people with cloth concealing their faces. Uninterested in traditional European art, Magritte found his inspirations from the works by Jean Metzinger and Fernand and experimented with Cubism in his early works. Later, his work experience as a designer of advertisements and as a fine artist under the contract with the Galerie le Centaure in Brussels, together with his interest in the
Women and Sisters: the Antislavery Feminists In American Culture.
WOMEN AND SISTERS: THE ANTISLAVERY FEMINISTS IN AMERICAN CULTURE By Jean Fagan Yellin Book Review by: Women and Sisters: The Antislavery Feminists in American Culture examines the lives of the antislavery feminists in the antebellum period of American history. Through careful research and thoughtful insight, Jean Yellin, distinguished Professor of English Emerita at Pace University, New York City, New York, focuses her attention on the leading figures in reform, abolitionism and feminism. Familiar reformers and images are given new meaning in this original study, which includes the images of slavery in sculpture, cartoons, prints, coins and medallions in classical antiquity and the late eighteenth and nineteenth centuries. The book combines methodology from history, art and literature. The most common image studied depicts a suppliant slave woman kneeling or sitting in chains, being liberated by a white female reformer. The motto "Am I not a woman and a Sister?"(4) heads the picture with an appropriate scriptural message, "Remember them that are in bonds as bound with them," (4)showing the religious and paternalistic concerns of the reformers. This image of the slave woman is then compared to the white woman, who was considered an "Angel in the House"(5) when she remained silent and invisible in public, but played a more active role at home. Part one discusses the
Oceanic art is diverse in style and technique. Artefacts were not considered art by their creators, but were an integral part of the religious and social ceremony of everyday island life. Art objects include ancestor figures, canoe-prow ornaments, ceremonial shields, masks, stone carvings, decorated human skulls, pottery, and stools. Fertility is a recurrent theme, along with occasional references to headhunting and ritual cannibalism. Most Oceanic arts are considered primitive in that until recently the indigenous cultures possessed no metal, and cutting tools were of stone or shell. The vocabulary of contemporary Aboriginal painting is derived from these ritual designs and practices. The waves of shimmering dots, the maze patterns, the lyrical lines, the passages of sensual, light dappled color that activate contemporary Aboriginal paintings are all meant to deliberately disorient or dazzle the senses and provoke a sense of the power and mystery inherent in The Dreaming and the resonant ancestral power of Aboriginal Australia's sacred places. Traditional symbols are an essential part of much contemporary Aboriginal art. Aboriginal peoples have long artistic traditions within which they use conventional designs and symbols. These designs when applied to any surface, whether it is on the body of a person taking part in a ceremony or on a shield, have the power to transform