Analysis Of Alan Berliner's Intimate Stranger

Documentarians often want to get as close to their subject matter as possible. Some documentarians have an insider perspective which ignites a spark to create a piece that illuminates a specific topic or area of study. There are also documentarians that have no affiliation with said subject matter, but want to explore the topic in question. Finally, there are documentarians that have a foot in both worlds. Insider/outsider is a theory in which a documentarian can be close to a subject, but also possess characteristics or traits that make them distant from the topic in question (Coles, 1998). Such is the case with the directors of both Stranger with a Camera and The House I Live In. Due to their own location, both Eugene Jarecki and Elizabeth Barret exhibit characteristics that make them fall into the insider/outsider roles as directors. Robert Coles defines location by stating, “We notice what we notice because of who we are” (Coles, 1998, p. 7). Included in this is, a person’s education, race, class, and gender. Both directors realize they are outsiders and utilize a lens into a world in which they are not otherwise a part of. Jarecki’s lens comes in the form of Nanny Jeter, his family’s nanny from when he was a child. Barret’s lens for her documentary is the community that she shared with Ison. The two directors enter into a world that they are not a part of because of their location, but forge a connection to the subject matter through means of a lens.

The Outsiders is a story regarding the privation and accomplishments experienced by the Greasers and the Socs, two rival gangs living in the inner city in the early 1960’s. The novel The Outsiders is about two groups of teenagers of bitter rivalry which was due to socio-economic differences.The Outsiders takes us through a journey of violence, struggle and death. It examines the life of a recently orphaned young man born into poverty confronted with the prejudices that he could not change. The novel tells the story of Ponyboy Curtis and his conflicts between the lower and the upper class youths and struggles and with the right and wrong in a society in which he considers himself an outsider. The society is divided in two groups Greasers and Socs, ‘Greasers’ are those who are from East side and belongs to a poor section of the society and ‘Socs’ a short word for society used in the novel, means those who are from West side and belongs to a richer section of a society. The greasers and Socs also have somethings in common like Cherry Valance, a member of Socs, and Ponyboy Curtis, a geaser discuss their love for literature, for popular music, and sunsets. A view of honorable action appears throughout the novel, which works as an important element of the geasers behavioral code.

Another technique Lee uses throughout the film is treating cinema as a visual experience through the eye and also through the gaze. He sets up the film in such a way the objects seen in the movie were really present, while these objects are also used for symbolic construction, building a relationship between the spectator and the screen (Elsaesser 100). Lee also uses the strategies of alienation and identification throughout the entire film which further helps engage the audience’s emotions and makes them think throughout the film about what is the right

The Article “A Stranger in Strange Lands” written by Lucille P. McCarthy is an examination of the writing process. This article follows a college student through a twenty-one month study to determine how the students writing ability is affected as he transitions from one classroom to another. Focusing on specific writing processes in different types of classrooms,this article hopes to uncover the importance and effect of writing towards a specific audience within a particular genre and to offer a better understanding to how students continue to learn to write throughout college.

At some point in the film (during the “sound check” scene), Don Lockwood and his female co-star, Lina Lamont are depicted acting in a key scene full of passionate dialogue, but are faced with one challenge after the other, thereby making the scene appear hilarious. Some of the challenges they are faced with during the scene is as a consequence of Lina’s shrill voice and other difficulties with sound technology. It is apparently clear that the changes from silent film to sound is something that the silent film stars are yet to get accustomed to, seeing as it is their first sound movie. Their inexperience in the sound film is so apparent that when they are in the “sound check” scene, their dialogue in the sound film version is in total contrast with their acting. In an attempt to cope with the challenges faced in the scene, the directors and set crew try recording the scene several times, each take confronting the unpredictable variables of the new sound film

In The Stranger, Albert Camus describes the life of the protagonist, Meursault, through life changing events. The passage chosen illustrates Meursault’s view during his time in prison for killing the Arab. In prison, one can see the shifts in Meursault’s character and the acceptance of this new lifestyle. Camus manipulates diction to indicate the changes in Meursault caused by time thinking of memories in prison and realization of his pointless life. Because Camus published this book at the beginning of World War II, people at this time period also questions life and death similar to how Meursault does.

Theodor Seuss Geisel was born March 2, 1904 in Springfield, MA to German immigrant parents (Morgan & Morgan, 1995). His parents immigrated just after the end of WWI, and he was bullied in school for being a German immigrant (Morgan & Morgan, 1995). Seuss’ care for minority rights and his strong voice against isolationism during WWII were likely influenced by this experience as a child. The majority of his career would be involving politics in one form or another, and even pervaded the messages in his children’s books (Morgan & Morgan, 1995). His second wife, Audrey Stone Dimond-Geisel, would continue his work in children’s novels and movies after his death, but instilled more moral lessons,

Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.

On January 24, 1848, a discovery in a river near Coloma, California changed the course of that territory forever. While building a saw mill, James Wilson Marshall found a golden nugget by accident. All though the mill owner tried to keep the secret, news of the discovery soon started what is known as the “California Gold Rush” by 1850, so many people live in California that it became the 31st state of the United

“The Little Stranger” is a 2009 gothic novel written by Sarah Waters. It is a ghost story set in a dilapidated mansion in Warwickshire, England in the 1940s. This novel features a male narrator, a country doctor who makes friends with a family with faded fortunes left simply with a very old estate that is crumbling around them. The stress of reconciling the state of their finances with the familial responsibility of keeping the estate coincides with perplexing events which may or may not be of supernatural origin, culminating in tragedy.

The music interacts with dialogue in the film; the techno beat is, at times, accompanied by vocals, which correspond with not only what is happening in the scene, but also the internal diegetic dialogue—another important motif.

The Stranger The Stranger exhibits a society that has confined itself with a specific set of social standards that dictate the manner in which people are supposed to act. This ideology determines the level of morality, and how much emphasis should placed on following this certain "ethical" structure. Albert Camus's main character, Meursault, is depicted as a nonconformist that is unwilling to play society's game. Through Meursault's failure to comply with society's values and conform to the norm, he is rejected and also condemned to death by society.

While reading The Stranger I noticed that traits that Albert Camus character depicts in the book are closely related to the theories of Sigmund Freud on moral human behavior. Albert Camus portrays his character of Meursault as a numb, emotionless person that seems to mindlessly play out his role in society, acting in a manner that he sees as the way he’s supposed to act, always living in the moment with his instincts driving him, and if the right circumstance presents itself the primal deep seeded animal will come out. I believe that most of the character’s traits fall under Freud’s notion of the Id and Ego mental apparatus, and don’t believe that his idea of the super-ego is represented in this book.

Albert Camus creates a series of characters in The Stranger whose personality traits and motivations mirror those that are overlooked upon by the average man. Camus develops various characters and scenarios that show true humanity which tends to have been ignored due to the fact of how typical it has become. Camus incorporates abominable personality traits of the characters, variety, consistency, and everyone’s fate.

“All my life I’ve been a lonely boy.” Vincent Gallo’s Buffalo 66 is a peculiar, surreal film to analyze. As a semi-autobiographical work, Buffalo 66 greatly exaggerates the events in the film and makes the viewers suspend disbelief on more than one occasion. Yet despite this, the main focus of this film is a broken Billy Brown’s emotionally raw journey seeking revenge but instead finding unconditional love through Layla in the end, and the formalist film techniques used here enhance this. Through the deliberate use of photography, staging, and movement, Buffalo 66 works as a formalistic classicism film, a predominantly classicism film with strong elements of formalism, on the style continuum.