Cauleen Smith The Fullness Of Time Analysis

The story of hurricane Katrina told in a graphic novel book is amazing, from the powerful words to the awesome illustrations. The author does such a wonderful job portraying the desperation, horror, and hopelessness that was felt by the people of New Orleans. During Hurricane Katrina powerful wind and surging water overwhelmed the levees. The levees that was built to protect the city. Eighty percent of the city flooded, some places were under twenty feet of water. Property was damaged and more than one thousand four hundred lives were lost. In his book Brown bring the story to life, he doesn’t spare the reader from the truth. His artwork capture shocking scenes which includes, images of death bodies, starving people, broken levees, flooded

Poems that are the most relevant in today’s society are usually the ones that are most likely to be remembered. Our society is still connected to the past through time-stained poems that hold the same message to us as they did years ago—but whether or not this is a good thing varies. I chose Gwendolyn Brooks’ “kitchenette building” to recite and analyze because its message still resonates in today’s society—that the poor cannot afford to have dreams. There are still people living in poverty today who cannot afford to do just that—who want to but know they can’t, who want to give their children that privilege but can’t. I want people to be aware of this tragedy, to realize that what happened more than fifty years ago is still happening today. This poem gives a voice to those who cannot dream, and I want people to hear that.

Acclaimed writer , Dave Eggers, in his riveting novel Zeitoun retells the story of a New Orleans painter as he finds himself in the city following Hurricane Katrina. Throughout his harrowing journey throughout the aftermath, Eggers exhibits the horrifying results a disaster can have on the dignity of victims. There are countless examples throughout the novel of those who have been dispossessed of their dignity and humanity, and there is no better example than that of Zeitoun himself. Egger’s portrayal of the aftermath of Hurricane Katrina demonstrates the devastating effect a disaster has on the dignity of individuals and how it can strip the

In the first passage Katrina’s independence is illustrated through the use if vivid imagery language. For instance she is perceived negatively as a “coquette” who willingly displays herself to the men of the village. This brings out the power of woman in the town because she has freedom of clothing which is “of ancient and modern fashion.” Through this Irving inexplicitly states that Katrina is

The history of the Situationist movement is critical into understanding how street art can be used as a political weapon to enact social change. Like Banksy, the Situationists believed in superseding art, which abolishes the notion of art as a separate, specialized activity and transforms it into the cultural fabric of everyday life. Street art accompanies an element of surprise and culture shock because it can appear anywhere. People do not have to visit a museum or gallery to see art. Moreover, he adopts the Situationist’s methods of detournement, which is the act of taking an existing form of media and creating a new piece of art with a different message behind it. In particular, Banksy’s Les Misérables' mural is a representative form of deceptive detournement, which takes an intrinsically significant element and places it into a new context. Tear gas surrounds her and the French flag is torn to signify the values of liberty and freedom being destroyed. This is one of several Banksy’s murals that are reminiscent to the Syrian refugee

TIME Magazine’s November 28, 2005 issue showcases the then-recent destruction of Hurricane Katrina on full display. The title, New Orleans Blues, is a play on words for the active blues scene in New Orleans and the lasting effects of Hurricane Katrina on the entire city. The image shows a dilapidated house with graffiti (used to signal families when it is mandatory for them to evacuate their homes) an oven thrown out of a house, fixed crookedly against a fence, general debris all over. This picture was taken in the Lower Ninth Ward, one of the hardest hit areas of New Orleans; TIME Magazine dedicated a front cover to inform the world about just how severe the effects of Hurricane Katrina were in the best way that they could. This picture along

Alfred Hitchcock’s Rope (1948) creates suspense through the dramatic irony of a dinner party where the missing guest’s dead body is hidden in the very chest off of which the guests dine. Brandon (John Dall) and Phillip’s (Farley Granger) Nietzschean ideals are not fully revealed to the audience until the introduction of critical supporting character Rupert Cadell (James Stewart). An impeccably dressed, suave, intellectual man, Rupert reveals critical information about the men which eventually spoils Brandon’s plan. The expository characterization of Rupert through performance and costume elements of mise-en-scène adds important background information about Brandon and Phillip and challenges them intellectually, thus creating tension around the linear temporality of Brandon’s plan and the plot.

“Motel 6” is the first track of Jean Deaux’s debut album, Soular System Vol. I: Dark Matter[s]. It describes Deaux’s mental state after being a victim of sexual abuse. The music video, released in October 2014, provides a visual for the gritty depiction of her emotional pain. Deaux’s audience are those who have been raped or affected by sexual assault. Through this music video, she provides an outlet for victims to relate and displays the mental and physical pain of sexual abuse. The music video for “Motel 6” only uses visuals to express a story, an element I would like to attempt to use in my project. Visuals without narration open the interpretation of the art to the audience. This allows discussion to form and creates a more interesting

The movie, Man on Wire is a documentary about wire-walker, Philippe Petit, who proves his impossible, yet inspiring dream above the clouds between the World Trade Center’s Twin Towers was indeed possible. During this documentary, Petit magically walked and danced across a wire, leaving the audience filled with suspense and extremely sweaty palms. This project, completed by James Marsh, was truly a job well done, because of the way he has Petit narrate the documentary and how he recounts the events that unfold. This film kept me on the edge of my seat the entire time because of the way the events were revealed by cross-cutting between flashbacks that explain to the audience a little about what is going on, rushing towards the unfolding of the morning before the adventure. Supplemental to the vast amount of historical footage in the film, Marsh uses several aesthetics of realism such as voiceovers, on-camera interviews, textual information on screen to display facts, mise-en-scene, handheld cameras, natural lighting, existing footage, real people and diegetic sounds. Throughout the film, the filmmaker’s obvious goal is not only about telling a story about a man, but more significantly about an overall attitude towards life that refuses to acknowledge limits and boundaries. James Marsh tells this amazing and brave story using film techniques like existing images, on-camera interviewing, real people, and mise-en-scene that create a truth about the world; a world where everything

These interviews are informative and offer a glimpse into the lives of hardworking, hopeful people. The film purposefully depicts the interviewees in their natural environment, to show their true selves. The interviewees share to the audience not only their struggles, but also how they overcame it or how they are trying to overcome it. The interviews educate individuals about a culture and lifestyle that is hard to imagine while captivating the audience and creating an everlasting effect of drama and reality upon the whole

I see my hometown: a suburban hub for Latinos, a buzzing hive of frustrated parents driving too far for work, a busy intersection of dancing teenagers struck by cars; I also see a community of people who appreciate the smoggy view of our nearby mountains, one that collectively graffitis the rocks, marking territory, challenging the world. I see gossiping students, their homes, locked rooms of painful misunderstanding shared by young siblings. I see parents return home late, sighing. I do not despair in what I see: my long-separated parents, my five siblings divided by state lines. I do not wallow in words of comfort, in subtle cinema. I instead embrace the manifestations as a writer, journalist and film director, capturing what I see: a world

The idea of auteurship is one that is surrounded by the domineering presence of the white male, with little exception: a simple Google search of “film auteurs” produces thousands of results of websites listing off the likes of Paul Thomas Anderson, Quentin Tarantino, Martin Scorsese, and David Lynch. However, one early female filmmaker—who, like too many other important women of the past, has been mostly buried by history—stands above the rest. Often viewed in the same regard as male contemporaries such as D. W. Griffith, Lois Weber used her platform as a universally acclaimed creator (at the time) to make socially conscious films that advocated the underprivileged. Although her works are heavily influenced by her belief in Christian charity, they never seem to steer into the dreaded “preachy” territory that so many other religiously motivated films fall victim to.

Temporality is one of the playful elements display in films. Time assists filmmakers to convey the subjectivity and their point of view of the film. New role as flashback in film representation connects audiences and character’s past, present and future. (Trifonova, 2002, p.12) Meanwhile, simultaneity displays an important role in presenting a narrative of a film.

In the case of Maria Martinez, her art illustrated the trials and tribulations experienced by her culture; while Louise Bourgeois created as a reaction to many of the stresses she experienced in her personal life. Her art reflects her own inner turmoil. Maria faced a lot of pressure in getting the high quality pots like the ancient Pueblo people. When she went on the journey to bring back theses black on black pots her primary motivation was to not lose this tradition of theirs that has been an important part of the town’s identity. However, even though she finally got the pots right, she did not want keep it all to her family and herself. She wanted to share it to the rest of her community, and just like Bourgeois, she helped teach the new skill to her community, because she believed it belonged to people and since it attracted many people, it helped create resources to help support the Pueblo for many

The fleeting temporal gates – whence a memory enters and leaves, as it transcends the defining words of a dead time – yield to the winds inside one mind; therefore, this brain exaggerates the injurious envious deeds and sentiments which underlie an innocuous or neutral behaviour; thus, transforming the benevolent movement into malevolent intentions that harass and confound sensibility to the present events and coincidences. Meanwhile, the writer suspects that his extra choleric blood flows from subconscious grades; auto-correction replaces guilt as the snake hisses underneath the truth-conscious phrases that chide the circumvented or implicated people.