overcomes it and starts to sing. This is where the editing starts to become more dramatic as it cuts in between the concert and the bar where Mooney is trying to get the radio turned up so her can publicity for her. The editing gives the illusion that Mooney may end up in a bar fight, but when the song ends James 17 all is well. The editing in this scene helps the viewer understand Lynn’s fear of rejection and that if she goes up onstage everything in her life will never be the same again. The sound in the scene is pretty normal sound.
Narrative structure and character development are the two biggest influences on an understanding of the female detective, which is supported by the above case study. Martha Nochimson sums up the character development as a “multitude of prisms constructed by a televisual use of narrative” (2003), which underlines how narrative and character ultimately goes hand in hand. This notion is further supported by Jason Mittell who writes: “audiences take pleasure not only in the diegetic twists but also in the exceptional storytelling techniques needed to pull off such machinations” (2006:36). Here he highlights the narrative’s presentation as a major aspect of a show’s success. Nochimson points to the television format’s ability to appeal to a larger
John Misto, the composer of the play ‘The Shoe-Horn Sonta’ cleverly weaves various distinctly visual techniques to illuminate the dramatic ideas, shared by two friends, Sheila and Bridie. Through the use of engaging dialogue, characterisation, symbols, stage directions, sound, and dramatic tension Misto explores, the key ideas of horrors of war, and heroism and creates distinctly visual images within the minds of the audience. An idea/theme which Misto cleverly illuminates through the use of distinctively visual techniques is that of the horrors of war. In one scene, where the women have sewn a pin into a guards loin cloth in an act of defiance, Misto cleverly uses voice over and soundtrack to dramatically convey to the audience the brutal beating Bride endures to protect Sheila from the wrath of Lipstick Larry. We are told in the stage directions.
The novels issues is about war, for it is the bases of the story. The whole reason to why Ellie is recording what happened in writing is to show they do matter and are making a difference to the war. It is also a way for others to read later on to remember when they are gone, the sacrifices they have done. Ellie starts to use their recordings as an outlet for her feelings; this clouds the issues of war into being about relationships. Ellie also used writing about the dramas in the group to distract herself from the bigger issue, the war, fir her to cope with the issue.
Because of the eerie structure - from “spinning wheels” to “busy streets” – the audience are able to sense quite a tense atmosphere, as well as increasing the sense of fear in the overall mood. To integrate to this, the descriptive language used is also mainly linked to the idea of fear, so that even the “unfamiliar roads” allow the girl to be frightened; not to mention how her eyes were “accustomed to the gloom”. Another use of a structural technique is shown when the ghostly setting of the “unlit pavements” which were “deserted” came into the scene - seeming cut off from the rest of the world where she heard loud noise and caught “glimpses” of people, creating a vivid and spooky sense of place. Nevertheless, her fear is furthermore showed as the “knife in her bag” is introduced. Due to the cliff-hanger, it becomes clear that her fear is an emotional response induced by a perceived threat – moreover shown as she was “glad” have
Sherlock Pilot Episode Plot Analysis Burroway tells us, “Human beings are meaning-making creatures; we love to interpret and conclude. So when scenery, clothing, and objects appear onstage, we will read significance at once.” I feel this goes hand in hand with Chekhov’s assertion (which I have found worded in a variety of ways) that if there is a pistol in the first act, it should be fired in the next. Otherwise don’t put it there at all. I thought of both of these as the pilot for Sherlock began. Immediately, we are launched into documentary footage style war scene.
Jonathan Ross, a participant at the BBC Sherlock screening, noticed that the TV series producers «acknowledging a lot of the real-world fan reaction, not just what happened [to Sherlock] and how it was going to be resolved, but also the sexual tension between Watson and Holmes... which was played with in a really fun way... with people speculating and getting very excited about that side of their relationship» (Strudwick). The producer of the series Mark Gatiss as well as the co-creator Steven Moffat explained the considerable number of jokes about Holmes and Watsons' sexual orientation as an inspiration taken from Billy Wilder's 1970 film The Private Life of Sherlock Holmes (Morgan). The fact that even Mrs Hudson, a symbol of British customs and puritanism, which character will be analyzed hereafter, makes references to their sexual appeal, shows the modern way of thinking where homosexuality is nothing really shocking (Sherlock). As the BBC version of Dr. John Watson, Martin Freeman, denies gay relationship between Holmes and his friend, emphasizing the exceptional character of their relationship: It is about the things that wind each other up and the things that they genuinely love about one another as well. We all certainly saw it as a love story.
I read the review of a kid’s film, “The Lego Movie” by Christy Lemire. The author seemed to be very surprised by the way she reacted to the film. She felt that it went beyond the traditional genre for children and provided a response in her review. What she felt astounding her, so much that she stated how the old cliché saying “I laughed, I cried” was very much true for her. The common expectations about the genre of the film that she points out in her review is catchy theme songs, predictable scenes, hacky punchlines, and an exhausting simple message.
Unlike most of its contemporaries, the series gives a backstory to each of its witches, which gives it a more realistic feel. It could arguably be said to be one of the most character driven paranormal novels, as its focus is the relationship between the lead protagonist Maggie, her possible love interests, her boyfriend, her mother, and her three sisters. April Aasheim shines in the depiction of relationships particularly between Maggie and her sisters. The jealousy, protectiveness, co-dependence, adoration, sibling rivalry and all sorts of sisterly love and emotions make for such a thrilling ride. When it comes to a novel about witches, the Daughters of Dark Root has some of the best awesome magic you could ever find in a paranormal or magic novel.
Beyoncé describes her situation in-depth and stripped-down here and builds the film up on this exposition to maximize the effect of her resurrection on the viewer. Abiding by the same method, the artist alters a biblical verse in Apathy to reveal her husband’s illicit inamorata. She changes “for dust thou art, and unto dust shalt thou return,” into “ashes to ashes, dust to sidechicks,” and applies a general deific punishment of humankind to her personal experience, thus allowing the audience to effortlessly relate to her. In short, Beyoncé takes a peculiar fragment of her private life to reflect on a broader issue of infidelity and trust that concerns the general public, and puts religion into use as a tool while doing
Bill T. Jones’s Still/Here is about the human feelings and they are expressed through high formal structures. I think this choreography is abstract and it focuses on the gestures that Jones’s is dancing to. One of the examples is when one of the dancers strikes up and uses a “game-playing” technique in the workshops. When the singer Odeta is heard on the tape she filters some selective texts from the workshop that the composer Frazelle has set into the art songs with a “spiritual” feeling. For most of classical dance lovers these songs have their own beauty and they can feel the movements and feeling about these dancers something I can not feel because I do not like these type of songs/dance but I can say that it gave me some type of idea about what was going on thanks to Jones’s when he was asking them what they were feeling even thought there was no music just movements but I was able to recognize some feelings.
Throughout chapter 28 of the novel “To Kill a Mockingbird,” the author, Harper Lee, used chiaroscuro. By contrasting and enhancing the light and dark of this chapter, Harper Lee portrayed the mood as creepy and dangerous, alluded to the attack, and added suspense to her novel. The mood of stories help readers connect and become interested, so by describing “sharp shadows,” and “black dark,” Lee made the readers become engrossed in the book, and develop concern for the young characters, Jem and Scout. After the readers had an idea of what the chapter may bring, Harper Lee allowed the plot to progress. Intimations such as Cecil scaring them in the dark helped show that anyone can be in the dark to scare them.