The television has seized our minds, ignoring what’s happening around us. David Sedaris’s story “Us and Them” is an example of a good story because of the humor, theme and conflict, these are elements creating an intensive piece. David Sedaris portrays humor throughout “Us and Them.” Humor establishes an entertaining environment and gives the readers joy, drawing them in with comedic writing. The Tomkey family “did not believe in
However, a stranger tickling you is not considered funny because there is nothing benign about that situation. It elucidates why we find humor in puns which are violations of linguistic norms that pose no threat to us. Hence if something is offensive, it is solely a violation and makes the person who is offended feel threatened. An instance of this is when a comedian insults a member of the audience during a performance. The rest of the audience will laugh because while insulting the audience is a violation of presentational norms, they themselves are not being embarrassed as a result of this violation and therefore find it benign.
I loved the lighting and camera work in Casablanca. The lighting and camera angel played a big role in the movie because it showed the characters emotions and feelings. It often set the tone and mood of the scene. Because the film was in black and white there was no color to highlight certain emotions in the film. For an example when Rick was drinking, you could really see his sadness and he didn't need to say anything for use to figure it out, lighting played a big role in that
Composing, directing, and starring in these movies, Keaton made a world not at all like the other comic stars of the circumstances. Where Harold Lloyd combat physical misfortune attempting to make it to the best, and Charlie Chaplin maintained a strategic distance from fiasco through fortunes and cooperative attitude, Keaton was an onlooker, an explorer made up for lost time in his environment. He frequently wound up in an indistinguishable trading off conditions from Chaplin and Lloyd (pursued by a furious group, deserted by a prepare), yet he kept up a feeling of even self-restraint all through. Regardless of how lost or discouraged Keaton appeared to be, he was never one to be felt sorry for. The NEW YORK TIMES said of him, "In a film world that misrepresented everything, and in which each feeling was performed and explained, he stayed indifferent and grave, his poker-confronted uncertainty smothering all feeling."
The effectiveness of Jaws as a Blockbuster is grounded in Spielberg’s adherence to realism. This is shown through creating an illusion of reality by that the film is un-manipulated and imitates the actual world objectively. Spielberg preserves this illusion in the playlist “Chrissie’s Last Swim” between 02:04 – 02:23. Between 02:04 – 02:09, Chrissie’s slight relief allows the suspense of the audience to vanish a bit. This is further emphasized by the lack of sound to give the illusion that everything may be alright.
It had an airy and light feel that brought attention to the grim parts of the fairytales but never allowed it to be its focus. I also liked how the director used the transitions to establish and emphasize the childlike quality that was present throughout the show. The transitions were free and light and helped to break up the darkness that was present
Perrineau’s ability to switch emotions so quickly and smoothly was an example of great talent. He was what kept me from seeing “William Shakespeare’s Romeo + Juliet” as a boring old romantic tragedy. He brought comedy to the story while still being able to stay serious and
Disney created the film Beauty and the Beast without a narrator to allow viewers to interpret the dialogue and actions of the many characters on their own. The film is essentially made for entertainment purposes, but it does contain themes that are educational in the sense that it teach life lessons involving love and judging others by appearances. The theme of love teaches viewers that it can be unexpected and unorthodox. Then, the film teaches the audience to not judge others by looks because Belle judges the Beast by his wild appearance but soon regrets her judgments when she learns he is kind.
As a post World War II artist, Wormser’s de Kooning was impressed by innocence and ambiguities instead of “the callous maxims of realism” (204), his work contains endless movement as he “revels in metaphysics, but does not care about definitions. He cares about paint [… because …] paint cares for the world. Paint is practical” (202). From Wormser’s perspective, it is impractical for him to describe de Kooning’s works as they lack an overarching goal or particular purpose, yet the absence of an objective in de Kooning’s work is reassuring in that it allows subjectivity. Correspondingly, instead of providing an answer, de Kooning’s artworks pose a question and allow whoever their viewer is to relate to the artwork and find the answer they are looking for, and that answer may be different for everyone, because there is no absolute – right or wrong – in de Kooning’s work, only movement, line, and shape.
His dancing is similar to the grins of the central voice’s mask, yet they have the same result of falsity. The presentation of their masks and its routine, hides the overwhelming sense of insanity. This is a temporary happiness, which is not for them but is instead for the society that they dwell within, destroying their feeling of balance and place. This mask is similar to what Victor comes to believe earlier in Underground Airlines. Victor states, “It is remarkable, when you consider it, all the complicated worlds we construct to avoid anything that might disturb us or cause us pain.” (Winters 22).