Analysis Of Disney s The Great Gatsby - 1205 Words

You probably can’t find anyone on the seven continents in the civilized world who has not heard the word Disney. No other person in the world has played both to, and with so many people’s imagination. Both young and old admire what Walter Disney accomplished in his lifetime. The dream started in 1923 with the creation of Disney’s first cartoon Alice’s Wonderland. Disney moved from Arkansas to California to create a series of cartoons about an adorable little girl Alice. The first cartoon, became a pilot for a series called Alice Comedies by M.J Winkle, a New York distributor on October 23, 1923. This day is a historic day in the film industry - when the Disney magic began. Disney’s amazing talent of drawing and the techniques he learned at the Chicago Art Institute, combined with his attention to detail caught the eye of the industry. Walt, with his brother Roy, created Disney Brothers Cartoon Studio to make a name for themselves. Alice Comedies sparked the idea for Walt of Oswald the Lucky Rabbit in 1927. Disney who enjoyed drawing immensely and created 26 episodes in the first year. Dreaming big and ready to sign the contract for a second year Disney found out that his distributor, unbeknownst to him, contracted his employees without his knowledge to work directly for the distributor company, not for Disney. It was a shocking lesson for him to find out that he did not own the right to his characters. Disney who believed â€Å"All our dreams can come true, if we have theShow MoreRelatedAnalysis Of Walt Disney s The Great Gatsby 1660 Words   |  7 Pagesis the man who created the happiest place on earth. This.Is. Walt. Disney *que cartoon* Walt Disney’s Steamboat Willie, the first of many other Mickey Mouse cartoons, was a great hit all over the world. But it took a difficult and long journey to be where his legacy is today. Lets look back to where it all began†¦. Walter Elias Disney was born on December 5, 1901 in Chicago, Illinois. His parents were Elias and Flora Disney. He was born into the family with three siblings: Herbert, Raymond,Read MoreMedia Magic Making Class Invisible2198 Words   |  9 Pagesup. By showing the reader the background of the person, you could clearly see the pattern of lifestyle. If the personà ¢Ã¢â€š ¬Ã¢â€ž ¢s parents were not so successful and only made about minimum wage, that child did not achieve a much higher status than their parents did. This supports Mantsios statement that what class you are born into affects you throughout your while life. He does a great job at convincing you, because he shows you real lifestyles. In another article, (Media Magic- Making Class invisible),

Mediaculture Free Essays

string(172) " between culture and society, the break down of the distinction between art and popular culture, the confusion over time and space, and the decline of the meta narratives\." Week 7: Suzanne Lacy and Leslie Labowitz, Feminist Media Strategies for Political Performance We live in a media centric world bombarded by the media images twenty four hours a day.   It is so powerful that we often cannot distinguish the ‘reality’ from the mediated reality. Media makes use of images around us to convey this very different articulated meaning. We will write a custom essay sample on Mediaculture or any similar topic only for you Order Now This often interludes with the notion of the people who control the media; which can either be the proprietor or dominant groups through force or coercion that control the opinions. These viewpoints are the factors that determine the news values, of the modern media, which often tend to trivialize or sensationalize the issues, according to the ideological stance. Feminist Media Arts have formed as a resistance to this distorted media views, to convey the ‘undistorted reality’ to the public. It’s more than an information campaign and the same time new mode of protest to decry the ugly stories media told about women. The feminist media work as the activists say ‘has three ultimate purposes: first, to interrupt the incessant flow of images that supports the established social order with alternative ways of thinking and acting; second, to organize and activate viewers (media is not the only, nor necessarily most effective, way to do this); third, to create artful and original imagery that follows in the tradition of fine art, to help viewers see the world in a new way and learn something about themselves in relation to it. ’ The authors in their essay point to the ways to attract the media to their campaign and force them to present their viewpoints. The authors say that ‘to understand how media operates, observe it -with detachment -and be pragmatic. It doesn’t matter what you think the media should cover, the object of the game (and it is a game) is to get them to play it your way. Mass media time is not a public service; it is a highly valuable commodity that is purchased by corporations and individuals who promote products, ideas, attitudes and images. The stakes of this game are high, and as artists the best we can hope for is a kind of guerrilla foray into that system.’ Here it would be wise to note the contributions of the Glasgow University Media Research Group (GUMG) and Centre for Contemporary Cultural Studies (CCCS), engaged in research in the process of news production and the relationship between ideology and representation. The research of the GUMG has been very controversial since the publication of Bad News in 1976. Bad News was concerned with the television coverage of industrial relations in 1975. The GUMG’s analysis of television news led it conclude that the viewers had been given a misleading portrayal of industrial disputes, a portrayal that distorted the ‘real’ situation. The descriptions attached to management were such that they persuaded the audience of the rightness of the management position against the demands made by the unions. Thus, it has become the inherent nature of the media to manipulate things. In 1973 Galtung and Ruge analyzed foreign news in newspapers and found that for any event to become a ‘news item’, and therefore considered ‘newsworthy’, it had to pass through a selection process. If it conformed to a particular set of criteria, the news staff judged it newsworthy. Galtunge and Ruge calls those criteria as ‘news values’. The essay tells different methods to persuade the media for the political performance. But the question remains, if the media conforms to certain pre-determined news values, how can these campaigns succeed, despite the systematic efforts by the activists. Week 8: Jesse Drew, The Collective Camcorder in Art and Activism. The essay attempts to portray the role of the video makers’ collectives, in many resistance movements. The invention of the video camcorder has in fact changed the course of history. These movements and the developments in technology when coupled with the ideology of post modernism, took art and activism to new heights. From the efforts of independent artists to the collectives such as Paper Tiger and the Independent Media Center, the revolt has spread to resist the images presented by the mainstream media and culture. So the environment was all set for a departure from the art-video, and experiment something new that reached the people. As the essayist says, television is, after all, at the heart of our popular culture, the culture of the everyday, and dominates the media landscape. Video, when all is said and done, is a form of television, ‘a media device that conveys information. It is natural that video artists cross the boundaries of art and activism, and frequently choose to ‘subvert the message, not just exploit the form. This artistic jujitsu, using the weight of television to fall upon itself, emerged as a popular strategy among video collectives. Increasingly, video artists in the 1980s and 1990s embraced the necessity to reflect on, intervene, and challenge the contested terrain of television, mass media, and popular culture, and leave the art-video aesthetic behind.’ As Strinati called it ‘post modernism is skeptical of any absolute, universal and all embracing claim to knowledge and argues that theories or doctrines which make such claims are increasingly open to criticism, contestation and doubt. The mass media are central to the post modern condition because we now take as real, is to a large extent what media tell us is real. We are bombarded from all sides by cultural signs and images in all aspects of media. According to Baudrillard, we have entered the world of simulacra. These are signs that function as copies or models of real objects or events. In the post-modern era, simulacra no longer present a copy of the world, nor do they produce replicas of reality. Today†¦..social reality is structured by codes and models that produce the reality they claim to merely represent.’ From the 1960s onwards there was a revolt against the modernists. The post modernists thought believed in the breakdown of the distinction between culture and society, the break down of the distinction between art and popular culture, the confusion over time and space, and the decline of the meta narratives. You read "Mediaculture" in category "Essay examples" The pop art of the 1960s demonstrates this clearly, for example, Andy Warhol presented soup tins and cola bottles as art, as well as challenging the uniqueness of Da Vinci’s portrait of the Mono Lisa by silk screening her image thirty times – Thirty are better than one. In fact post modernism has helped them to drift away from the so called artistic beliefs. In the words of the essayist ‘video artists in the 1980s and 1990s embraced the necessity to reflect on, intervene, and challenge the contested terrain of television, mass media, and popular culture, and leave the art-video aesthetic behind. The convergence of these new political, cultural, social, technological, artistic, and economic developments’ provided the impetus to the establishment of the counter movements like the Paper Television, and subsequently the Independent Media Center. In fact, video art has surpassed all other art forms in interpreting history. Week 9: Carole S. Vance, The War on Culture. The essay follows the great discussion in the world of art whether a self-censorship is inevitable when it comes to sexual images. Vance quotes instances where public ire overlooked the ‘artistic value’ when morality was questioned. Vance says that ‘the fundamentalist attack on images and the art world must be recognized as a systematic part of a right-wing political program to restore traditional social arrangements and reduce diversity. The right wing is deeply committed to symbolic politics, both in using symbols to mobilize public sentiment and in understanding that, because images do stand in for and motivate social change, the arena of representation is a real ground for struggle.’ He says that it is high time that a vigorous defence of art and images should be made. The author has given a new dimension to the culture war. This is not isolated with art or artistic movements. Representation of sexuality in media is more complex than in art, for example, counting the number of times that women appear on the screen because we cannot immediately identify a person’s sexual orientation in the way that we can identify markers of sex and race. Observations by Dyer on gay behavior can be more illustrative here on the representation of sexuality in media. He says ‘a major fact about being gay is that it doesn’t show. There is nothing about gay people’s physiognomy that declares then gay, no equivalent to the biological markers of sex and race. There are signs of gayness, a repertoire of gestures, stances, clothing and even environments that bespeak gayness but these are cultural forms designed to show what the person’s person alone does not show: that he or she is gay’. There are signs of gayness, for example gestures, accents posture and so on, but these markers of sexuality are socially constructed and are both historically and culturally specific. Media texts often rely on stereotypical narratives to indicate that characters in a story line are gay. These may include childlessness, loneliness, a man’s interest in arts or domestic crafts, a woman’s in mechanics or sports. ..each implying a scenario of gay life.’ Both lesbians and gays have been to use Tuchman’s term ‘symbolically annihilated’ by the media in general. The representation of these two groups has been particularly limited on television. The media has been very careful on such sensitive issues, but has not been so. Media has been overtly criticized primarily on its representations, but when coming to issues of morality, media tended to be very much conservative, and there of course has been   a lot of self-censorship. As the essayist says ‘symbolic mobilizations and moral panics often leave in their wake residues of law and policy that remain in force long after the hysteria has subsided, fundamentalist attack on art and images requires a broad and vigorous response that goes beyond appeals to free speech. Free expression is a necessary principle in these debates, because of the steady protection it offers to all images, but it cannot be the only one. To be effective and not defensive, the art community needs to employ its interpretive skills to unmask the modernized rhetoric conservatives use to justify their traditional agenda, as well as to deconstruct the â€Å"difficult† images fundamentalists choose to set their campaigns in motion.’ Artists can of course look at the way media behaves in this respect. Week 10: Kester Grant, A Critical Frame work for Dialogical Practice. Revolt, is word usually associated with the art movements and the biographies of artists themselves. Thus a shift from the galleries to community based installations is a natural course of the artistic history. The author explores these transitions as an inherent revolt that pervaded the artistic community. When the artists themselves began to question the gallery itself as an appropriate site for their work. At a time when scale and the use of natural materials and processes were central concerns in sculpture, the comparatively small physical space of the gallery seemed unduly constraining. Further, the museum, with its fusty, art historical associations, appeared ill equipped to provide a proper Context for works that explored popular culture or quotidian experience. Many artists saw museums, with their boards of wealthy collectors and businesspeople, as bastions of snobbish elitism in an era that demanded a more accessible and egalitarian form of art. There are many ways to escape the museum. In some cases artists chose to work in sites that were empty or depopulated (e.g., Gordon Matta-Clark’s â€Å"cuttings† in abandoned buildings, Michael Heizer’s or Robert Smithson’s land art projects in nearly inaccessible locations), suggesting a certain anxiety about the social interactions that might occur upon venturing beyond sanctioned art institutions. One strand of this work is represented by the agitational, protest-based projects of Guerilla Art Action Group (GAAG), the Black Mask Group, and Henry Flynt in New York. Drawing on the energies of the antiwar movement and the traditions of fluxus performance and siruationism, these groups staged actions outside mainstream cultural institutions (Lincoln Center, Museum of Modern Art, etc.) to call attention to the complicity of these institutions with broader forms of social and political domination.’ A different approach, and one more directly related to dialogical practices, emerged in the collaborative projects developed by artists associated with the Woman’s Building in Los Angeles during the 1970s. Artists, fueled by political protests against the Reagan administration’s foreign policy (especially in Central America), the antiapartheid movement, and nascent AIDS activism, as well as revulsion at the market frenzy surrounding neoexpressionism, with its retardaire embrace of the heroic male painter. A number of artists and arts collectives developed innovative new approaches to public and community-based work during the 1980s and early 1990s. The late 1980s and early 1990S witnessed a gradual convergence between old-school community art traditions and the work of younger practitioners, leading to a more complex set of ideas around public engagement. This movement was also catalyzed by the controversy over Richard Serra’s Tilted Arc in the late 1980s, Community art projects are often centered on an exchange between an artist (who is viewed as creatively, intellectually, financially, and institutionally empowered) and a given subject who is defined a priori as in need of empowerment or access to creative/expressive skills. Thus the â€Å"community† in community-based public art often, although not always, refers to individuals marked as culturally, economically, or socially different from the artist. References: 1.  Ã‚  Ã‚  Ã‚  Ã‚   Suzanne Lacy and Leslie Labowitz, Feminist Media Strategies For Political Performance 2.  Ã‚  Ã‚  Ã‚  Ã‚   Jesse Drew, The Collective Camcorder in Art and Activism. 3.  Ã‚  Ã‚  Ã‚  Ã‚   Carole S. Vance, The War on Culture 4.  Ã‚  Ã‚  Ã‚  Ã‚   Kester Grant, A Critical Frame work for Dialogical Practice How to cite Mediaculture, Essay examples

Film Analysis Beowulf Essay Example For Students

Film Analysis: Beowulf Essay The year is 507 AD and Hrothgar, king of Denmark, has built a great mead hall. There he and his minions drink and party. The troll Grendel attacks and kills many of those present. The threat of new attacks keeps the population quiet. Until Beowulf, a viking hero from Gotalandand and monster killer come to rescue. Beowulf slays Grendal, but must then deal with the vengeance of Grendels mother, who is a sea monster. He succeeded in this, and receive great glory, and he is crowned king. When Beowulf has become an old man, awakened by an unfortunate circumstance a dragon to life. The dragon spreads fear and death, and Beowulf and his men to take up the fight. Beowulf kills the dragon, but in the attempt he suffered major injuries, which he eventually dies off. Beowulfs friend Wiglaf takes over the royal power. Character analysisHrothar is the king of Denes, a good and generous ruler and all in all a very successful king. With a great mead hall and a beautiful wife, every thing looks good, but he got a dark past. He has never had intercourse with his wife Wealhtheow, because he slept with a beautiful sea monster that tricked him into the great glory. Grendel is a monster thats half demon and half human, he lives at the bottom of a lake not far away from the Heorot. Grendal possess superhuman strength which makes him undefeatable, but he is a lonely creature who is trying to understand the world around him. Beowulf is the hero of the story, he is big, strong and powerful. But he is a very cold man, he shows very limited emotion and personality. He is a man of pride and hold his word and promises. He has heard word about a monster in Denmark and has come to rescue, and fall in love with the kings wife Wealhtheow. He kills the monster Grendel, but the monsters mother hold grudge and invade his dreams, he seeks Grendals mother and find himself lost in between glory and beauty. TechniquesThe director choose to use a special motion capture technique, known as performance capture using a special motion capture technique. film technique and recording method in which motion is detected and converted into digital information that can be processed by a computer. Registration is effected by the movement of fixed reference points of a real object such as a human body, are transferred to the corresponding points on a digital model, this is done using digital cameras or non-optical devices, such as a suit with motion sensors. The technique is used especially for creating special effects in movies and video games when you want to create a convincing illusion of natural movement in a 3D animation. Suspense and climaxI think theres two climaxes in the movie, one is when Beowulf seeks Grendels mother in her cave. It is quite in the cave and we cant see anything in the water, which make us wonder what; whats coming next? this creates a great deal of suspense. The second is when Beowulf is fighting with the dragon, and Wiglaf is trying to cross the burning bridge which took a lot of time and create suspense. Theme/messageThe theme in this movie is good vs. evil, revenge, royalty and an evil circle. I think the message of this movie is that we must stand together and work together to defeat the enemy. Even if the enemy is a monster but with courage, strength, loyalty, and integrity we can do it together. My optionI think the movie would be better if it was not animated, because when it is animated we dont really associate ourself with the movie. Which lead us to not really live in it, and not enjoy it as much as we could if it was something we could associate ourself with. And I think the movie is exaggerating too much, and its too unreal. Like Beowulf the dragon and Grendel, it makes too much cliche. .u98ea2398d2ed025ee9ff7a42af95c0e4 , .u98ea2398d2ed025ee9ff7a42af95c0e4 .postImageUrl , .u98ea2398d2ed025ee9ff7a42af95c0e4 .centered-text-area { min-height: 80px; position: relative; } .u98ea2398d2ed025ee9ff7a42af95c0e4 , .u98ea2398d2ed025ee9ff7a42af95c0e4:hover , .u98ea2398d2ed025ee9ff7a42af95c0e4:visited , .u98ea2398d2ed025ee9ff7a42af95c0e4:active { border:0!important; } .u98ea2398d2ed025ee9ff7a42af95c0e4 .clearfix:after { content: ""; display: table; clear: both; } .u98ea2398d2ed025ee9ff7a42af95c0e4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u98ea2398d2ed025ee9ff7a42af95c0e4:active , .u98ea2398d2ed025ee9ff7a42af95c0e4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u98ea2398d2ed025ee9ff7a42af95c0e4 .centered-text-area { width: 100%; position: relative ; } .u98ea2398d2ed025ee9ff7a42af95c0e4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u98ea2398d2ed025ee9ff7a42af95c0e4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u98ea2398d2ed025ee9ff7a42af95c0e4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u98ea2398d2ed025ee9ff7a42af95c0e4:hover .ctaButton { background-color: #34495E!important; } .u98ea2398d2ed025ee9ff7a42af95c0e4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u98ea2398d2ed025ee9ff7a42af95c0e4 .u98ea2398d2ed025ee9ff7a42af95c0e4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u98ea2398d2ed025ee9ff7a42af95c0e4:after { content: ""; display: block; clear: both; } READ: Asian American Stereotypes in Film EssayBibliography: sources: http://www.sparknotes.com/lit/beowulf/summary.html 9.10.14http://www.filmweb.no/skolekino/incoming/article1012337.ece 14.10.14