Bando Tape History

            The narrator begins to see things in the pattern of the wallpaper:  "There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down."  This is indicative of the fate of those foolhardy

When one develops a play, there are many things that are taken into consideration. What message are they trying to convey, who is their targeted audience, what props and materials should be used to set the desired tone/imagery, etc. Ten minute plays such as “Tape” by Jose Rivera may actually be so short, that they end up lacking major components such as well-developed characters and plots.

When the documentary was produced, media exposure was limited to private and expensive mediums such as television, movies and radio. These outlets were plagued with marketing agendas designed to sell products under the guise of authentic music and entertainment. Formerly non-existent cultural archetypes such as the

As the history of cinema has continued, and at-home entertainment has become available at our fingertips, it has become increasingly important for films to differentiate themselves and to intrigue audiences with either new features or an interesting plot. In 2007, a movie about a man who purchased a sex doll online then pretended the doll was his real girlfriend, sought to make itself stand apart with its somewhat outrageous plot. A quirky film, Lars and the Real Girl was released at a Canadian film festival and received a standing ovation from an enthusiastic crowd. Although the film sounds like a comedy, and uses this perception to emphasize its message, the film really draws attention to how we treat people with mental illness and how we

Multiple buttons flash, chairs pop up from the floor and “Please fasten seatbelt” light is turned on. A woman starts speaking over the video monitor about the many warnings and cautions of time traveling. Also how it could take time to arrive to the destination.

I’m not saying which tape brings you into the story. But fear not, if you received this lovely little box,

The sound of the tear splashing can be heard. The screen fades out (Flashback). The key light is in the form of one single light bulb. The sound of a deep gritty voice yelling can be heard in the background. The camera enters an out of focus medium shot and gradually comes to focus of the same burnt umber floor. Within a second, the girl is found crouched in a fetal position. A leather belt swiftly approaches her body three times. The sound of the protagonist crying and screaming can be heard. As the screen fades out the protagonist says, “Father, please

The two characters continue to engage in sex even though they are both running late for work, however, the opening of the window signals a change to the space and time of the scene making it apparent that both are moving on with life. The scene fades out and closes with the protagonist leaving from the door. The midway of scene 3 opens with a fade-in to the darkness and depicts the protagonist driving in the dark on a dark road followed by a transitional fade-out into the next day as the protagonist is confronted by a policeman. While the transitions from dark to light depict a change in time, the transitions also create distinctions in setting. The fade-in to the night drive is followed by a fade-out into the next day in which the protagonist is seen sleeping the car. While it may not be apparent as to how far the protagonist has driven, the shift from night to day gives a viewer of the expectation that the protagonist has driven a good distance after several

You couldn't believe the gory scene in front of you and you inhaled sharply, fearful of approaching Springtrap in his insane state. You nervously made your way back to the Office in fear of Springtrap jumping out and murdering you on the spot. You sat on the comfy, black chair which creaked under your weight and realized that your shift already started and you still didn't have a fully-developed plan. 'What's the point anyways, I'm going to die whether by the Phantoms or Springtrap's hands.' Losing all hope, you grasped the tablet and began to monitor the horror attraction that contained greasy checkered-tile floors and props that came from a landfill (at least you think).

Finally after using his wit and strength, Chris escapes the house, killing everyone in the process and inadvertently burning the house down. The last scene is a roller coaster of emotions. The use of lighting brings out this emotion in the audience. While Chris is strangling Rose, a cop car pulls up with its sirens and lights flashing. Since it is dark, you cannot see the who is driving the car, nor can you any other distinct feature of vehicle, other

Over the years, an abundance of obscure and unique records have been pressed using strange color combinations and unexpected materials. Here are a few memorable pressings.

After a short news clip, the film begins with a flashback. There are a few seconds where the screen is completely black. Then, a small flashlight slowly scans a dark alley, looking for anything unusual. This light led to uncovering the break in at the Democratic National Committee office at Watergate. This slow paced event is elevated in importance by the lack of any dialogue or music, creating a tense mysterious mood. There is nothing to distract the viewer from following the light.

Comfort is an important issue in today’s society. The easy programming and the large video recording space, which reaches up to 60 hours, makes this devise very desirable. Moreover, the flexibility to play the recorded program repeatedly at the viewers’ most convenient time removes the need to schedule your day based on the programs.

The repetition in both medias, Lights Out and The Elevator fabricates a constant foreboding mood. Either media has a protagonist who encounters events that causes the readers to know that something bad will happen. In Lights Out, the repetition occurs when the protagonist flicks on and off the lights, until the culmination when the figure appears in front of us (Sandberg 00:34). This action makes us feel uneasy for the rest of the video. In The Elevator, however, the repetition happens steadily and less frequent than Lights Out. The fat lady constantly reappears as the story

Various still images serve as establishing shots as well as provides environmental and contextual clues to the narrative. Dialogue and internal monologues are spelled out in the accompanying text box. 5pb also includes some context-sensitive sound effects in order to aid immersion