Boeing Boeing: London's Apollo Theatre

In the movie “The Best Years of Our Lives”,(1946) one of the trick shots involves the camera going toward the plane that Fred is sitting in, as he is trying to get over his fears of past memories. In the scene, the plane appears to be moving toward the camera in the sky that is going past the plane and the actors inside it are on their way to their destination. The camera is filming the acting going on inside the plane in movement while Fred is telling the other character Al in the plane about his current and past fears. (Starting at 9:31) It looks like the plane is coming at us in the audience. To me, it was a very brilliant put together scene for being such an older movie. You can see how “The Best Years of our Lives” influenced and paved

It’s a multi-story building and there is something worth seeing and doing on every level. On the first floor, just behind the entrance is a theater. A short video called “Evidence of a Dream” is shown every hour on the hour and is a great way to start your visit as it introduces you to both the railway system and the museum.

Hall painted this piece using realistic textures. The viewer can see the careful creases in the man’s pants, the man’s nicely done hair, and the birds’ careful feathers. Halls attention to detail, specifically texture, makes ideas seem more valid or “real.” The man turns his head away from the choices he is confronting, showing the viewer through this imagery the difficulty of his dilemma. Similarly, Montoya describes how Wopper, on the airplane, did not look out the window of the airplane until they were already airborne. The imagery shows someone reluctant to face their reality. More CM.

Remember how he effortlessly flirted with Scarlett O'Hara? That scene at the barbecue where he tells her, "You should be kissed, and often, and by someone who knows how. " Total charm! Rhet is not just a charmer. He is also incredibly determined.

The French New Wave was a style of film used during the 1950s through the mid 1960s by French directors such as Francois Truffaut and Jean-Luc Godard. During the French New Wave, directors used an independent style of filmmaking called cinéma-vérité to portray a very realistic outlook on the lives of people who were living in France during the era of the New French Wave. In Francois Truffaut’s The 400 Blows, we see right away in the opening scene a prime example of cinéma-vérité. The opening scene depicts the view of a young, mischievous child Antoine Doinel, looking out of a car window while driving through the beautiful city of Paris, France. We see the elegant buildings along the side streets of Paris while seeing the Eiffel Tower in

His depressed and shocking mundane personality set him aside from main characters of any books I have read. It almost pulls you into the story, wondering why he has become this way. But, at the same time it repelled me from the book. It made me want to snarl my nose and put the book down, never to pick it

Upon visiting the RISD Museum my preconception was that it would be just a couple of rooms filled with numerous paintings that would seem mundane and somehow all blend together. However, my thought process couldn’t have been more wrong. I found myself engulfed by the mix of styles and mediums throughout the museum. Stumbling into the European styled room I found myself in front of The Salon D’or, Homburg. This composition embodied elegant motion through the use of commotion in a horizontal format. William Powel Frith, the artist of the piece, clearly shows a distinctive perspective into the elite lifestyle during the 1870’s.

He came across as a bitter, cold-hearted person but in actuality was probably the character that felt the most in the

Vignelli carried out a poster design for ‘Piccolo Teatro’ which locates in Milan, Italy in 1964. Posters are 99×34 cm each. These posters have been appreciated the best pieces of the Italian graphic design. An excellent example of rhythm within order, featuring the “information bands which became a characteristic of our design in the years to follow.” The alternative red and black titles make the different theaters identified, ‘Piccolo Teatro’ and ‘Teatro Lirico’, where the plays would be performed.

A film’s visual design is very important in executing a story. Thus, every small detail of its mise-en-scene: lighting, color, framing, props, costume, etc., are carefully picked and arranged to successfully set the mood of the film or deliver a theme. Amelie by French director Jean-Pierre Jeunet does both and shows the different aspects and techniques of staging. Doing so, the film creates a very whimsical world that Amelie, the protagonist, lives in. It is through the visual design of the film where the audience can get a glimpse of Amelie’s very unique and colorful perception of the world.

The setting, as well as the fashion of this film was upscale, meaning that everything was detailed and had an expensive look to it. The walls were not simply just a color with a picture on them, they incorporated elegant, detailed work. The outfits of all of the actors were very elaborate; they all had multiple layers of various detailed patterns. Their hairstyles were

The well established theater production, The Rose of Castille, delighted me throughout it’s splendiferous performance at the Olympic Theatre in New York. Firstly, as I looked outside the theater, its massive gray bricks expressed its beauty. As soon as I walked inside, the Olympic Theatre had French Renaissance paintings on its walls, magnificent.

The director uses visual effects throughout the film to almost trick the eye into believing that it was filmed in that train station in Paris. To be honest I have been to a few train stations in Paris, and that looked almost identical to the one I was in. I really had to do some research on the film afterwards to see if it did take place in that train station or if it was all visual effects. I was a bit surprised at what I found. Martin Scorsese created all of the scenes with visual effects in the studio that he had specifically for the film. The cinematography is very realistic. Lighting is used perfectly throughout the film. The lighting of each scene seems to be made so that it can also bring out the best drama and entertainment throughout the film. In certain situations the lighting is brought to be very dark, or gloomy. In other scenes the lighting is very bright to be portrayed as happy. All the costumes, props, and characters are highlighted so the audience can observe the texture and depth of the scene. The lighting and the costumes work together as well. The lighting really brings out the colors in what each character is wearing in every scene. A very symbolic prop was the automaton. In one of the very last scenes, the lighting shifts when the camera enters the room where the automaton sits. It moves into more of a low-key light. This lighting could be playing at the mysterious powers of the automaton, or it may be suggesting that Hugo’s obsession with the automaton has faded and has been replaced by the love for his newfound family. The lighting and automaton work together to create that dramatic scene. It makes the automaton that once was a huge role in the film, ends up to be replaced by love. One more piece that was symbolic throughout the film was the heart-shaped key. This key was the main focal point all throughout the entire

I had not developed any real research methodologies to find a placement. It was some voluntary work that culminated into a placement as I had a very few if not none contacts with professionals in creative media industries in England. This was an opportunity for me to figure out my choice of major, Identify my interests and figure out the links between my academic majors and future careers, and to test out these interests and connections through the placement. This placement helped me build up early professional experience, and apply what I learnt in “real world’ environment, and begin to develop a network of people in the fields that interest me.

This is due to his all-around personality. I really enjoyed when Lincoln(28-year-old man) went into the break room at the same time when Doris(60-year-old lady) was restocking the vending machines. Lincoln offered her some of his mom’s treasured food when he saw her eating a turkey sandwich. This spiraled into a relationship which would be worth it at the end of the book. Not only do I think this character isn’t flawed, but every character was prudent. The personalities stayed realistic thus there wasn’t an action that distracted me from reading. Although, if I could change something about Lincoln it would be for him to become more courageous, to not procrastinate. I’m saying this because Lincoln almost lost Beth consequently, Doris had to come save his little behind. He keeps saying I’m going to talk to her, I’m going to talk to her, but he never did afterward he wrote a note when he quit. Doris came in like the knight in shining armour, bragged about Lincoln to Beth. One character that reminded me of someone I knew was Dean. If Alan was to grow up Dean’s personality compared to Alan’s would be twin-like. I say this because of how is extremely outgoing he is, a lady’s man, then finally settles down with one lady after being through god knows how many