Camera Lucida By Roland Barthes

The 400 Blows is a great film. It is a testimony to Francois Truffaut’s greatness. This is a film about a young French boy that has a troubled childhood. He was a rebel of sorts. He got in some trouble in the classroom and out of the classroom. He wasn’t necessarily more troublesome than any other kid during that time. I think he is misunderstood and put in difficult situations. This French Film Noir had music, scenery, and a unique freeze frame that made this film great.

In Mario Puzo 's book The Fortunate Pilgrim, he highlights the struggles of Italian immigrants coming to America through one family. Using the Angeluzzi-Corbo family Puzo is able to show the struggles of living in a new country, giving up old ways, and adapting to new customs. He shows the immigrants struggles the best by using Lucia Santa, the mother and the rock of the Angeluzzi-Corbo family. By using Lucia, Puzo is able to make the reader see her struggle of keeping her family safe from the harshness of the outside world. Lucia is mainly concerned that her children do not lose the Italian ways and that she can continue to provide for her family. While reading the book the reader can see how Lucia struggles keeping all six of her

Passage: “Whenever he looked at the photographs, he thought of new things he should’ve done.” P.2

Breathless is in many ways the antithesis of the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.

The authors tell the reader that a picture must be interpreted like an essay or piece of writing. The motive and goal of the author or photographer must be figured out.

Born in 1803, in the village of La Côte-Saint-André, France, Hector Berlioz produced some of the most invigorating and exciting music of the Romantic period (Holoman, 1, 6). Romanticism primarily focused on subjectivism, therefore people were concentrating more on their emotions and spirituality and less on logical explanations for the problems of humanity. Those of the Romantic period valued nature and depended upon the creativity of artists in order to gain a deeper and different outlook on the world, one that was not strictly rational. Of all the Romantic art forms, music, especially

His most perfect love in all the world was on that train. So he’d run to the end of the earth if he had to(Pg. 120). Juan Villasenor, one of the two major characters in Rain of Gold, a nonfiction novel by Victor Villasenor, faces many problems throughout the book that have a significant impact on the skullduggery little boy we knew from the beginning to the scrupulous and surreptitious man at the end. In Rain of Gold, it follows the sides of 2 characters, Juan, Lupe, and their families during the time of the Mexican Revolution, as they travel from Mexico to America, and go through many struggles on this voyage. In these obstacles, Juan faces from beginning to end, he learns many things on this journey and meets new people that change his

In the short story "The Guest" by Albert Camus, Daru's predicament goes hand in hand with France's difficulties and Camus' self-appreciation. In the short story “The Guest” we are introduced to see Daru’s concern to attend the political situation in the French North

Marc Rosenbush’s film, Zen Noir (2004), is at first glance a film thoroughly ensconced in the themes of Zen Buddhism. Set in a dark and brooding film noir atmosphere, the film depicts the story of a deeply troubled detective, at the end of his rope, who finds himself at a Zen monastery in order to solve a murder. But once there, he realizes that things are not quite what they seem to be. As the film unfolds, we find that the world Rosenbush has created for us is wildly symbolic, and it becomes clear that the monastery is a symbol of the detective’s psyche and that he was not investigating a murder, but his own fear of death and loss. If this introspective, psychological element of the film is recognized, the Buddhist themes of the film become conflated with allegories of navigating the Western psyche. It is the contention of this paper that when the psychological themes of this film are investigated, we will find that the alleged Buddhist theme of enlightenment in the film must compete with a symbolic depiction of Jungian individuation.

In the story of life, time is a ravenous beast, destroying and building regardless and apathetic to whom it affects. An inescapable thing that never dies, but plagues people with its shapes of past, present, and future. In Paradise of the Blind by Duong Thu Huong, Duong doesn’t hold back when exposing the ugly face of the past. Hang, the protagonist, faces poverty, a broken family, and the loss of love from an early age, which force her mature quickly and harshly. Her exposure to such extreme, difficult circumstances and her subsequent adaptation result in her loss of innocence, instilling a bitterness in Hang that taints her. This bitterness - more of a mourning for her own childhood - exposes itself through Hang’s reflections on the

Life in the slums of New York, particularly that of Harlem during the years when racism was still openly practiced in public, has always interested me. I had a chance to go to museum about Gordon Parks. He was the first black photographer. He Proposed a series of pictures about the gang wars that were harassing post-war Harlem. He believed that he could draw attention to the problem then possibly it would be addressed through social programs or government intervention. Parks gained the trust one of particular gang and their leader, Leonard “Red”, and produced a serious of pictures of them that are artful, emotive, touching, and something shocking. The editors at Life selected twenty-one pictures to reproduce in a graphic, adventurous layout in the magazine, often cropping or increasing details in the pictures. Also, this museum photographic selection is for the writer’s eye program that challenges students and adult writers to use visual art as inspiration for the creation of original poetry and prose. So they didn’t have any information about pictures. Perception and the individual and ethics and perception are best subtopic for Gordon Parker museum. Perception and the individual is very important in daily our life. Individual perception means engage in selective attention and appoint meaning to our perception. Gordon Parker’s photographic was the best example of individual perception. He didn’t want to put

Within the last defendant Raymond’s testimony, who was Meursault’s friend that all this was ultimately caused from, we can see the how exactly the prosecutor fully intends to rationalize Meursault. Raymond was

The photograph is severely cropped which presents the image as a fragment instead of a whole scene. This lack of wholeness within the photograph becomes another layer to the metaphor of memory that reverberates throughout the image. Memory often arrives in one’s thoughts in the form of fragments that must then be pieced together. The viewer of the photograph must rely on the little information that Davis did not crop out, just as a person must rely on the attainable information in

It creates an illogical connection between ‘here-now’ and the ‘there-then’. As the photograph is a means of recording a moment, it always contains ‘stupefying evidence of this is how it was’. In this way, the denoted image can naturalise the connoted image as photographs retain a ‘kind of natural being there of objects’; that is, the quality of having recorded a moment in time. Barthes stresses that as technology continues to “develop the diffusion of information (and notably of images), the more it provides the means of masking the constructed meaning under the appearance of the given meaning’ (P159-60).

In Barthes’ “Rhetoric of The Image” he writes about image semiotics and the approach to images, the way they are presented and perceived. He begins with giving us the origins of the word “Image”, and it is of Greek origin meaning “Imitation”. And so he continues to propose two main important questions: “can analogical representation (the "copy") produce true systems of signs and not merely simple agglutinations of symbols? (Barthes 32)” And also: “Is it possible to conceive of an analogical "code"(as opposed to a digital one)? (Barthes 32)”