Examples Of Shopping Tourism In Midnight In Paris

Although Rick Steves is descriptive in his narrative it only describes the architecture and the Art on display in the Louvre, ‘On Paris’ uses its descriptive language to describe the people and tourists in France. “A short, dumpy woman with newly blond hair, cut old-Dutch-Cleanser fashion” This quote contains triples, and the effect they have on the reader is of immediate disgust as the reader pictures the woman. The way the text describes is also similar. Both texts use colloquial and familiar language, the effect it has on the reader is of relaxation and casual aspect but in ‘On Paris’ it shows a sped up, almost ranting style format even though it uses familiar and friendly

From the tourist attractions such as Time Square and the Statue of Liberty to the everyday life of its residents in luxury apartments and cultural restaurants, this city is one that never will be boring. Scotty describes the city as “like a gorgeous, easy thing to have, even for me” (99). While people get to see is the beauty of the city, but they don’t see is the other side of the coin.

In “The Ugly Tourist” by Jamaica Kincaid, tourism is thought as a disgusting and an extremely harmful industry. In her perspective, it allows first world citizens to escape and marvel at the simplest and most ordinary things. Although there is some truth in what Jamaica Kincaid describes to the reader, I believe there is a prejudiced view towards the tourist themselves. Kincaid’s essay about the ugliness and affects of being a tourist contrasts everything I’ve experienced being a tourist in Italy and Greece.

The star-studded romantic comedy Midnight in Paris is one of Woody Allen’s most recent films which he did both, wrote and directed. It is a film about a man named Gil (Owen Wilson) who travels to Paris with his fiancée’s parents in order to expand his imagination and he ends up embarking on a journey to the 1920s while walking the streets of Paris at night. Not only is this film engaging and witty, but it also manages to provide both, overt and covert examples of postmodernism in film. By analyzing Woody Allen’s 2011film Midnight in Paris, we can identify the presence of many underlying motifs in both the narrative and the characterization of the film when using some of Frederic Jameson and Jean Baudrillard’s concepts on postmodernism.

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

The style of this sculpture falls under impressionism. The dimensions are ( 113x 57.8 x 40.5 cm). This particular sculpture was actually entered in a competition that was intended to design a monument that was meant to honor and salute the heroes of Paris who took part in the Defense of Paris during the Franco-Prussian War, although Rodin did no win the contest this monument was still able to be installed in Verdun in the 19th century to show appreciation to the French soldiers of World War I. When you look closely at this sculpture you will see a female who has wings and to me this symbolizes an angel, she is over top of a warrior of some sort who seems hurt or wounded, possibly dead. This female may be his guardian angel or something. The lady with wings seems to be screaming because her mouth is wide open , I am not sure if this is a cry for help or a rejoicing moment.

But this time, it wasn’t anywhere familiar to me. We were going back to the United States, more specifically, Silicon Valley, California. Although, being born in Florida, all of my family and everything I knew was on the east coast. Here I was an 8-year-old with an American family and a British accent. The two didn’t quite line up or make sense to the other second graders and I struggled to make California a home. After a few years of moving around inside the United States, no surprise, we moved again. This time, it was somewhere familiar. Somewhere everyone dreamed of going. Paris. Although I was overwhelmed by the excitement of living in such a famous city, I, yet again, struggled within the first few months to make Paris my home. But this time, the problem wasn’t the culture – that, I understood – but it was the language. I decided the only way to learn to love my new life was to learn the language and treat it as my own. Making friends was no problem even with the language barrier considering I’d had to start my life from scratch a few times over. Within the first month, I made a lifelong best friend who happened to be the granddaughter of Gérard Depardieu. And to her, I owe all my thanks. We came to the agreement that I would teach her English if she taught me French. It was through Louise that I learned French slang, culture, the “cool” hangout spots

Columbus, Indiana is known for its stunning modern designs and Kogonada ensures that we are given a wonderful tour with many highlights which results in some of the most beautiful imagery in a film this year. Every building, from the public library where Casey works to a tall-spired church to bridges and archways and walls made of glass, inspire the conversation. They are as much a part of the narrative as they are a backdrop. The detailed nature of discussions is at times informative and points to a filmmaker who understands the artistry of these unique

In Charles Rearick’s book, Paris Dreams, Paris Memories, he describes the various ways in which Paris is “represented” through various images he identifies as the City of Light, Old Paris, the Capital of Pleasures, and Paname. Rearick further writes how and why these images of Paris came of importance and how they shaped the geographical layout of the city we know today. All of these images together have likewise produced the city of Paris while also providing the framework of Parisian events and experiences.

The notion that film functions rhetorically is hardly novel, and, indeed, there is a long tradition of film criticism within rhetorical studies.5 Historically, the rhetorical criticism of film has tended to focus on the representational aspects of cinema, attending to how films compel audiences at a cognitive rather than corporeal level. But more recently, scholars in an array of fields (Kennedy, 2000; MacDougall, 2006; Massumi, 2002; Shaviro, 1993; Sobchack, 1995, 2004) have begun to consider how cinema appeals directly to the senses, how it sways viewers somatically as well as symbolically. Attention to the body corresponds closely to the affective (re)turn in rhetorical studies,6 for conceptualizing rhetoric as embodied necessarily “reflects a merger of reason and emotion” (McKerrow, 1998, p. 322; see also Johnson, 2007). Rhetorical

In a corner of the city, inside a tall, narrow house at Number 4 rue Vauborel, on the sixth and highest floor, a sightless sixteen-year-old named Marie-Laure LeBlanc kneels over a low table covered entirely with a model. The model is a miniature of the city she kneels within, and contains scale replicas of the hundreds of houses and shops and hotels within its walls. There’s the cathedral with its perforated spire, and the bulky old Château de SaintMalo, and row after row of seaside mansions studded with chimneys. A slender wooden jetty arcs out from a beach called the Plage du Môle; a delicate, reticulated atrium vaults over the seafood market; minute benches, the smallest no larger than apple seeds, dot the tiny public squares.

In the opening scene of the film ‘Gattaca’, camera work and the power of setting engrosses the audience and institutes conflicts. Close ups and wide shots are most frequent for camera work while colours and organisation represent setting.

The tourist’s experience is “dominated by the spectacle of the Other” which results in changes in behaviour that most likely would not fit with social norms in their home countries. Palmer and Lester use the example of photography in the film, noting that tourists become like stalkers when attempting to capture evidence of the primitive. Photography is a focus in the film, as it serves as an “embodied performative act.” The tourists are not interested in creating meaningful relationships with locals. The social interactions seem ingenuous and largely commercial. A woman stages a photo with local children, exclaiming “aren’t they cute?” She doesn’t create any meaningful connection with them, however the photo was composed in a way that will appear that she has to family and friends back home. In most aspects of cultural tourism, there is an aspect of staged performance to fit the needs of the audience. There is a dependence on the local people to perform a role eg. Selling objects, doing dances in native costume or performing a role from another era of history. In Cannibal Tours, the objects being sold are not authentic however tourists still purchase them, adding to the commodification of the interactions between tourist and local. Locals are confused why tourists come to buy inauthentic items instead of engaging with local history and culture in meaningful ways.

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.

Paris is like no other place on earth, its beauty is indescribable, the amount of famous structures is astounding, and is attraction draws many tourists there every year. My experience touring Paris will always be on of my favorite memories. Everywhere I looked, it was as if I was in a dream. There was so much elegance in such simple structures it seemed unrealistic. Wherever I went, it seemed as if the magnificence only grew with each passing step.