Gold Museum Ballarat

In chapter two of The Cultures of American Film, the main focus is the establishment of studios. As demand for films rose in the early 1900’s, production companies needed to expand; this lead to the creation of large scale studios.

Bruce Dawe cleverly uses Australian language and the poetic form in his poems “Enter Without So Much as Knocking”, written in 1959 and “Homo Suburbiensis”, written in 1969, to reflect his views of suburban Australia in the 1950s and 1960s and its culture. Dawe’s ideas and attitudes are formed from his personal experiences of post-WW2 Australia which includes the modern living introduced in the suburbs and the commercialism and isolation that it formed. His poem “Enter without so much as knocking” closely links Dawe’s ideas of the new environment suburbia created with the commercialism power structure that came with it. In his poem “Homo Suburbiensis” he effectively explores the isolation and escapism the newly established suburbs post-WW2 Australia thrived on. These views Dawe shares in his poems show the Australian culture of the suburbs post-WW2 including the commercialism, isolation and escapism it brought.

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

This paper was prepared for Introduction to Film History, Module 1 Homework Assignment, taught by Professor Stephanie Sandifer.

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film

This essay explores the popularity of Australian film, both locally and internationally and asks the question: Is there a crisis in the Australian Film Industry? This essay will go through the current issues the Australian Film Industry and will demonstrate examples of those problems.

By the beginning of the 1970s, film had become the medium through which performing artists were commenting on currant events. Films

Early cinema is often referred to as a progression to narrative cinema, Tom Gunning would argue that it was not a progression but had its own purpose and coined the term The Cinema of Attractions in his essay ‘Now you see it, Now you don’t’. This is the concept that a large quantity of the first film makers produced films that were more about the spectacle, most of the films leading up to 1900 reflected the fascination with technology and how things happened rather than why. Gunning noted that there were three assumptions of film; the general ideas that people had about the timeline of film and where it would end up. There is the cinematic assumption, the idea that film was ‘restricted to the technological reproduction of theatre’ (Gunning T.1993) early cinema was primitive and only a practice for what was to come. The narrative assumption is that film is ‘only important as it is a predecessor to a more engaging and effective form of film,’ (Gunning T. 1993) this suggests that narrative cinema is the natural form of film. The final assumption is the idea that ‘cinema only truly appeared when it discovered its mission of telling stories.’ (Metz C. 1974) These assumptions all encompass the idea that narrative is the end form of film. In this essay I am going to discuss Tom Gunning’s theory of The Cinema of Attractions and the differences between them and narratively driven films.

According to (Bates 665), “Cinematic society refers to the 20th century societal formation that recognizes itself via cinematic apparatus,” he points to the chief place that films hold in

For this assignment I visited the David Owsley Museum of Art and chose the three pieces of art that really stood out to me. I chose the artwork, Book of Hours, Christ, and, Virgin and Child with St. John the Baptist. I found these to be the most interesting and have the best depiction of religion in the Middle Ages. Visiting the Museum gave me a lot of insight about the middle ages and appreciation for that time.

The Denver Art Museum (DAM) has just revealed it's newest exhibit, The Mi Tierra. Dubbed one of the most important contemporary art exhibits produced at DAM in years, Mi Tierra features pieces by emerging and mid-career Latino artists such as, Carmen Argote, Jaime Carrejo, Ana Teresa Fernandez, Ramiro Gomez and Ruben Ochoa.

The Museum of Fine Arts, located in St. Petersburg, Florida holds a variety of artworks that depict a specific period in human development and cultural aspects. The variety was very helpful and the process to narrow down the search of a painting of my choice became less difficult. The painting that I choose was made by an American artist named Stuart Davis Untitled (Black and White Variation on Windshield Mirror). Davis’s painting was extremely peculiar and I wanted to further examine its properties. The Untitled has three characteristics that are unique: Davis’s background for creating the painting, understanding the types of lines used, and the choice of color schemes.

Cinema of Attractions is concerned with the ability to display. Attractions wanted to show the ‘here and now’, interacting with its spectator with the aim of satisfying the audience’s curiosity quickly (Gunning, 2004: 44). It displays current events, scenes form everyday life, composed scenes, vaudeville performances and also camera tricks (as pioneered by George Méliès). Cinema of Attractions aims to astonish its audience (Strauven, 1999: 50). through displaying, rather than amusing its audience through narrative content. This is seen in films such as G. Méliès’ ‘ L'homme-orchestre (One Man Band)’ (1900), or his ‘L'homme à la tête de caoutchouc (The Man With The Rubber Head)’ (1901) where the actor(s) constantly address the camera/spectator and the audience is

The modern film industry was born around the beginning of the twentieth century. On April 23rd 1896 Thomas Edition showed the first publicly-projected motion picture at Koster and Bial's Music Hall in New York City. From there the film industry had an explosive growth rate. In fact,