Imagery In Batman

The piece of art I chose is called Batman created by Lino Tagliapietra made in 1998. The median is glass. Batman is a U shaped figure with very pointy ends and 2 little spikes sticking out of the top. The right end sits up higher then the left end. The artwork is smooth with little dimples all over it. It’s red on the whole sculpture with a blue stripe horizontally through the middle.

September 11, 2001 is a day that shook the United States to its core. Millions of Americans felt the pain, the loss, and the anger that came with the attack on their nation. It was a day of mourning, and when it comes to days of mourning it is difficult putting one’s pain into words. However, Leonard Pitts Jr. was able to move past the emotion. He put into his words, not only his own feelings, but the feelings of an entire nation. Pitts conveys the emotion felt after the terror attacks in his essay “Sept. 12, 2001: We’ll go forward from this moment” through his mournful, angry, and righteous tone.

The momentous tragedy that occurred on September 11th, 2001 has been engraved into the memories of United States citizens. What began as an ordinary day quickly evolved into an tragedy no one could have predicted: thousands of lives had been taken and countless more devastated and ruined by the acts of terror. Although unpredicted, the horrific and frightening news affected all. The four planes individually plummeted into their targets—two crashed into the Twin Towers, another struck the Pentagon, and the final hurtled into an empty field—eliciting a wave of panic throughout the nation. The jarring images of commercial airplanes hijacked by members of the terrorist group Al-Qaida managed to instill a fear. As the terrified country anxiously fretted about the future, President George W. Bush delivered a speech to address the nation in order to soothe the tensions and worry. In George W. Bush’s “9/11 Address to the Nation,” the terrorist attack orchestrated against the U.S. is addressed with rhetorical devices such as parallel structure, imagery, and various appeals in order to inspire and heal the country.

As I walked, the air of this haunted, dreadful and sorrowful land had sucked the life out of everything and roared as humanity began to disappear. As I carried on walking, I noticed that the small fraction of light was getting smaller and smaller, until it had been engulfed into a think black ash like smoke. Aggressively, the wind walked past the building with its cruddy feeling, blowing away all signs of life. Deeper and deeper into the land was a burning car door. The fire roared and crackled. The roaring and crackling of the burning car door merged with the aggressive air and created the loudest sounds ever heard on land. Growing darker, the skies made me feel nauseous. The fear of not waking up if a human fell asleep towered

April 19, 1995, 9:02 a.m: a bomb was set off beneath the Alfred P. Murrah Building. The bomb damaged the structural support beams and the Northern support columns. Half of the building collapsed. 168 people died (Cook 5). Eric McKisick, a district manager, recalls the incident, ¨I made an assumption that, hey, everybody is out, everybody is good, and I left at that point. It wasn't ´till much later that I saw the devastation and understood they didn't respond because they couldn't.” Not only were there a large number of casualties, 300 people were also injured, some of whom were physically impaired for the rest of their life. A child who was in the building at the time of the explosion states, “I have no recollection of that day, but I’m reminded everyday about it because of my breathing problems (Brandes, Heide, Schapiro).”

The World Trade Center (WTC) held fairly high regard throughout New York as a structurally sound building, but the authors of 102 Minutes beg to differ on this opinion. They use various diagrams and statistics of the incredible impact and destruction the planes caused to the building, arguments against the poor architectural design and support of the towers, and periodic timestamps to make claims and factual statements about the events that occurred. The timestamps serve as a means of the authors building suspense in their audience, deepening uncertainty in the audience which intends to move them to read further and discover the office laborers’ fates. Moments like “At 9:19… we’re trapped… there’s smoke coming in. I don’t know what’s happening”(102 Minutes 186) and when Assistant Chief Callan“stood

Smoke and flames were spewing out of gaping holes bored by American Airlines’ Boeing 767 that crashed between the 93 and 99 floors on the North face of the 110- story building. Each of the North Tower floors were roughly an acre. The top 20 floors engulfed in flames, he was staring at a 20- acre fire raging 90 stories above. He thought in his head that, This is the most unbelievable sight I’ve ever seen. Meldrum parked the fire truck on the West Street in front of the

The events of the terrorist attack on September 11, 2001 changed not just the American way of life, but the way in which terrorism will forever be viewed. Moments after the first plane changed our way of life by crashing into the first tower, it also changed the way people will live their lives for many generations from that point forward. For the first time on Continental United States soil, America was under siege.

Have you ever found yourself getting mesmerized by the flame? If you haven't, you probably haven't been on a rollercoaster, or been to the beach, or even watched a movie. The point that I was making is that a fire is as entertaining as all of those things. In the book, entertainment comes in many forms. Like the wall sized T.V’s and their interacting story with the viewer. That is just one example of how the whole society functions, they function by having to be feed censored, linear, no thinking entertainment. It amazes me much alike and unlike the city is, compared to fire. They are unlike by each

Throughout the documentary, Avery appeals to pathos by incorporating photographs and recordings to illustrate the magnitude of the tragedy while supporting his claims. He examines how the buildings collapse by showing eyewitness videos and computer simulations. The film repeatedly shows footage of the destruction of the World Trade Center (WTC) buildings. It shows the airplanes flying into the towers, the sudden collapse, and the solemn aftermath. Because of the potent imagery, Avery appeals to the audience’s grief, fears, and doubts.

Accounts of “the events surrounding September 11th” manifest a touchstone of America’s topical place in the world. As with other benchmarks, American mythos quickly starred names and situations to humanize the catastrophe, to create heroes, and to thereby rally America to a patriotic, yet politically mediatized, campaign. These four selections epitomize such pregnant stories. Personal histories dramatize heartrending experiences that confer the sublime an individual spirit that forges an audience connection. Firemen, leaders, and widows become paladins of America and its way of life. But the agenda divulged in Bush as a Leader “we needed after all,” in the repeated evocation of George Washington and other “national symbols,” and in the refrain

Michael Moore’s latest film, “Fahrenheit 9/11,” presents a critical look at the administration of George W. Bush and the War on Terrorism. In this film Moore investigates the rapid growth of the United States government and its trend of trampling the rights of individuals, and the corporatism that is spawned out of the close ties between big government and big business during wartime. Michael Moore may not convince all audiences, but is successful for its factual accuracy in which the evidence spoke for itself, and at the same time proclaimed Moore's artistry in transposing and splicing scenes to create impressions that supported his allegations and opinions. Michael Moore has employed two main techniques in an

The flames look hypnotizing, seemingly swallowing up the page. The sharp ends and contour of the lines create an almost holographic effect. Satrapi also makes this panel large, about half the page, which further intensifies and dramatizes the other events occurring on the page; in the panels above, Marji and her family frantically dial the telephone to reach their loved ones. In this panel, we fully understand the cause of the suspense they feel. At first glance, it seems that the flames that the taxis escape represent the bombings and annihilation of the border towns. During the violence and danger of the war, we imagine destruction and carnage as the only things the refugees have to leave behind. However, fire also symbolizes protection and passion. The residents of the border towns are not only running from the horrors of war, but are also being forced to forsake their homes, friends, and belongings. Some taxis illustrated are partially engulfed by the flames; those Iranians could not bear to desert their past lives, or did not do so fast

The artistic representation of the Batman myth is an important cultural artifact of our time because it represents modern society's thirst for heroic ideals in popular entertainment. Since his creation, readers and viewers have admired Batman's unique ability to battle villainy, transcend the law and administer justice. As cultivators of the noir genre in film as well as in literature, Americans have always identified with this enigmatic hero, who exists on the margins of society and yet represents one of the largest corporations in the world. The evolution of Batman in particular and the superhero genre in general (from comic book to television to film and back again) has seen in the latest adaptation from Christopher Nolan's Batman revamp a veritable tilting point for the character once known as the World's Greatest Detective. This paper will analyze why Batman is an important cultural artifact of our day, how he came into being, what he means for society, and how he will be treated in the future.

Throughout The Dark Knight the terrorist attacks of 9/11 are continuously mirrored; terrorism as an overall theme is also reflected throughout the movie, Phillip French of the Guardian newspaper states that The Dark Knight shows us a 'post 9/11 Manichaean view of the world'. Even within the initial marketing of the film and in the various viral campaigns employed, we see reflections of the 9/11 attacks on New York. In one of the main advertising posters for the movie we see the protagonist Batman standing in the fore ground of the picture, in front of a huge sky scraping building, not unfamiliar to one of the Twin Towers, the top of the building is ablaze, with; brick, ash and various pieces of shrapnel falling to the ground. With this powerful image we, before we have even seen the movie, receive flashbacks of the tragic events of 9/11. The poster as well as promoting Batman, makes us subconsciously, maybe naively, want to see the movie as it is related to the horrible attacks on New York. Again in relation to the 9/11 attacks, people may want to watch the film to see how terrorism is portrayed in the movie,