Jean Renoir Rules Of The Game

What first catches the viewer 's eyes are the vivid colors used in the painting. Ultimately what jumps out the most is the man on the right 's red robe. The artist intended this for a reason, discussed later. The room where the men are standing is front lit. Also the atmosphere is

This piece is called “Irony of a negro policeman” by Jean-Michel Basquiat in 1981. This is a Neo-expressionist painting; he used acrylic and crayon to create this figurative image. It is depicting an African-American being a policeman. The figure in the painting is a black mass, with a mask-like face and hat resembling a cage. On the right of the painting are the words “Irony of Negro Policeman,” and to the bottom right of the panting is the word “Pawn,” clearly stating Basquiat’s opinion on the ridiculous position of a black Policeman. Basquiat used a lot of straight simple lines, squares and rectangles, the colors used in this image are especially primary colors, he also used words on an almost empty background to amplified the meaning of his image and the concentration of details are on the

The Dreyfus affair took place in the town of Rennes in the 1890’s and involved a Jew/former officer in the army named Alfred Dreyfus. The case was brought about when Dreyfus was accused of treason due to the army’s large connection to Anti-Semitism. This affair became a major turning point in journalism in France because it opened up the doors to French collective opinion in the press. This case involving Dreyfus relates heavily to our course due to its connection to the New Woman. During the affair, women who supported the case were considered a “wandering Jew,” which was a demeaning term to describe women who did not claim a role in French society. By not having a fixed representation attached to themselves, these women, nonetheless, were considered a wandering Jew claimed to have no strong characterization of identity or beliefs. Our course discusses the stereotypes fixated on women through the seventeenth, eighteenth and nineteenth centuries. Individuals, not just in France, look to place individuals in categories that are fixed. The term “wandering Jew,” that

The photo is representing how every country divided up China. The United Kingdom, Germany, Russia, France and Japan are all dividing up china. There is a guy from china trying to stop them but he is powerless against them.Germany and the United Kingdom want the same piece. It is showing that Germany has violent intentions to get China.They are all imperialistic. This is also in Persepolis. It is when the British are trying to take over the oil in return for making Reza emperor.

In the first panel, the long shot captures the full position of a Nazi soldier on a silhouetted horse, grasping a rifle in his hands, which symbolises violence. Clad in army attire, the soldier’s upright posture exemplifies menace as his gaze is fixed upon a Jewish man hunched over a crate filled with rocks, seemingly “too old or weak for such work”, as quoted by the caption up top. Thus, the symbolism of the rifle and the Nazi’s upright posture suggest power and authority in comparison to the mere shovel held by the Jewish man. This reinforces the ruthless characteristic of Nazis by highlighting their brutal indifference towards the anguish of Jewish people, as also evidenced by the scornful remark of “worthless Jew!” in the next panel, evoking despair from the readers.

Among the prominent French commentators during the affair, anti-Dreyfusard novelist and intellectual Maurice Barrès presented an extreme form of French nationalism in his work Scenes et doctrines du nationalisme. Within his arguments for nationalism, Barrès stated that “the Jewish question is linked to the national question…ranked by the Revolution with authentic Frenchmen, Jews kept their distinctive traits, and after having once been the persecuted, they became tyrants.” In his anti-Semitic rhetoric, he asserted the blame for the corrupt elements in French society on the Jewish community in France, in which true French identity was being threatened by “the Jew, the foreigner, the cosmopolitan.” However, beneath the surface of an anti-Semitic campaign in the denouncement of Dreyfus, we see that these feeling of anti-Semitism derived from their desire to return to the traditional society of the past and nationalism became infused with the fear of the “foreigner.”

<br>At the bottom left side of the painting is a man about to be eaten by a termite who has a game table on his head. This is illustrating that the tables are turned on the man who has committed some terrible crime. In the Inferno this is represented by Lucifer eating the three worst sinners, Judas Iscariot, Brutus, and Cassius, all who betrayed their

1. Key Speech/Thought expressed by main character the conveys the theme “Yes, the old game of deducting ethnicity; in this they were all participants, experts.” (Bezmozgis, 8) This quote shows us the idea of judging people just because of their ethnicities.

1884). The painting, like most of Renoir’s work, has a female subject. The girl is the only visible person or focus in the art. Her red hair serves as a contrast from the muted background, which is outdoors in Renoir’s usual style. It has a mixture of bright and darker colors and the individual brush strokes can be seen. The painting features everyday life, a common factor in paintings by Renoir. The girl is wearing a hat, running her fingers through her hair, and looking directly at the viewer of the artwork. This is similar to many of Renoir’s pieces from later in his

This scene shows how they use their depth-of-view to its full extent. Not only are we able to see the scene that is important to the narrative inside but also allows us to view Charles, our main character, outside doing his own things. Not only does it allows us to view all the important characters in the scene but also keeps them all in focus. Doing this also makes the scene feel more

In the portrait, An Old Woman, the woman that stands tall, represents the death of the Feudal System. As the common people move on to the path of modernization the old system became weak and inefficient. The woman on the painting face appears to be so repugnant for that is how distasteful the restricting Feudal System looked to the peasants; the peasants wanted more for themselves, they wanted

The opening stage direction describes the young man as ‘edging hastily’ up the steps - the use of the verb ‘edging’ suggests the young boy is anxious, immediately this tells us that the young man is intending to make this encounter short. Blanche is looking in the mirror before he enters “Blanche puts down the mirror” this emphasises Blanche’s insecurities concerning her appearance, she is very aware of

The image above was taken from the 2005 film, V for Vendetta, directed by James McTeigue, in which a totalitarian and fascist government comes to power after a string of disorder and chaos plagues a futuristic Great Britain. The extremist right wing party, Nosefire, are responsible for the corruption and tyranny that engulfs the nation. The man in the center of the image is Chancellor Sutler; he holds the most power in the government and is the oppressor of this dystopic world. In the image the Chancellor was addressing the public with a message of hope. His posture embodies confidence and trust. He is the perfect candidate for the citizens residing in the severely weakened country. The citizens were traumatized after the following events:

While not seen in Shot 2, which features more deep space than deep focus, it is seen at many other points in La Partie De Campagne as well. This shot does not imply the same level of artificial composition. Within the sequence there is not a focus on creating “pictures” but rather the camera work complements the immersion of the movie. Many organic looking reframings and scenes that flow into one another are evident. Both shots and their surrounding sequences play heavily into the vision of Renoir but accentuate different aspects of his

I choose to look on at the La loge by Renoir. This piece was first shown as a component of the main Impressionist Exhibition in 1874. 'La Loge' means 'The Opera Box', a prominent subject among the more ground breaking craftsmen of the time (different illustrations incorporate those by the craftsman Mary Cassatt). The musical drama house appeared to encapsulate every one of the differentiations and disarray of Parisian culture at the time. While it was the place for the well off to see and be seen, prostitution was overflowing among the entertainers and the built up privileged felt themselves progressively encroached upon by kept escorts and the more fruitful ladies. Renoir utilizes this feeling of social vulnerability all through the artistic creation. Contemporary audits feature the creating troublesome of making social judgements about individuals (maybe especially ladies), as one declared the lady portrayed as 'a figure from the universe of polish', while another refered to her as a notice to young ladies against vanity and the whimsicalness of form. Her dress is rich, with the solid vertical stripes which were in vogue at the time, supplemented by the unobtrusive shades of the crisp roses in her hair and inside the article of clothing. Her adornments is rich yet straightforward, a gold wrist trinket and a long pearl necklace. To the present day watcher, it is hard to choose whether she is dressing too much and excessively, or basically submitting to the desires of her companions. For signs to this we look to her appearances, her developments. She inclines forward, laying an arm on the edge, her fan on her lap, an air practically of energy. Her eyes are unobtrusive, her mouth somewhat satchels, it is difficult to tell whether she is ideal or bashful. The sketch is an extraordinary exchange of looks; where for the most part the watcher is the essential look in concern, we are the ones looking, here we end up plainly one of the immense trade of looks and articulations. The musical drama glasses are an intimation to this, the man behind focuses his high, plainly not coordinated at the stage. We practically consider ourselves to be showcasing an indistinguishable part from him, the trimmed structure proposing