John Marshall's An Argument About A Marriage

John Marshall is an American patriot who climbed to success through hard-work, determination, and a strong will to protect the constitution of The United States of America. He held many prominent places in American government as well as on front lines of the army defending freedom. John Marshall became the fourth Supreme Court justice for three whole decades, issuing major verdicts on cases that helped to develop, limit, and divide government power.

Throughout John Marshall’s life, he actively served his country. He fought in the Revolutionary war, had a seat in the U.S. House of Representatives, and stood as Secretary of State. Most importantly, John Marshall was appointed to the position of Chief Supreme Court Justice in 1801. Marshall assumed this position for 34 years until his death in 1835. The Marshall Era authenticated the Supreme Court’s position in the federal government.

film and so captions had to be use to explain what the next section of

The form of Classical Hollywood films is, first and foremost, invisible. In a Classical Hollywood film, the narrative is foremost, and style serves the narrative. Camera angles, lighting and editing patterns such as the shot/reverse-shot pattern aim to give us the best possible perspective on the unfolding events(1). These events are arranged in a strongly causality-oriented linear narrative, with one event causing the next. This narrative is arranged around a central, active protagonist, whose decisions and actions are the key to the pattern of cause and effect that drives the story(2). This pattern seems so logical, so natural, that the audience of the classical Hollywood film is

Everyday experience, suggests Edgerton, like documentary, arises from the interplay of two realms; one hidden and one perceived. This duality, encompassing both the darkroom of the film developer and dark theater where the film is screened, pertains not only to documentary but to life as we live it. Masked by our “inherent inability to see,” and curled inside timescales we cannot untangle, a bizarre world plays out, contained by, yet isolated from that which we live in (Edgerton. 1970 1-2). Nevertheless, this domain remains intimately connected to ours, accessible only through the lens of ongoing technological advancement. Similar to the convoluted relationship between adjacent timescales, documentary and truth also share an

Documentaries help to tell the stories that can change the world, and have the intangible power to bring change to societies hearts and minds. An effective documentary holds the power to evoke an evolutionary emotional response from the viewer, perhaps beginning the revolution to change. Today, my presentation will demonstrate the ability of a documentary to create a greater change in the world, while pursuing a thought-provoking response from viewers. Ultimately, it only takes one person to create a difference in the world, and Growing up Coy, a Still Point Pictures production, is a clear example of this. Today, I will evaluate the films elements in order to understand the power it

The work of photographer Eadweard Muybridge is commonly regarded as the origins of the cinema. Muybridge was an English emigrant to the United States who settled in California during the Gold Rush. An entrepreneur like many of the area’s new arrivals, he opened a successful bookstore

For this purpose then, and this she observes of Greengrass’ Bloody Sunday, cinema is a medium which is ideally suited. (Beckett, 1000; 11) Cinema enables the reconstruction of trauma so that a traumatised individual can re-experience and reflect upon the inciting incident. It is not without limitation however. The problem with representing trauma is that due to its nature, it is an experience which inherently precludes representation. The experience of trauma is such that it overwhelms an individual to the point of eluding expression – this leading to what Janet Walker refers to as the ‘trauma paradox’. (Walker, 2001; 11) This is: as a traumatic experience necessitates representation or renarrativisation, the means by which reconstruction can occur are in turn limited by the difficulty of its representation. (Ashuri, 2001; 11) There is a circularity which occurs in which the experience of trauma requires revisitation but access to the memory of trauma is

Since even before its inception, the idea of “Hollywood” has been consistently concerned with a single underlying concept: spectacle. The earliest movies belonged to what film historians like Tom Gunning call a “cinema of attractions.” Primitive films, the earliest shorts from the late 1890s to the early 1900s, were directed at an audience looking for a new form of entertainment. The first films were screened as the final attraction of a vaudeville show, mostly in the lower-class areas of major cities. They were a far remove from the massive modern theaters we patronize nowadays. The vaudeville tradition continued into film as a showman would introduce the film as a single still image

The documentary The Couple in the Cage directed by Coco Fusco and Paula Heredia consists of a video record about performance art in 1990s and a 1930s Hollywood film. In the video record, two performance artists dress up as indigenous from Gulf of Mexico and are declared by the guide that they cannot speak English (CIC). They come to some cities such as Chicago, Washington D.C., Minneapolis, New York City in U.S., Madrid in Sydney and Sydney in Australia (CIC), and they are put themselves in a big cage for visitors to watch and interact with. All their clothes and make-up makes them look like real natives: The male wear masks and clothes with pattern of tiger skin; the woman’s face is shaded by colorful painting and wear grass skirt exposing most of her body. In the cage, the woman dance with pop music, wear glasses and they curiously fiddle with TV sets, keyboards and cassette recorder which are all innovations from 20th century. At the same time, the visitors are charged to take photos with the couple and are interviewed to talk about their opinions. Some criticize that it is inhumane to confine the couple for displaying while some have no opinion about it. What is surprising is that the natives are actors who study the audiences more than the audiences study them. The alternating Hollywood black-white-silent depicts the scene that Indians constrained in the cage are exhibited to whites. The spectators look the Indians up and down, which is very similar to the scene in the

1. I was surprised that it took thirty years after the emergence of silent film for non-fiction films to be made with deliberately imposed thematic meanings. Intentional themes are so engrained in modern documentaries that it is hard for me to even imagine how one would go about filming a documentary without establishing a unifying theme.

This is a very emotional staged documentary and with very graphic subtle visuals engulfed in not-so-subtle external forms in order to awaken my inner awareness of the film form and distance myself from the story itself.

One document that had a tremendous influence on the way films were produced in the

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a

The notion of filmmaking at this age was merely to document real life, and this novelty of seeing a presentation of ?reality? captivated the audience of its era. However, these films showed movement toward camera from right to left, which later became a standard technique for staging action for the next few years (http://www.earlycinema.com/atoz/index.html). Thus, the Lumiere brothers? pioneered not just the technical attributes of the camera but also its artistic attributes, creating a dialogue of realism (Lumiere, 1895:302).