On page 134 of Fun Home, Bechdel writes, “It was a vicious circle, though. The more gratification we found in our own geniuses, the more isolated we grew.” Illustrated along with this text is a large panel presenting the Bechdel household with circular panels drawn on the side of the house to detail the separate goings on inside each room. Each figure is also painted in a silhouetted form, creating a dissociated and an impersonal impression for which to view the Bechdel family. “While Bruce Bechdel is shown to have an explosive temper and be prone to the occasional violent outburst, it is the distance he creates in the household that seems to cause the most harm.” (Helvie) The separate, circular and interior panels could be representing …show more content…
Also in panel two, the photo is already in the sand, but tension is built when the text reads, “In twelve seconds time, I drop the photograph to the sand at my feet, walking away. It’s already lying there, twelve seconds into the future.” Readers are subjected to the ways in which Dr. Manhattan sees and experiences time, which is seeing the past, the present, and the future each at the same time. In panel eight, Dr. Manhattan states, “I am going to look at the stars”. The stars are meant to represent the photograph he has been focused on this entire page. To expand, readers are regarding the photograph similarly to the way they do the stars, for the light from stars takes ages to travel through the universe and have the ability to be seen from earth. When we are looking at stars, many of them are already dead in their current state in space, and it is therefore like looking into the past, similar to looking at Dr. Manhattan’s photograph. Both stars and the people in the photograph are no longer living, they are simply an aspect frozen in time conveying what once was.
Red: p. 59
Throughout the graphic narrative, Yahgulanaas illustrates black form lines within the drawings to separate images and panels and to create a smooth, full, and wave-like gutter. Most comics present gutters as an
Family values are diminishing while a unique look at the family is appearing. The main character, Guy Montag has come accustomed to the characters on the parlor walls as family members.
It is said that “The true content of a photograph is invisible, for it derives from a play not with form but with time”. This makes me think that the real content of a picture, which is what the photographer tried to express, is not evident to perceive unless an explanatory text is provided. In fact, I believe that our perceptions of pictures changes over time as the historical context do. In addition, our opinions are never fixed as they are influenced by our environment. Therefore, when looking at a particular picture at a given time, it is certain that our perception of it will be different in the future based on what happen between the first time and second time we saw it.
Bradbury shows that the family lives in a high tech house when he writes, “…this house which clothed and fed and rocked them to sleep and played and sang and was good to them…” (Bradbury 1) which shows the house does almost anything for this family. The point of this house was for the house to do all the work so that the time that the parents would be working they could spend with their children. However, everything changed when the mother said, “Maybe I don’t have enough to do. Maybe I have time to think too much. Why don’t we shut the whole house off for a few days and take a vacation?”(Bradbury 4) which shows that the mother was getting overwhelmed and feeling like she was completely useless. Once the mother feels this way the parents decide to shut down the nursery which causes chaos between them and their children when they say, “They screamed and pranced and threw things. They yelled and sobbed and swore and jumped at the furniture...” (Bradbury 13) which shows that the family has actually been torn apart because of house/veldt.
From her auburn curls cascading from beneath her tilted hat, to her arm positioning, the trees, clouds, down to the tiniest blades of grass, they all slant one way or the other. The artist has utilized the diagonal line is multiple ways; the slight angles that Reynolds incorporated into each area provides a sense of movement in what could have been a dry and stagnant scene. Along with movement, there lies an illusion of depth: paired with shading, the use of line gives the perception of more area being included than there actually is. These lines also direct the viewer’s eye toward the sitter. Objects located around the edges of the composition lean towards the center, pulling the viewer’s glance directly to the
In contrast to Jefferson, Bechdel does not explicitly list historical figures who promoted and worked for gay rights, but rather views her own life as teetering alongside and intermingling with national history, sometimes shaping it or welcoming its subtle influences into her life. For example, Bechdel describes how she has a “hallucinogenic memory of a throbbing welter of people in a large circle”—probably in Washington Square Park, where the Stonewall Riots had just occurred; she speculates on whether “a lingering vibration, a quantum particle of rebellion” might still have “hung in the humectant air” (Bechdel 104). Bechdel may not have been there for the riots or cited them as an active force in her self-realization, but these riots remind her of the reality of the newly born and
The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.
In Square at La Trinité there are very prominent vertical lines. The two figures in the right corner of the painting are vertical figures and are what the viewer is initially drawn to when first looking at the image. Another really distinct vertical line is the tree on the left hand side of the painting. That tree stands out in particular because of its dark color compared to the right side of the painting. The buildings in the background are made up of both horizontal and vertical lines. The roof and windows in particular are examples of horizontal lines. The
On one side, there is Kathy Nicolo and Sheriff Lester Burdon who want the house from which Kathy was evicted. It previously belonged to Kathy’s father and she is reluctant to relinquish possession of it. Then there is the Behranis, a Persian family who was forced to flee to America in fear of their lives. They want the house because it symbolizes their
The walls Montag refers to in this aspect are the 'parlor' walls in their house, Wall TVs. These are the walls that are highly expensive (one-thrid Montag's annual salary) that Mildred engorges herself into day-in and day-out with the TV personalities she refers to as her 'family'. The relatives that speak nothing but incoherence frequently, as stated with the "nothing, nothing, nothing, and said it loud, loud, loud", and he says these things three times because there are three walls (and three times the alienation). The walls in his house are used for dividing the rooms, but it would appear to the reader that the walls in the parlor divide the husband and wife.
A person’s home should be more than a place to shelter them from the elements. It should be a place where one could express him/her self freely and not have to worry about any harm coming to them. In the play Trifles Mrs. Wright lived in a house that was anything but calm. In block eleven,
As indicated by the shape in the foreground, the lines that signify the contour of the rocks and freestanding structure merge. The lines lead the eye vertically as it meets the center. When looking at the painting as a whole, the viewer can see how the artist uses straight
are never coming home. Bradbury uses imagery to describe the charred west wall of the house
To further elaborate upon the elements of art on the painting, the lines are in their vast
There is an extreme depth of field created by Davis within the photograph that washes everything past the foreground into a blurred ambiguity. The farther back one looks into the space created by the image, the more difficult it becomes to determine what is being observed. The foreground focus becomes the metaphorical equivalent of the relative clarity of recent memories, just as the blurred background is equated with the more distant past. This depth of field creates a sensation of time as the background of the image recesses and eventually degrades beyond readability. The image evokes an ephemeral quality—the depth of field combined with the reflective surfaces causes the image to feel insubstantial. The temporary moment that was captured on film is a remnant of a fleeting memory.
What is a photograph? The simplicity of taking a photograph leads many to ponder its artistic value. Yet, it is undeniable that there are some photos that cause an emotional reaction deeper than simply observing a recorded point in time. Surely, there are photographs that cause more reaction than some modern art pieces. There seems to be two types of photographs. The first classification is the ‘time capture’ photo – an image with the sole purpose of recording a particular event or point in time. The second nature of a photo carries a ‘deeper meaning,’ which has the ability to change the observer’s mood and cause a reaction. But what distinguishes these two varieties? There are a