Raise The Red Lantern Essay

Two examples that I find especially thought provoking are the Danziger studio and the Goldwyn Library. Built to blend into the local surroundings, the luxury residence was given a humble, rough exterior. Davis' explains that the rough exterior of the architecture reflects the underlying social phenomenon of "repression, surveillance and exclusion"(Davis, 224) that collectively forms the "fragmented, paranoid spatiality"(Davis, 229 ) that LA embodies. Moreover, The house's "camouflage"(Davis, 229 ) exterior creates a stark contrast to its luxurious interior, which places further emphasis on the exclusion and barrier between the "opulent"(Davis, 256) interior and the "rough"(Davis, 224 ) environment. I find Davis' assessment of the Daziger studio particularly agreeable and accurate as I truly believe that an architecture, its purpose and characteristic, sheds light to not only its physical environment but also its social environment, something that might not necessarily be as apparent. On the other hand, I find Davis' assessment of the Goldwyn library rather exaggerated. Judging from photos taken, the fifteen foot security wall is not as grotesque and 'fear-imposing' as Davis puts it. Davis described the library as "baroquely fortified...menacing...bizarre"(Davis, 246) and "paranoid"(Davis, 251). Although security and 'vandal-proof'' maybe, as Davis suggested, the initial goal of the design, I do not believe that it is as exaggerated as Davis

Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to

The film The Red Balloon directed, produced and screen-played by Albert Lamorisse shows the 50s France with a coloured picture. It was not easy to have coloured film at that time, I believe it was a classic film among the industry. The story between the boy and his balloon, I would like to say his pet, their adorable interaction catch my attention which makes me addicted to it. However, people seem to be resistant to the red balloon, there are several scenes showed that they don't accept it or even wanted to hurt it.

This week we talked about the U.S. history and racial equality. Specifically what I want to focus on is the radical movements of this time period. With the Indians and Blacks with how they used these to influence society. With the Indians it was with the red power movement and with the Blacks it was with black power movement. The Indians used their influence to try to get the land back that they lost and with one of their main activists being incarcerated Leonard Peltier did not help in the process. Also with the American Indian Movement had their own concept of ideas and solutions that changed how people think. The blacks used their influence and started the National Association for the Advancement of Colored People. Their main activists were

This memoir of Ma Bo’s sent shock waves throughout China when it was published and was even first banned by the Communist Government. This passionate story paints a clear picture for what the Great Chinese Cultural Revolution was really like. Many Chinese living today can attest to similar if not identical ordeals as expressed in Ma Bo’s story. The toils of being a young Red Guard in inner China were experienced by many if not millions. The horrors and atrocities were wide spread throughout the country, not just in Inner Mongolia. The experiences illustrated in Blood Red Sunset uniquely belong to Ma Bo’s entire generation of mislead Chinese. As expressed in the books dedication the Cultural Revolution

Question 8: The Federal Government’s Response on the Red Power Movement at Alcatraz and Wounded Knee

As far back as Alejandra Franco can remember, the frames hanging in the hallway of her family’s Coachella Valley home were always empty. The unfilled wall décor did not represent a home devoid of memories or a showcase for an unorthodox interior decorating theme. Instead, they were an intentional symbol of an unspoken expectation of the future for Alejandra and her three younger siblings.

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

The houses also show an example of realistic

With the sheer magnitude of architectural elements that are needed to provide this exploratory tale through Kane’s life, Orson Welles was able to really take advantage of the details to amplify the story. This use of architectural elements and design not only helped reinforce the specific scenes that they were in at the time, but went so far as to help illustrate the character of Charles Foster Kane and relate Kane’s story to modern day events. Throughout the entirety of the film, the architecture reinforces and develop the narrative in the shots. This effect is present from the start, with the presentation of Kane’s looming, literally mountainous estate shrouded in the fog (figure 1).

Raise The Red Lantern is a film that follows the story of Songlian, a young university student forced to become the concubine of a feudal lord after the death of her father. Songlian is the fourth mistress to the Master and has the most trouble assimilating to the domestic life of servitude that is expected of her. The harsh traditions and expectations present in the manor are made clear through Yimou Zhang’s use of framing. The vastness of the manor is assumed however Zhang choses to show limited areas neatly framed in geometric symmetry. Characters in the shot are always framed within a structure of the manor and placed carefully in each frame so not to disturb the symmetry and order in each shot. The precision of the camera visually represents the restrictions placed on the mistresses and how Songlian feels trapped in her new life.

In this picture, Victorian style house stands alone in the field. A railroad track cuts through the foreground. There is a bare sky behind the house with no secondary objects in the immediate surroundings of the building. this enables us to keenly focus on the articulation of the building and its relationship with its environment.

In this essay, I would be analysing Katherine Shonfield 's book 'Walls have Feelings : architecture, film and city ' where she discusses the constructional problems in Repulsion film and in Rosemary 's Baby new contemporary architectural interest which were introduced in 1960 's. I would be discussing the damp penetration in detail, with that I would also be disusing the issues on sound penetration.

"One generation passeth away, the passage from Ecclesiates began, and another generation cometh; but the earth abideth forever. The sun also ariseh…"(Baker 122). A Biblical reference forms the title of a novel by Ernest Hemingway during the 1920s, portraying the lives of the American expatriates living in Paris. His own experience in Paris has provided him the background for the novel as a depiction of the 'lost generation'.

The entryways of the building come from four different sides and meet in the middle. The overall shape of the building creates different views and facades. The building was not created just on the looks of it; it is made up of a three dimensional, stimulating, tactile human thing.