How Did Robert Wars Show

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.

Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film

Mulvey, Laura. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. Thesis. N.d. N.p.: Laura Mulvey, 1975. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. NG Communications, 2006. Web. 20 Feb. 2014. .

Between the end of the First World War and Hitler's seizure of power a cultural explosion occurred in Paris that altered our notions of art and reality and shaped our way of viewing the world ever since. In the 1920's, Paris became the undisputed international capital of pleasure and was regarded as the cultural and artistic center of Europe with a reputation for staging one of its most glamorous eras, as well as some of the most spectacular revues in the world. Imagine for a moment, that it really is 1920's Paris. You are leisurely strolling through the gas lit promenades. World War I is over and the exuberance of jazz musicians, symbolist painters, and American expatriates

makes an effective antiwar statement, and he comments on the reversal of a social deviation

Modris Eksteins presented a tour-de-force interpretation of the political, social and cultural climate of the early twentieth century. His sources were not merely the more traditional sources of the historian: political, military and economic accounts; rather, he drew from the rich, heady brew of art, music, dance, literature and philosophy as well. Eksteins examined ways in which life influenced, imitated, and even became art. Eksteins argues that life and art, as well as death, became so intermeshed as to be indistinguishable from one another.

“Since socialization occurs throughout the life span and since the mass media in industrial society permeates virtually every aspect of a person’s life, the media’s effect on our concepts of self, although impossible to determine precisely, are probably underestimated” (Saucier 1986, 147). Mass media forms of entertainment have the unique ability to impact large audiences across time and space. The Hollywood thriller Fatal Attraction (1987), with its many references to Puccini’s opera Madama Butterfly (1903), proves to be a central film to study when considering how intertextual value may arise from referencing another text through a piece of media as well as what ideology can result from a popular media product. In considering the

Chapter 3 of Mark Hutter “Experiencing cities” informs the reader about the industrial revolution including the rise of urban sociology. The beginning parts of the chapter discussed how if more crops are produced the larger a population could be supported by this. The same today is still true. Countrys like America and and places like europe thrive while places like africa who struggle to provide its citizens with basic food and water struggle to live. A section that really caught my eye provided details about the rise of europe during the industrial revolution. I’ve been to europe a few times and have always found it to be a peaceful place not much going on. I was truly shocked to read at the beginning of the section when Hutter said “There

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

LGBTQ social movements have evolved over time from liberationist politics of the 1970s to an enormous contemporary focus on gay and lesbian marriage rights, a controversial and arguably assimilationist priority for mainstream LGBTQ advocacy groups. Different forms of activism have approached assimilationism versus societal reformation or preservation of unique constructions of queer identities with a myriad of arguments. In “The Trouble with Normal” by Michael Warner, the author focuses primarily on a criticism of gay marriage rights activism in which he posits that all marriage is “selective legitimacy.” He points to other LGBT movements and issues as more worthy of pursuing, particularly intersectional pursuits of equal rights for people regardless of coupled status. In “Marital Discord: Understanding the Contested Place of Marriage in the Lesbian and Gay Movement” authors Mary Bernstein and Verta Taylor give a snapshot history of LGBTQ activism since the 1970s and offer similar arguments as Warner about the heteronormative and neoliberal nature of placing the fight for legal marriage rights at the forefront of LGBTQ activism, although they do also introduce emerging improvements with the increasingly intersectional awareness of modern advocacy efforts.

Taken at face value, Norman Mailer’s Armies of the Night and Tom Wolfe’s The Electric Kool-Aid Acid Test may seem very similar. They are both centered on a major author of the 1960s and his experiencing of historical events of the time, while set in the style of New Journalism. When examined closer, though, it becomes apparent that these novels represent two very different sides of New Journalism – Armies of the Night an autobiography with personal and political motivations, The Electric Kool-Aid Acid Test a sociological piece which tries to capture the essence of its subjects rather than the absolute facts. By looking at the form and style which the novels were written in and the motives behind Mailer’s Armies of the Night and Wolfe’s The

The romantic idea of the auteur is described by film theoretician, André Bazin, observing the film form as an idealistic phenomenon. Through the personal factor in artistic creation as a standard reference, Bazin primarily refers to an essential literary and romantic conception of the artist as central. He considers the relationship between film aesthetics and reality more important than the director itself and places cinema above paintings. He described paintings as a similar ethical creation to film stating a director ‘can be valued according to its measurements and the celebrity of the signature, the objective quality of the work itself was formerly held in much higher esteem.’ (Bazin, 1967: 250). Bazin contemplates the historical and social aspects that indeed hinder a director’s retribution to their own personalised film, thus en-companying their own ideological judgement upon the world ‘more so in cinema where the sociological and historical cross-currents are countless.’ (Bazin, 1967: 256)

At the turn of the century Paris was one of the capitals of culture and art to the outside world. However, the truth of the matter was that this taboo-ridden society was being run by an aristocracy that was repressing the arts. Naturally, when World War 1 broke out, the suppressed French society finally had a release and a rebellion against order arose. WWI specifically affected the theatre of French and it’s aftermath. From the ashes of war the avant-garde theatre grew and styles such as Dadaism and Surrealism were born. It was both the climate of culture before the war and the devastation of the war that lead to the outbreak of avant-garde theatre in France.

Benjamin’s death in 1940 at the age of 48, is rumored to be a suicide when the Naza’s took office, but is still a mystery. His ideas and concepts however, would live on for decades to come. Much of what he wrote about when discussing art came essentially after the development of photography and film. In his work, “Art in the Age of Mechanical Reproduction,” Benjamin addresses his perception of the changes in art and the aesthetic experience congruent with societal changes. He writes with concern of how the great artworks are viewed after the introduction of photography and film. His idea of mechanical reproduction changed the art world as society knew it, particularly in how the public views artwork and the value of that work as more and more people are able to own, view and discuss it. This paper will specifically look at aspects of Benjamin’s groundbreaking essay and how educators can relate his ideas to the practices in their art classrooms.