Saul Bass Title Analysis

I will talk about how auteur theory can be applied to the study of Hitchcock’s North by Northwest and vertigo.

Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, “Harrison Bergeron” by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliant on his words alone to paint the picture for the reader to understand the movement of the plot and its impact on the atmosphere. The literary devices used in creating and shaping pieces of literature will heavily impact the point of view of the

Throughout the term I have begun experiencing movies in a different way. The class has taken ideas of cinematography, theory, and film history and practically applied it to physically watching movies. By breaking down scenes and movies as a whole, the way I look at films in general has developed. A reflection on two of the films from this term, Casablanca (Curtiz, 1942) and North by Northwest (Hitchcock, 1959) will carry the bulk of the essay. Though, I will also be discussing how this class changed the way I saw a movie just a few weeks ago. Casablanca’s script and acting are of particular caliber, and North by Northwest unfortunately does not deliver with the dialogue and casting of lead actor Cary Grant. Though, overall, they both

(insert an attention grabber, such as a quote or question). In Erik Larson's “The Devil in the White City”, (a nonfiction novel that spans the years surrounding the building of the 1893 Chicago World's Fair) that recreates the lives of two real men, Daniel Burnham, the architect who builds the 1893 Chicago World’s Fair and H. H. Holmes, the serial killer who exploits the fair to find his victims. Larson uses intense imagery, juxtaposition, and allusion to create pure and immoral tones between Daniel Burnham and H. H. Holmes. In the novel Larson uses intenses imagery to thoroughly illustrate the coexistence of good and evil.

Through studying and analyzing ‘Maestro’ ,written by Peter Goldsworthy, and by viewing and analyzing the film ‘Edward Scissorhands’ directed by Tim Burton, it is evident that the composers of these texts allow the audience to see distinctive experiences with our eyes as well as with our minds through distinctively visual. The many visual, written and literary techniques have the ability to create a significant and impacting visual.

In the novel The Devil in the White City, Author Erik Larson uses imagery, irony, and juxtaposition to parallel the good and evil sides of the city of Chicago during the 1893 World’s Fair. Larson takes a more upbeat, joyous tone while following the story of Burnham and the architects designing the World Fair, but the tone turns much darker when perspectives change and we follow the plot of H.H. Holmes, America’s first known serial killer. Using rhetorical devices like imagery, diction, and syntax, Larson is able to paint a picture of Chicago from both the good and evil side, setting a more serious and ominous tone for the novel.

Erik Larson’s The Devil in the White City, a nonfiction novel that spans the years surrounding the building of the 1893 Chicago World's Fair, also known as The World's Columbian Exposition, recreates the lives of two real men, Daniel Burnham, the architect who builds the 1893 Chicago World's Fair and H.H. Holmes, the serial killer who exploits the fair to find his victims. In the book, Holmes is not simply another mindless criminal breaking the law for the reason of money; Holmes is a twisted, yet highly intelligent individual that gains pleasure from the death of his victims. Larson is able to utilize tone, imagery, and syntax to dig into the mind of H.H. Holmes and reveal how he thinks and what inquires him to do horrific deeds.

The illustrator Randy DuBurke creates a book that feels both realistic and as beautifully stylized as any old noir. Playing not just with expressions and characters but with light and shadow as well. He helps make it far more compelling than it would be merely on its own.

Erik Larson is the author of Devil in the White City, a book paralleling the story of H.H.Holmes and the building of the Chicago World Fair. At the beginning we are introduced to the beginning of the next world fair. It is going to be held in Chicago, a city known for being dirty and having disease and sewer problems. In contrast, the architects of the world fair want it to be known as the white city, a place of wonder and history full enough to spend a week exploring. At the same time, we are also introduced to Holmes, whose given name was Herman Webster Mudgett, and the beginning of his obsession with women, that he later murders. Larson constructs his book differently than other authors, using organization, contrast, and emotions in unique

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

In today’s market of technology and visual stimulation it becomes more and more important for advertising campaigns to stand out and be innovative, and it is this idea that drove one Canadian beer company to do something that had never been done before. In light of waning interest, Kokanee, owned by the Labatt Brewing Company, enlisted the help of Toronto based Grip advertising agency to (with its entire yearly marketing budget) create something really big for there next campaign. Grip’s innovative response to this challenge was to do something completely new and create an ad in the form of a full-length feature film, which they would call: “The Movie Out Here”

accomplishments of Frank Frazetta, but also doing a reaction to one of his most iconic

I had seen Drew Struzan’s artwork my entire life without ever realizing it. The iconic movie posters, that commonly are displayed on the front of the movie cover, are easily recognized by most Americans. Classic movies, such as Indiana Jones, Back to the Future, Harry Potter, Hook, and Star Wars have all had their covers graced by the iconic art of Drew Struzan. I was struck in awe as I came to the realization that someone had actually drawn all of these realistic images that had been a part of my entire life. I had never thought about who made all of the drawings to fill up promotional posters, or even who may have designed the movie itself. As I watched clips of him drawing the posters, I was amazed at his ability to bring the characters

Understanding movies comes from describing and analyzing the cinematic, theatrical, and literary elements that combine to create meaning. These steps create a basic understanding of the artistic and technical elements found in moviemaking. In addition, the major characteristics of different film genres and classic movies will be analyzed. The purpose of this paper is analyzing the Academy Award winning film Chicago. This paper will describe the six steps that a person should think about when watching a movie. These steps include, (1) analysis of the narrative: story, plot and meaning; (2) theatrical elements, (3) cinematography, (4) editing, (5) sound and the (6) complete package.

Donald Judd was one of the key minimalists living and working in New York in the 1960s. The sense of importance is ever so present when looking at the vast majority of Judd’s body of work. But even more so is the underlying almost spiritual feeling a person stumbles upon when viewing the work in the right context. The elements around the pieces are exactly as important as the perfect and seamless geometric sculptures, without its context they lose a little bit of their brilliance. A photograph can’t even begin to explain the vast sensibility in his work. As groundbreaking as his movement was, he challenged dated conventions. The conventions which stretched all the way back to the ancient Greeks, about how sculptures needed to be put on a pedestal