The Opening Scene Of Inauguration Of The Pleasure Dome And Scorpio Soaring

Surrealism is a movement that built off of the burgeoning look into art, psychology, and the workings of the mind. Popularly associated with the works of Salvador Dali, Surrealist art takes imagery and ideology and creates correlation where there is none, creating new forms of art. In this essay I will look to explore the inception of the surrealist movement, including the Surrealist Manifesto, to stress the importance of these artists and their work in the 20th century and beyond. I also will look to films from our European Cinema course to express how films incorporate the influence of surrealism both intentionally and unintentionally.

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

“All my life I’ve been a lonely boy.” Vincent Gallo’s Buffalo 66 is a peculiar, surreal film to analyze. As a semi-autobiographical work, Buffalo 66 greatly exaggerates the events in the film and makes the viewers suspend disbelief on more than one occasion. Yet despite this, the main focus of this film is a broken Billy Brown’s emotionally raw journey seeking revenge but instead finding unconditional love through Layla in the end, and the formalist film techniques used here enhance this. Through the deliberate use of photography, staging, and movement, Buffalo 66 works as a formalistic classicism film, a predominantly classicism film with strong elements of formalism, on the style continuum.

Although Fusco created a documentary on the live experimentation that Gomez-Pena and she have created to criticize Westerners on how they view and treat “Others” or primitive people, but her editing decisions on “The Couple in the Cage,” may have skewed the viewers the understand her satirical piece without viewer’s own personal opinion or interpretation of the performance. Comparing the live performance and to Fusco’s video, there were properties that the live performances did not have but the video did have. In the video, Fusco purposely placed videos and pictures of freak shows to juxtapose her performance to deliver same ethnocentrism that she experienced in the cage and the freak show performers who also faced the same problem. When the spectators paid to take pictures with Fusco and Gomez-Pena, there was

The presentations of glass objects as well as pieces of furniture are the next stop in the exhibition. We view a couple of lamps which have exquisite detail. The Lamp Bearing Youth (see Fig. 3) which was utilized as a home decoration seems to be more of an artifact. A young and fit man, presumably Apollo, stands in the now prominent cross balance posture. We then see objects such as the two Table Supporters and the Four Flasks. The two table supporters are very intricate objects, for they portray an almost devilish animal with a lion’s leg. On the other hand, the four flasks express the beauty of glass blowing with the exquisite colors and movements of lines. At the end of this room we are taken to The Moregine Triclinium which is a beautiful room with an empowering color of red. The room has what seems to be the second

Each production offered a unique lens with which one can observe the topics of hatred, anger, tolerance and

This paper will analyze the film “Trembling Before G-D.” Specifically, the characters and the themes presented in the film. Before analyzing the characters and the themes, one must understand what the film is about. This film is a documentary that follows various former and current orthodox Jews who are members of the LGBT community. The film has about fifteen different characters but some will not be discussed in this paper.

The image proposed by the decadents is a violent one, an image that shocks by having a fascinating and terrifying power. It is a image that stimulates and also stimulates.

This paper offers an introductory glimpse into the rave subculture for members of mainstream culture. The exploration includes rave artifacts, lexicons, and mysterious rituals. Based on two years of ethnography in the rave scene combined with published documentation, a survival guide for attending raves is offered for the naive, but curious. To survive in the rave subculture, possessing both the artifacts (nonverbal communication) and lexicon (verbal communication) are imperative. Artifacts include appropriate clothing, essential supplies, and psychedelic toys. Examples of interesting and unusual artifacts will be used throughout the paper to give the reader a vicarious rave experience. Insider lexicon phrases include codes for illegal substances, group rituals, and dance music. The reader will be taught some of the unique rave jargon, so that he or she can speak "rave."

Taking up the entire right side of the composition a third character ascends a staircase and rests one hand on a disjointed platform. This figure wears an elaborate headdress, fabric sash and holds a large knife tucked at it’s side. The figure’s long toes curl around the top stair where it stands surveying the other two figures. This figure also has a tail, and the same mirroring happens between the extending hairs of the headdress and the hairs of its tail as with the candle light and tail of the first figure. The decorations and prominence of this figure give it an air of spiritual significance, the word priest seems apt. Behind this figure is the forth and final figure of the composition. This figure stands lower on the staircase behind the figure with the knife. This figure has a head shaped like a goblet filled with toothpicks. We only see the head and shoulders of this figure,

Obvious from the start is the artist's careful attention to details, illustrated in the richly decorated background and characters' attire. Employing this general density automatically enhances the Virgin's gaze, making it charged with severity, intense. On

rites of origin and put [it] on display, as a visual profanation and an existential

The film Pulp Fiction was an immediate box office success when it was released in 1994 and it was also well received by the critics, and celebrated for the way it appeared to capture exactly a certain pre-millennial angst and dislocation in Western capitalist societies. The term post-modernist, often used to refer to art and architecture, was applied to this film. The pulp fiction refers to popular novels which are bought in large numbers by less well educated people and enjoyed for their entertainment value. The implication is that the film concerns topics of interest to this low culture, but as this essay will show, in fact, the title is ironic and the film is a very intellectual presentation of issues at the heart of contemporary

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this

In Uys’ (1980) film, The God’s Must Be Crazy, a tribal community of South African Bushmen who live independently away from any contact with the outside world. When a Coke bottle is dropped from a plane, this “beautiful” and “useful” thing becomes a tool that is adopted into a variety of uses by the family (Uys, 1980). When the family begins to fight over the bottle, Xi, decides that although the bottle has been given to them by the gods, this now “evil thing” must be thrown off the edge of the world (Uys, 1980). The film then captures Xi’s experiences and interactions with other people and modern society as he sought to accomplish his task.