Walking Man

Change can happen in any place at any time. They can be tiny tweaks in personality or life turning revelations. These changes can catch one off guard and take them on an unforgettable adventure. Charlie Lavery a former WWII pilot is flying an airplane over a remote tundra region accompanied by an Eskimo woman named Konala when his plane fails him and they crash land. Charlie deciding that he could walk to the nearest civilization ditches Konala and begins the long hike. Days later Konala finds him dying, and during the process of being nursed back to health learns many important things and changes himself. Throughout the progression of Mowat’s short story “Walk Well, My Brother”, the protagonist Charlie

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

In the personal essay Going out for a Walk by Max Beerbohm, Beerbohm approaches the concept of walking with a different point of view. Beerbohm characterizes walking as an activity that impedes thoughts and a good chat, articulating that the brain "stops" during a walk. Ironically, Going out for a Walk was written during a walk. Beerbohm's conveys that walking is the soul's judgment and not logic that would make a person walk without purpose. Although, Beerbohm states that he doesn't mind if one is walking for exercise as long as it's done in moderation, but he still disapprove of people that walk without a purpose.

Developments in technology and the rise of the metropolis caused an immensely chaotic and fragmentary daily experience for 20th century society. Modernist artists and filmmakers reflected on this confusion and disarray by exploring its effect on the inner-self: the psyche and the unconscious mind. Symbols and motifs as well as the framing and layering of images were two primary approaches artists used to represent this experience, as exhibited in Salvador Dali and Luis Buñuel’s surrealist film Un Chien Andalou (1929) and a clip from Fritz Lang’s M (1922).

He introduces how physical space can create an emotional response (Scholastic Art), where his intention is to play with our infused ideas and thoughts of the objects meaning as well as its shape. His artwork is related directly to the everyday life and is summarised in two main points: the freedom of opinion, and the desire to explore the subconscious (Palm 2008). The critical analysis relies on different resources such as academic journals, books and interviews and the mainly focus throughout the paper is in regard to major elements of Christo’s work, particularly colours, light illusion, materials and

This essay aims to further extend Pasolini’s argument on the long take through a textual analysis of the Zapruder film and comparing it to a two minute extract of The Eternal Frame.

There’s a certain reversed symmetry to our practices; while I come from the world of theater and now make art, his artwork sometimes finds itself propelled on stage. Director Paul Claudel and choreographer Michele Swennen rightly saw the dramatic potential of his pieces and animated them in staged productions. But even without a scene, his assembled vignettes exude a strong meditative quality that I’d like to capture in my own work. For instance, pseudo-sacred and playful pieces like Rêve D’envolement Porté par la Forêt Tranquille (‘‘On the fly-off dream Carried by the Quiet Forest’’), Les Arches du Silence (‘‘The Arches of Silence’’) and Milles et Trois Souffles d’Écorce (‘‘Thousand and Three Breaths of Bark’’) fuse found natural materials with carved human faces. In such a way, the French artist places mankind’s memory, represented by the wide-eyed, open-mouthed figures, in parallel with the earth’s own power of remembering (audio). The characters’ expressions of amazement appear to hint at the occurrence of a “historically momentous, transcendent event” (Andera and Stone 210). Those pieces seem to ask questions of the viewers regarding their own relationship with the natural world. Thus, on top of expressive and touching scenes, de Villiers’ art can be seen as providing small doses of antidote against the profanation of forests and

Sartre’s idea that “Freedom is what you do with what's been done to you.” is a critical concept in existentialism. This art piece is symbolic of this idea through the portrayal of a hand, composed of Sartre’s negative words, shadowing the dancer, who is in a state of bliss, despite the harshness she has faced in the words behind her.

In the poem,“The Street” by Octavio Paz, the speaker describes the line of life he walks on. He is followed by a man he knows is there but doesnt meet him. The speaker explains the perspective of the man following him.

Arnold Schoenberg’s celebrated monodrama of 1912, Pierrot lunaire, op. 21, offers a compellingly personal perspective on Pierrot’s allegorical relationship to the artists of fin-di-siécle Europe. So too, in his fusion of music and poetry, does Schoenberg provide what may be the most powerfully illustrative example of the character Pierrot’s appeal to artists of the era.

An important insight is the understanding of the background, of the era at the beginning of the 20th century. Freud’s thought evolves on a specific background around it, during the process of industrialization, development of the technologies from photo-cinematic inventions to the mechanisms applied in war. Visual arts such as painting, motion pictures, photography were aimed at mirroring an uncovered epoch and life in it, together with the military conflict and further militarization which aligned a human being to a machine, an ‘automaton’ (Freud 227), as a result these aspects threaten an ordinary, habitual way of life and trigger the inceptives of the uncanny sensations. Regardless the above-mentioned foray of cutting-edge machinery, Freud, nevertheless, derives the instances of sensus numinis from literary studies, namely Romantic and Gothic literature. These are the instances such as the opposition between being animate or inanimate which evokes ‘intellectual uncertainty’ (Freud 221) whether the events or the objects that are presented to the intended reader by the writer are legitimate or fictitious, in other words, whether the situation is ‘real’ or ‘imaginary’. A further source of the uncanny feeling that is delivered by Freud from psychoanalytical experience is anchored to the fear of castration (Freud 231). Freud refers this example to the

In approaching Pasolini's difficult elegy "The Ashes of Gramsci", the reader must bear in mind a number of contradictory threads in Pasolini's aesthetics. Pasolini was, in his own idiosyncratic way, a Catholic, a homosexual, a Marxist, and an anti-Fascist: to write an elegy for the famous Communist leader Antonio Gramsci is, in its own way, a public act. But Pasolini cannot help but be himself, with all of his own contradictions. His elegy for Gramsci is hardly going to be a doctrinaire exercise in socialist realism: instead it tries to capture a sense of difficulty, within its autobiographical and public elements.

The Human Condition, or La condition humaine was two paintings created by Rene Magritte, one in 1933 and the other in 1935. Both contain many formal similarities, yet the main point of the painting is that there is a painting of a landscape, yet that painting perfectly fits with, or completes, the landscape, as if it was perfectly drawn. In this analysis, I will be analyzing Magritte’s first painting, made in 1933. Magritte’s works often include objects hiding behind others, such as with Magritte’s The Son of Man, where a man in a bowler hat is hiding his face behind a floating apple. Magritte does this also in the Human Condition, yet to express a different meaning. Magritte is one of the major spearheads of the surrealist movement, a type of modernism, in which the fabric of realism and definitions are questions. One of Magritte’s more famous works, The Treachery of Images, Magritte shows a picture of what obviously is a pipe, yet, written in French beneath the image, states “This is not a pipe.” This was the dawn of a philosophy which would take the western art world by storm, called structuralism/post-structuralism. This is the philosophy where ideas/words and their meanings can be flexible depending on the viewer or the circumstance. This philosophy believes in the subconscious identification with images/colors that people have with art. In Magritte’s Treachery of the Images, his statement that “this is not a pipe” can be interpreted in different ways. One could say,

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.

This essay will argue that Jacques‐Joseph Tissot (later James Tissot) depicts modern life through Waiting for the Train (Willesden Junction) (1871-1873, Dunedin Public Art Gallery) by painting the interaction of a young middle-class woman and the modern environment of a London train station. Tissot (1836-1902) was a French Realist who broke away from the traditions of religious and classical painting through the style of rigorous naturalism which was common in the nineteenth century. He paints life as it is in the modern era, depicting the social and cultural norms of the time. The social and cultural norms of the nineteenth century are seen in Tissot 's Waiting for the Train (Willesden Junction) where the finely dressed upper-middle class mingle, waiting for the train at a London Station. During this essay I will make the conclusion that Tissot depicts modern life through the formal elements of Waiting for the Train (Willesden Junction) which include composition, colour, line, texture, scale, proportion, balance, contrast, and rhythm. I will then go on to make a stylistic analysis explaining how Waiting for the Train (Willesden Junction) fits into the stylistic category of Modernism and then the more specific category of Realism. Finally, I will analyse how Tissot depicts modern life by discussing elements of influence including the writings of Charles Baudelaire and the artwork of Édouard Manet.