Walter Ruttman

Throughout the reading this week, the information presented in David Elliott and Bennett Reimer’s texts stressed the importance of music and more specifically, music education. “People everywhere find music rewarding, and everywhere we find people engaged in formal and non-formal efforts to teach and learn music.” (Elliott, 2014, p. 4)

The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and

In his article, The Power of Negative Thinking, Oliver Burkeman discusses the realities behind excessive optimism and the benefits to negative thinking. Specifically, Burkeman argues that positive thinking hinders the preparation and motivation necessary to tackle actual real world problems whereas negative thinking allows for such preparation. His argument’s strengths come from his constant use of logic in regards to his evidence whether it be the “fire walkers” in the first paragraph or the opinions of Barbara Ehrenreich in the paragraph nine. In short, Burkeman does a superb job of championing the benefits of pessimism through his criticism on positive thinking.

African Americans all over the world have sacrificed the things they love, and sometimes even their lives, for great causes and to protect others. In 1942, a courageous man named Clifford Chester Pittman was born in the small and peaceful town of Port St. Joe, Florida.

Absolute film was a movement created by a group of artists in Germany in the 1920’s (Wikipedia). Hans Richter, Walter Ruttman, Oskar Fischinger, and Viking Eggeling were the pioneers who created absolute film, and all of them had artistic backgrounds besides Fischinger. Most cinematic projects have a story line, and something you follow through, but with absolute film it is quite the opposite. Absolute film depended solely on the artist’s vision and imagination for the film. It was a remarkable revolution in cinema, that a film could be created simply off a visual spectacle with aid from auditory music. No story line, no characters, nothing… just random images, colors, shapes flowing on the screen to music made to evoke imagination.

He created divisionism in which an artist paints dots in bright colors closely together, from which then they merge and from a viewers point allows you to see the subtle contrast of the shapes. This technique creates a grainy look.

The major influences that led to Leni Riefenstahl’s rise to prominence includes a fateful event that kindles her fascination with film, the continual influence of mountain (Berg) films and acclaimed director Dr Arnold Fanck as well as her first début as a director and producer.

My interest lies with its ability to form narrative across the surface of an image. We usually define narrative a sequence of events, usual expressed in multiple images. However, it is with works like Raphael's, and further works like Signorelli's, Resurrection of the Flesh (1502), that narrative is expressed so clearly on a single plane. Again, when one simply covers the top half it is as if to remove a single frame of a film. Such ideas are no more clearly presented in works like Michealangelos Sistine chapel roof where he elects each work to its own panel, framing each scene like exposures on a roll of

Walter Lee Younger is one of the characters who does not openly show his affection or longing for African values. Being dissatisfied with his current situation, he rather focuses on achieving an improvement of life for him as well as for his wife Ruth and his son Travis. However, even Walter Lee reveals Africa’s significance in the African American way of life – though just in a very short episode. Seeing her sister wearing a traditional Nigerian robe while dancing to a Nigerian folk song, it evokes an atmosphere of happiness, placing himself mentally from America to his ‘lost spiritual homeland’. In fact, seeing Beneatha and Walter Lee dancing together to Nigerian music, Lorraine Hansberry achieves to portray again issues concerning Ethiopianism.

Walt Witman is considered the first urban poet. He republished his life long work, “Leaves of Grass” several times. Constantly revising it and adding more to it. When he sent his first edition of the book to Emerson, he got warm receptions and praises for his work. Walt often wrote about sensual things. For this he was criticized harshly even, Emerson advised taking parts out of his book, he adamantly refused to do so. This type of writing has never been seen before Walt’s time. Witman would often walk the streets of New York and observe people, busy about their day. Witman received inspiration from his walks and put them into his writings. Most writers of this time wrote about fantasy lands, love, or war, however, Witman writes about the here

Stylistically, M appears to be a continuation of the style that was established in cinema through the German Expressionist movement and developed through the Kammerspielfilm, which focused on the actors, lighting, and set design to further investigate the psychological foundations of characters in middle and lower-class environments (150). M can be considered to be part of the third type of film that was produced during the Weimar period that is known as die neue Sachlichkeit (New Objectivity), which portrays "fatalistic and grimy lower-class realism" through the cinematic lens (150). M is able to marry characteristics found in each of these three periods of German cinema.

While researching in the reference room in University of Wisconsin Stevens Point library, I came across this author Walter Bradford Canon, in the Macmillan Encyclopedia of death and Dying. This encyclopedia lead me to a website linked to the book called The National Center for Biotechnology Information (www.ncbi.nlm.nih.gov). The website educated me about Walter Bradford Canon, and his role as a physiologist of human emotions. He developed the phrase “flight or fight”, which means fear of death and the process of how the brains nerves system reacts to anxiety of dying. Cannon’s credible quote is a useful for my essay because it relates to my thesis and theme in my

Robert Storr quoted, ‘One does not find many brush marks’ in the paintings, notes Storr, adding that ‘the squeegee is the main protagonist’ (see Storr, 2009, p.69). Storr posits Richter’s use of the squeegee and what he refers to as the resulting ‘smears’ as the artist’s single most innovative contribution to the history of painting. He observes that Richter’s large, handmade squeegee tools, which often extend to several metres wide, have a clear flexible edge, allowing Richter to observe what is occurring on both sides of the blade as it moves across the surface of the painting distributing pre-applied amounts of paint. Storr continues: Depending on the quantity, consistency, and placement of the paint and the degree of pressure employed,

As we look deeper into the historical contexts that came about in Germany during the 1920’s, Germany was confined due to the isolation the country was experiencing during World War I. During this solitude, the German government banned foreign films. German Expressionism was formed in result of the conclusion of World War I which compelled Germany to establish its own style of cinema. German Expressionist films produced in the Weimar Republic

Luhrmann is eccentric and unconventional in his filming as he illustrates ideas and themes to modern audiences while still working with older texts. He uses Red Curtain Cinema in all his movies. Red Curtain Cinema breaks classic Hollywood traditions and the purpose of it is to entertain,