White Chicks Poster

This poster looks the way it does because it seems to glorify war with many hot colors (red, orange and yellow) and being an exceptional warrior. The people in the background seem to be in pain and dying. There also appear to be rather large explosions in the background. It shows a courageous and powerful woman wearing an armor and having two swords on her both hands. This thing is indicating an incredible woman who have many monsters behind her, and she walks through them. It means that she killed the monsters, overcame her challenges, and destroyed the war to protect the world and maintain the piece. The poster also shows that the movie with a supper woman will be coming soon because the poster has ‘COMING SOON’ is bold and and capital with

As Hannah Miles explains, “The peach skin color of the woman is a typical depiction of a Caucasian American, while yellow is the color stereotypically assigned to people of Asian descent”. In addition to this, the man in the poster has slanted eyes, which “illustrate another Asian stereotype, and the monkey-like face depicts the Japanese as animalistic monsters” (Miles). The frightening and prejudiced characterization of the Japanese figure in the poster in contrast with the delicate and harmless appearance of the Caucasian woman was crucial in creating fear of the Japanese race and a perspective that they were nothing but monstrous beings. Racist propaganda was not limited to just posters, even well respected publications like Life Magazine produced such material. A December 22, 1941 edition of Life published photos & text on how to identify Japanese people from the Chinese, portraying Chinese as harmless, friendly people, and Japanese as an unfavorable enemy. As can be seen in Figure 2, the Chinese man is described as a “public servant,” while the Japanese man is listed as a “Japanese warrior” whose face “[shows the] humorless intensity of ruthless mystics” (Miles). Hannah Miles explains further that “skin color and facial features are generalized for each race, feeding into the stereotypes that permeated American psyches.” A vast majority of wartime propaganda was published in the form of posters, but the extent of influence reached as far

The students have just found out that one of Patricia Polacco’s books has been chosen to be made into a movie. Each student is responsible for making a Coming Attraction Poster that will be hung in all the local movie theaters. Each student will have already chosen and read the book. The poster (12” x 18” construction paper) should include title/author/illustrator. They are to list all the important characters to the story. Students can also assign an actor/friend to portray the different characters. An example of this would be Mr. Falker played by Tom Hanks. Students will then illustrate one scene from the book, and finally write a short paragraph explaining

The use of the color in the settings, make the film very unique in a very good way. For example all of the houses are colorful. The buildings and houses are very well placed throughout the film. The bright colors and well placed houses make the scenes and the overall movie unique. The bright colors make the movie memorable, because bright colors stand out more than other duller colors. Another example of the films features that make the movie memorable are the characters. The characters in this film wear very flashy clothing, which shows the audience that the characters have

Source three is an Australian propaganda poster created for World War One, which is attempting to recruit soldiers, and especially sportsmen, to replenish the front lines for the war going on in Europe. The main idea of the source contemplates the idea of uniting as a political and military power to stop the rebel forces, over the ability of healthy Australian men playing sports, and not protecting their country's freedom. In the forefront of the photo, we see an image of Victoria Cross recipient and Australian soldier, Lieutenant Albert Jacka. This image serves both as an inspiration and a sign of hope for the people of Australia. The people of Australia view Jacka as a war hero, and the picture of him may have acted as a means of enthralling

The aesthetics of realism in each film can be utilized in many diverse ways to offer certain truths about the world of the film to further express the film’s story. These theatrical elements emphasize what the film attempts to relay to the audience; moreover, it intensifies the authenticity of each aspect of the film. The use of real people, on-camera interviews, textual information, and of direct address to the camera displays the realism of each film.

Bigger perceives Buckley on the poster as pointing and staring directly at him. This poster is a representation of how Bigger experiences the world around him; he is constantly told that he cannot win against the oppressive forces in society and has started to believe it. He cannot hope to “[create] a new life for himself” (Wright 105) because others around him have already defined what his life can and will be; they are completely in control and he is trapped by their definitions. He describes Buckley’s eyes on the poster as following him, showing how he believes whites are staring at him, scrutinizing his every action. The appearance of the poster foreshadows Bigger’s losing battle with white authority, represented by Buckley. This is made significant later when Buckley is the prosecutor during Bigger’s trial; he is there to make sure Bigger does not win, and even forces a confession out of him, confirming Bigger’s guilt. This advertisement serves as a constant reminder for Bigger and other blacks that no matter how hard they try, they cannot win and are not in control of their own lives. Using this kind of an advertisement highlights how the media perpetuates these psychologically damaging

Clearly, this poster supports the war efforts by encouraging the people of Canada to refrain from talking about war, as spies that are associated with enemy countries could listen to their conversations relating to war, and the spies could implement this information into their own war plans. Therefore, this is a major issue that concerns Canada as Canadian civilians could leak out unwanted knowledge to the enemy countries. The historical knowledge that the viewer must need to fully interpret my poster would be the Canadian government feared sections of their war plan could leak into the hands of the enemy. As a result, the government passed the War Measures Act, which granted them full control over the lives of all men and women of Canada.

For instance, the anti-draft poster containing the text “Fuck the Draft” was designed in 1968 by Kiyoshi Kuromiya, a devoted activist whose causes included civil rights, gay rights, HIV and AIDS awareness, and Vietnam War protests (**). As a college studen, Kuromiya belonged to the same demographic group as his target audience, and he held the same manner of anti-war sentiment as they did. The “Fuck the Draft” graphic protest appeared on a mail-order flyer that advertised it as “a little something for Mother’s Day,” with the option to send an additional copy to the wives of prominent political figures (**). In Kuromiya’s poster, black and white only color choice lends the poster very significant contrast, while it also creates a discordant, uncompromising appearance that matches the poster’s almost tenacious, and definitely combative tone. Its minimalist nature allows it to rely purely on the provocative style of its content to convey its crucial

Distinctive images are often filled with various qualities, and these qualities often create interest and create unique experiences. The John Misto play ‘The Shoe Horn Sonata’ and the Craig Johnson film ‘The Skeleton Twins’ both demonstrate images which are distinct and help the audience figure out the two texts. Images, along with various film and dramatic techniques attract the eye and help give a positive response and often a feel of the characters and what is occurring. Without the use of images, the two texts and many other texts would not be distinctive visually.

Howard uses the color of the American flag on Rosie’s clothes; white, red and blue. She is wearing a red headband with white round dots, and a dark blue shirt with the factory logo on the collar. In order to set her figure apart he places her in front of a bright yellow background in order to grab the audience's attention on her feminist figure. The first thing that draws my attention was her face, then to her strong arm she's showing us and then after to the caption above her. A four strong word phrase in a dark blue bubble says “We Can Do It”. Miller wrote it in a big white bold print in order to add more strength, and he capitalized each word and added an exclamation mark at the end of phrase. This way it spreads the world faster, at the same time it attract the readers attention on what the message of this poster is. The main focus is on Rosie’s arm, she is standing on the left side and her arm on the right side is lifted showing her strong biceps. Alex W. White, the author of The Element of Graphic Design claims that “the image is asymmetrical…suggests motion and activity. It is the creation of order and balance between unlike or unequal elements”(235). Her arm is shown closer to the viewer than her body, an therefore creates a visual that it is bigger than it is. That being said this reflection of the imagine symbolizes a

Forman presents this film and plot to us in a direct and simple manner. The camera will zoom in on a personality without trying to conceal the detail of its being there. As a viewer you can feel the camera moving forward and zooming in and are persuaded to incline into the screen yourself.

The visual analysis I chose is of Rosie the Riveter, the “We Can Do It!” poster. This poster went around during the World War II to encourage all women to fill the jobs located in a factory named Westinghouse Electric and Manufacturing Company. An artist by the name of J. Howard Miller first created this in 1942. His reason was to build confidence by others who misunderstood women’s rights. Representing women in early 1940’s wartime workforce produced Rosie’s character that served as a cultural icon during this time. Today it serves as a feminist icon by exalting women in various contexts in which experience inequality.

This is a billboard, so it is obviously designed to be an enlarged advertisement that will catch a person’s attention when they pass by. Billboards are everywhere in this world, whether it be to get people talking about a certain product, or to send a “message” to everyone that sees it. Most of the billboards are set up to be in highly populated areas or areas with a lot of travelers, for example the highway. Of course, this billboard was set up in one of the most popular places a person can think of, Manhattan. As a result, so many people from different races, cultures, and even places will see these advertisements and analyze it the way they want to. Regarding this billboard, probably most people who view it will automatically judge the African Americans and think that

In service of this argument, the essay unfolds in three parts. The first section sketches an appropriate framework for understanding how cinema marshals and moves viewers by engaging them in a fully embodied experience.4 The second section offers a brief overview of the film's plot before turning to an analysis of its triptych narrative and affective development. The third and final section considers the methodological, critical, and theoretical implications suggested by the preceding analysis.