Who Is El Muerto?

In order to dehumanize a group of people, there must first be a clear separation between who is the “us” and “them.” The conservative documentary Border War: The Battle Over Illegal Immigration (2006), takes the viewer into the lives of several people who are impacted by the growing issue of undocumented Mexican immigrants crossing the The Mexico–United States border. This film creates a one-dimensional or single conception of undocumented immigrants through the use of language, such as “illegal” or “alien” and various other combinations. Another method is through the imagery it showed while there was dialogue being said. Most of the imagery in this film creates a narrative that undocumented Mexican immigrants are violent and a threat to Americans. Additionally, the sympathizers and protesters against border reform were portrayed as anti-American radicals. The production of this documentary was not only used to direct our view of undocumented immigrants to a single account, but also to establish false truths that turn undocumented immigrants into a “them.”

The camera movement from one side of the street to the unknown neighbor's house illustrated how unwilling they were to listen to Will’s reasoning yet determined to inflict violence upon a presumed “terrorist family”. The previous examples revealed that with the correct camera movement you can enhance feelings, and foretell them too. In specificity to these scenes, the reoccurring slanted motion appealed to the feeling of disarray and foreshadowed the mayhem to come. While the camera movement from one house to another depicted the wrath of the mob; proves that the cam movement allowed the viewer to receive a better sense of what unreasonable fear the characters are feeling.

He showed the police who were calm , the narrator showed the corpse to the

Freedom is the ability to express one's beliefs, wishes, desires, and so on. When people think freedom, they may think of the West being a major symbol of it. However, that is not necessarily the case in several instances. Freedom should be the ability to walk freely, as Chief Joseph described. The unfairness towards the Chinese, Native Americans, and the Hispanic Americans counteracts the idea of the West symbolizing freedom.

Conquistador is a term that defines the soldiers and explorers of the New World. There are many conquistadors before the discovery of the New World. However, the most important and unforgettable conquistador was born between sometime in the 1470s. Francisco Pizarro, Gonzalez, is the Spanish conquistador who was the leader of the expedition of the Inca Empire. And behind this expedition, there is a long story that defines a man and events that prove facts. So, who is Francisco Pizarro? According to the facts, Francisco Pizarro was born in Trujillo, Spain. His date of birth is unknown, but some say that it is sometimes in the 1470s, perhaps 1474. He was the illegitimate son of infantry Colonel Gonzalo Pizarro, who was

Alfred Hitchcock’s Rear Window is a uniquely captivating film that is an exemplary style of cinematic craftsmanship. Reaching into the minds of the characters, as well as the audience, Alfred Hitchcock is the master at utilizing the juxtaposition of images to bring us into the minds of the characters. In Rear Window, the story is so distinctively executed that it allows us to relate to our own curiosities, question our identities, and ponder our closest relationships. What is happening on the screen is merely a projection of our own anxieties, our own existence, and our self-ambiguity as portrayed by the characters in this wonderful film.

In the Land of Open Graves Jason de León personifies the US-Mexico border crossers who are often dehumanized and reduced to the “undocumented”, and simultaneously explores the interaction between sociopolitical power and hybrid collectif in producing the deterrence that serves the interests of the US government. He elucidates the true objective of the Prevention Through Deterrence Strategy which funneled the border crossers to hostile environments such as the Sonoran Desert of Arizona with the aim to enhance fatal consequences of illegal immigration and discourage people from violating the law. Most interestingly, the policy rests on the “personification of the dessert”, scapegoating nature for increased death rates and “masking the workings

Antonio Lopez de Santa Anna was born in Jalapa, Veracruz Mexico, on February 21, 1794. He belongs to a “criollo” middle class family. His parents were from Spain. He was a Mexican politician and military leader who was President of Mexico eleven times from 1833 to 1855. He was president officially six times, and unofficially five more. He was also a disastrous president of Mexico because he lost Texas and much more of the current American west in the United States. However, by far he was an important figure of his generation in the Mexican history. Many people love him during his first years of president, and he was remembered for two major conflicts, the Battle of the Alamo in 1836 during the Texas Revolution, and as a restored Mexican leader during the Mexican-American War in 1847 (tshaonline.org).

The topic of immigration is quite a delicate matter for most of the Americans, and understandably so, as it does have some significant impact economically as well as socially. But in the midst of this intricacy, are the lives of those immigrants who are brutalized frequently and face severe consequences because of their choice to settle to a different country. The theme of “$4000: The Price of a Mexican” written by Patrisia Gonzales and Roberto Rodriguez is how Mexicans who have migrated to the United States are often dehumanized and their lives are considered worthless, but most of all, about how commonplace it has become for Americans to do so. The article also draws attention to how the punishment for killing a Mexican worker is worse than the one given for killing a dog. The writers

The movie begins with a shot of a cemetery of unmarked crosses. From the beginning, the audience is clued in that this isn’t going to be a simple film. Herzog does an outstanding job dragging out the transitions between scenes, whether it be the sun setting on a highway, or fields of corn shaking gently in the breeze, to create a bleak ambiance that carries out throughout the film. It gives time for the audience to analyze the new information they’ve been given to add onto their own judgements. When the audience first gets to view the original crime scene where the bodies of two young men were discarded, only the sound of insects and other nightlife can be heard, creating an unsettling effect that only adds to the gruesome

The thriller film ‘Witness’, directed by Peter Weir in 1985, tells about cultural conflicts between the Amish of Western Pennsylvania and Modern American corruption and violence. Philadelphia Police officer, John Book was obligated to hide from the three brutally and corrupt police officers as they were looking for a little Amish boy, Samuel Lapp. The boy witnessed the brutal killings and identified the killer as the three police officers. The ‘Witness’ strongly displayed many images of people and incorporated several techniques and images in various scenes to portray the contrast between two different worlds.

As they are travelling Richard gets a phone call from Stan Grossman, a business man he made a deal with so he can earn something from his motivational programme. Richard loses him so he stops over at a petrol station and calls him. Richard is excited at first but his facial expressions change drastically, Richard finds out that he isn’t successful with his programme and that he didn’t get the deal. This comes as a shock to Richard as he tried really hard with his programme. In the bus Edwin goes to Richard and tells him that he is proud of him. The camera cuts to a two shot of Edwin and Richard, this shows that Richard and Edwin connect and start to unite. This is also emphasized by violins and cellos playing a sombre tune in the background. They stop over at a motel to spend the night, Richard and Sheryl start arguing about what their problems and they didn’t get any money from the deal. Richard decided to go to Scottsdale and meet up with Stan Grossman, we see Richard trying to push the bus all by himself. This shows us the obstacles Richard is facing, this is also emphasized by the background music which sounds like slow carnival music which reminds us of a sad clown. As Richard is traveling on the highway he looks small and ridiculous travelling on a small scooter on a huge highway, he doesn’t fit in the picture. A sign on the road says Scottsdale 23 miles; this again shows the obstacles that Richard has to face by

The camera then moves outside the hotel, where there are no streetlights. The only lights are coloured white, blue and red from the police cars, suggesting an element of danger in the film. The darkness and the police cars further enhance the suspense and the idea that action is about to happen. When the agents arrive, their faces are lit up. We notice that they have absolutely no

An analysis of how cinematography, editing and mise en scene creates meaning and response in the Blood Bath scene of Taxi Driver (d. Scorsese 1976) Taxi Driver was directed by Martin Scorsese and written by Paul Schrader, in the film the director explores the journey of Travis Bickle (Robert De Niro) and his slow descent into madness and eventually to murder. In the final scene of the film Travis goes to a brothel to murder the people inside and save the young prostitute, Iris (Jodie Foster). Meaning and response is provoked by lighting, shots, editing and costume and I will discuss how this relates to the context of the time. The scene opens with Travis parking the taxi, the colours in the scene are muted and desaturated creating a dismal atmosphere.

A man named Carlos Chagas found the Chagas Disease. He was born in Oliveria, Brazil on 1879. Their family owned a coffee plantation. Carlos’s father passed away when he was around 4 years old. His mother wanted him to study engineering, however, his uncle, who was a physician, sparked his interest in medicine. He told Carlos that Brazil was not industrializing due to endemic disease that was in the country. In 1896, Carlos Chagas studied at Rio de Janeiro. He chose “Hematological Aspects of Malaria” as his topic for his thesis. He worked with Dr. Oswaldo Cruz who was a Parasitologist. Dr. Cruz found many vaccinations for small pox and