Annie Miller

“The Story of Stuff” is a short video created by The Story of Stuff project in 2007. In the video, writers Annie Leonard and Jonah Sachs describe the process of turning natural resources into consumer goods, then into waste. The writers describe a seemingly linear five-step process: extraction, production, distribution, consumption, and disposal. Leonard and Sachs describe a carefully-scripted culture of unsustainable consumption and waste. The extraction phase of “The Story of Stuff” refers to

In the 1977 film, Annie Hall directed by Woody Allen, Alvy Singer played by Allen is followed through his relationship with Annie Hall, played by Diane Keaton. The thematic elements of the relationship between Alvy and Annie is an example of the 1960’s and 1970’s film era. The relationship demonstrates the new youth directed aspects, the explicitly of drugs and sexuality and the offbeat new values and point of view of youth. The relationship between Alvy and Annie is complex and modern. The young

in Kincaid's Annie John In his article "Negotiating Caribbean Identities," Stuart Hall attempts to relay to the reader the complications associated with assigning a single cultural identity to the Caribbean people. Even though the article is intended by the author to represent the Caribbean people as a splicing of a number of different cultures, the processes Hall highlights are noticeable on an individual scale in the main character of Jamaica Kincaid's novel, Annie John. Annie John's quest

Loretta Lux grew up in Soviet occupied East Germany. She was raised inside the Berlin Wall that came down when she was 20 years old. A year after the wall came down in 1990 Loretta stared studying paintings and art which she perused until 1996. Three years on and she had started studying photography. In 2004 she had her first solo show in America at the Yossi Milo Gallery, New York. In 2005, Loretta received the Infinity Award for Art from the International Center of Photography. Her work has since

communication privacy management theory appears several times throughout the film. Annie has two contrasting experiences with privacy boundaries. Annie is engaged Walter, a wonderfully kind and gentle man, who absolutely adores her, but has an obvious character flaw with his constant talk of allergies. Annie gives the impression that she is incredibly happy with Walter when in reality she is quite bored with him. While Annie loves Walter’s tenderness, she can’t disclose her deep dark secrets with him

The Upstream and Downstream of Seeing Annie Dillard’s “Seeing” discusses the two possible ways to properly see things and relates them to light versus darkness in nature and upstream versus downstream of a river. The essay explains that there are two ways to see things in the world; to look for something specifically or to let go of the desire to see something. Both types of seeing are also combined with either brightness or darkness and with either upstream or downstream. Dillard has trouble seeing

In "Living like Weasels", author Annie Dillard uses rhetorical devices to convey that life would be better lived solely in a physical capacity, governed by "necessity", executed by instinct. Through Dillard 's use of descriptive imagery to indulge her audience, radical comparisons of nature and civilization, and anecdotal evidence, this concept is ultimately conveyed. Incontrovertibly, one of the first things one may notice upon reading the work, is the use of highly explicit imagery connecting

Health Imber-Black (2014) delves into the dangers that toxic secrecy plays in four different family situations. The dangers of keeping the health problems of family members a secret (and the triangles that are formed while doing so) are addressed. On the other hand, specific questions are laid out to better help patients understand who they may or may not need to share their specific health problems with (Imber-Black, 2014). The dangers of keeping toxic secrets are innumerable and maintaining them

Annie Liebovitz's Women After reading a book on various feminist philosophies, I evaluated Annie Liebovitz's book and collection of photographs entitled Women according to my interpretation of feminist philosophy, then used this aesthetic impression to evaluate the efficacy of feminist theories as they apply toward evaluating and understanding art. “A photograph is not an opinion. Or is it?” So begins Susan Sontag's introductory essay to the book Women, a collection of photographs by Annie

Annie Dillard's Pilgrim at Tinker Creek Annie Dillard opens Pilgrim at Tinker Creek mysteriously, hinting at an unnamed presence. She toys with the longstanding epic images of battlefields and oracles, injecting an air of holiness and awe into the otherwise ordinary. In language more poetic than prosaic, she sings the beautiful into the mundane. She deifies common and trivial findings. She extracts the most high language from all the possible permutations of words to elevate and exalt