Cal State Fullerton History and Achievements of American Advisors Group Research

Mira Mesa Flannery O Connors Essay

Mira Mesa Flannery O Connors Essay.

I’m working on a english writing question and need support to help me understand better.

Flannery O’Connor’sInstructionsPlease respond to the following questions on Flannery O’Connor’s short story “A Good Man Is Hard to Find.” Your response must be roughly between 200-300 words in length. Once you post your response, please rebut to, comment on, and/or ask at least two of your peers (more than two recommended) an analytical question regarding his/her thread post. Additionally, please include at least one syntax related suggestion. Prompt: One way to understand this story is to ask what O’Connor is telling us about what constitutes a “good” person. Her definition here is largely negative. What is a good person not like, according to the story? What, then, is a good person like? How does O’Connor’s depiction of “good” relate and contribute to the concept of the wandering believer as we’ve discussed?What does The Misfit mean when he states, “She would of been a good woman…if it had been somebody there to shoot her every minute of her life”?What is one striking biblical concept, imagery, or symbol used in this story and how does it support the story’s theme? Explanation and citation required. (This is an optional question)If you are dissatisfied with O’Connor’s ending of the story, how would you write the ending differently? Either rewrite it or give us a brief overview.
Mira Mesa Flannery O Connors Essay

University of California Davis Platos Crito Study Questions

cheap assignment writing service University of California Davis Platos Crito Study Questions.

I’m working on a philosophy multi-part question and need a reference to help me learn.

part 1Plato’s Crito Study Questions1. What is Socrates’ argument for the view that “we should not…think so much of what the majority will say about us, but what he will say who understands justice and injustice…”?2. What is Socrates’ argument for the view that “one should never do wrong in return, nor injure any man, whatever injury one has suffered at his hands”? 3. Socrates personifies the laws and the state as a way of presenting arguments that could be made against his escape. Is there anything suspicious about this move, in your opinion? Does it obscure any aspect(s) of the discussion which would make a difference if we saw it/them more clearly? 4. The personified laws and state argue that a citizen has no right to retaliate against the laws and the state. Explain this argument. 5. The personified laws and state argue that a citizen who has reached adulthood and chooses to remain in the city has come to an agreement to obey the laws and the state. For what reasons is the citizen bound to such an agreement? Plato’s Phaedo, 57a-77d Study Questions1. In 40-50 words, discuss the main points Socrates makes in his defense of the view that philosophers should be willing and ready to die. (63e-68b) [Pay particular attention to 65b-66a. What is knowledge of? How does this relate to the idea that philosophers should be willing and ready to die?]2. Explain Socrates’ argument for the view that “the living come from the dead”. (70c-72a)3. In 40-50 words, explain the argument by which Socrates attempts to use the theory that learning is recollection to prove that our souls exist before we are born. (72e-76e)
University of California Davis Platos Crito Study Questions

The Black Death: Impact On Society

The Black Death was the biggest disaster in European history. From its beginning in Italy in late 1347 through its movement across the continent to its fading out in the Russian hinterlands in 1353, this plague killed between seventeen and twenty eight million people. The gruesome symptoms and the deadliness, have fixed the Black Death in popular imagination. Discovering the disease’s cultural, social, and economic impact, has occupied generations of scholars. Despite the growing understandings and wonders of the Black Death’s effects, definitive assessment of its role as historical turning point continues to be a work in progress. Like the plague’s death toll, its economic impact resists incompetent measurement. The Black Death’s timing made a superficial labeling of it as a turning point in European economic history nearly inevitable. It arrived near the close of the high Middle Ages (c. 1000 to c. 1300) in which urban life reemerged, long distance commerce revived, business and manufacturing innovated, agriculture matured, and population grew rapidly, doubling or tripling. The Black Death simultaneously proposed an economically stagnant, and a depressed late Middle Ages (c. 1300 to c. 1500). Even if this crude and somewhat misleading portrait of the medieval economy is accepted, isolating the Black Death’s economic impact from diverse factors at play is a daunting challenge. Aware of the differences between the high and the late Middle Ages, students of medieval economy have offered a wide variety of explanations, some mutually limited, others not, some favored the less dramatic, and the less visible, yet consistent factor as an agent of change rather than a disastrous demographic shift. For some, when the climate cooled it undercut the agricultural productivity, a downturn that rippled throughout the primariy Agrarian economy. For others, exploitative political, social, and economic institutions enriched an idle elite and deprived working society of resources and incentive to be inventive and productive. Yet others associate trade and industry factors with the fourteenth and fifteenth century economic depression. In the reconstruction of the Middle Ages, the population growth was hard-pressed against the society’s ability to feed itself. The uprise in deficiency and contracting holdings compelled the peasant to develop inferior, low fertility land and to convert pasture to poor production and thereby reducing the numbers of livestock and making manure for fertilizer less availible. Boosting gross productivity in the immediate term yet driving yields of grain downward in the long term to intensify the disproportion between population and food supply; redressing the imbalance became expected. This idea’s supporters see signs of demographic correction from the mid thirteenth century onward, possibly arising in part from marriage practices that reduced fertility. A more potent correction came with subsistence crisis. Wretched weather in 1315 destroyed crops and the ensuing Great Famine (1315-22) . It reduced northern Europe’s population by perhaps ten to fifteen percent. The Black Death’s impact on the economy’s commercial division is a complex problem. The enthusiasm of the high medieval economy is generally conceded. When the first millennium gave way to the second, urban life revitalized, the trade and manufacturing flourished, merchant and craft gilds emerged, commercial and financial innovations thrive. The integration of the high medieval economy reached its high point c. 1250 to c. 1325 with the rise of large companies with international interests, such as the Bonsignori of Siena and the Buonaccorsi of Florence and the materialization of so called “super companies” such as the Florentine Bardi, Peruzzi, and Acciaiuoli (Hunt and Murray, 1999). The Black Death’s impact on business its full due, but emphasizes the variety of the plague’s impact from merchant to merchant, industry to industry, and city to city. Success or failure was equally possible after the Black Death and the game favored adaptability, creativity, nimbleness, opportunity, and foresight. Once the magna pestilencia had passed, the city had to get by with a labor supply even more greatly decimated than in the countryside, due to a generally higher urban death rate. The city, however, could reverse some of this damage by attracting, new workers from the countryside, an occurrence that deepened the crisis for the manorial lord and contributed to changes in rural settlement. A reappearance of the slave trade occurred in the Mediterranean, especially in Italy, where the female slaves from Asia or Africa entered domestic service in the city and the male slaves worked hard in the countryside. However, finding more labor was not a universal remedy. If peasant or slave could perform an unskilled task effectively, but could not necessarily replace a skilled laborer. The gross loss of talent due to the plague caused a decline in per capita productivity by skilled labor was remedied only by time and training (Hunt and Murray, 1999; Miskimin, 1975). Another immediate consequence of the Black Death was displacement of the demand for goods. A suddenly and sharply smaller population ensured a surplus of manufactured and trade goods, whose prices plummeted for a time. The businessman who successfully weathered this short term disproportion in supply and demand then had to reshape his business’ output to fit a declining or at best sluggish pool of potential customers. The Black Death had altered the structure of demand as well. The standard of living of the peasant improved, however, chronically low prices for grain and other agricultural products from the late fourteenth century deprived the peasant of the additional income to purchase enough manufactured or trade items to fill the hole in commercial demand. In the city the plague concentrated wealth, often considerable family fortunes, in fewer and often younger hands.When coupled with lower prices for grain, left greater per capita of disposable income. The plague’s psychological impact, in addition, influenced how this windfall was used. Glumness and the specter of death spurred an individualistic pursuit of pleasure, a profligacy that manifested itself in the purchase of luxuries, especially in Italy. Even with the reduced population, the gross quantity of luxury goods manufactured and sold rose, a pattern of consumption that continued even after the extra income had been spent within a generation or so after the magna pestilencia. Like the manorial lord, the affluent urban bourgeois (a person belonging to the middle class) sometimes employed structural impediments to block the ambitious parvenu (a person who is newcomer to a socioeconomic class) from joining his ranks and becoming a competitor. A inclination toward limiting the status of gild master to the son or the son in law of a sitting master, is evident in the first half of the fourteenth century, gained further forward motion after the Black Death. The need for more laborers and journeymen after the plague was conceded in the shortening of terms of apprenticeship, but the newly minted journeyman often discovered that his chance of breaking through the glass ceiling and becoming a master was virtually nothing without an entrée through kinship. Women were also being banished from the gilds, they were unwanted competition. The urban laborer had no access to urban structures of power, a potent source of frustration. While these measures may have permitted the bourgeois to hold his ground for a time, change was erupting in the city as well as the countryside and gild monopolies and gild restrictions were disputing by the close of the Middle Ages. In the new climate created by the Black Death, the businessman did retain an advantage. The business judgment and techniques perfected during the high Middle Ages. This was critical in a contracting economy, in which gross productivity never attained its high medieval peak. A fluctuating economy demanded adaptability and the most successful businessman not merely weathered bad times, but found opportunities within adversity and exploited them. Post plague businessmen’s had a preference for short term rather than long term ventures. They once believed a product of a depressing despondency caused by the plague and made worse by widespread violence, decay of traditional institutions, and nearly continuous warfare. It is now viewed as a judicious desire to leave open entrepreneurial options, to manage risk effectively, and to take advantage of whatever opportunities arise. The successful businessman observed markets closely and responded to them while exercising strict control over his concern, looking for greater efficiency, and trimming costs. (Hunt and Murray, 1999). The Black Death may indeed have made its greatest contribution to popular revolution by expanding the peasant’s perspectives and fueling a sense of criticism at the pace of change. The plague may also have undercut devotion to the notion of a exquisitely sanctioned, social order and pummeled a belief that preservation of manorial socioeconomic arrangements was essential to the survival of all. This in turn may have raised receptiveness to the apocalyptic socially revolutionary message of preachers like England’s John Ball. After the Black Death, change was inevitable and apparent to all. XXXXIn sum, the Black Death played some role in each uprising but, as with many medieval phenomena, it is difficult to gauge its importance relative to other causes. Perhaps the plague’s greatest contribution to unrest lay in its fostering of a shrinking economy that for a time was less able to absorb socioeconomic tensions than had the growing high medieval economy. The rebellions in any event achieved little. Promises made to the rebels were invariably broken and brutal reprisals often followed. The lot of the lower socioeconomic strata was improved incrementally by the larger economic changes already at work. Viewed from this perspective, the Black Death may have had more influence in resolving the worker’s grievances than in spurring revolt. The European economy at the close of the Middle Ages (c. 1500) differed fundamentally from the pre-plague economy. In the countryside, a freer peasant derived greater material benefit from his toil. Fixed rents if not outright ownership of land had largely displaced customary dues and services and, despite low grain prices, the peasant more readily fed himself and his family from his own land and produced a surplus for the market. Yields improved as reduced population permitted a greater focus on fertile lands and more frequent fallowing, a beneficial phenomenon for the peasant. More pronounced socioeconomic gradations developed among peasants as some, especially more prosperous ones, exploited the changed circumstances, especially the availability of land. The peasant’s gain was the lord’s loss. As the Middle Ages waned, the lord was commonly a pure renter whose income was subject to the depredations of inflation. In trade and manufacturing, the relative ease of success during the high Middle Ages gave way to greater competition, which rewarded better business practices and leaner, meaner, and more efficient concerns. Greater sensitivity to the market and the cutting of costs ultimately rewarded the European consumer with a wider range of good at better prices. In the long term, the restructuring caused by the Black Death perhaps fostered the possibility of new economic growth. The deadly disease returned Europe’s population roughly its level c. 1100. As one scholar notes, the Black Death, unlike other catastrophes, destroyed people but not property and the very slim population was left with the whole of Europe’s resources to exploit. The resources were far more substantial by 1347 than they had been two and a half centuries earlier, when they had been created from the ground up. In this environment, survivors also benefited from the technological and commercial skills developed during the course of the high Middle Ages. Viewed from another perspective, the Black Death was a cataclysmic event and reduction of expenditure was inevitable, but it ultimately diminished economic impediments and opened new opportunity. References and Further Reading: Bailey, Mark D. “Demographic Decline in Late Medieval England: Some Thoughts on Recent Research.” Economic History Review 49 (1996): 1-19. Bailey, Mark D. A Marginal Economy? East Anglian Breckland in the Later Middle Ages. Cambridge: Cambridge University Press, 1989. Campbell, Bruce M. S. “Agricultural Progress in Medieval England: Some Evidence from Eastern Norfolk.” Economic History Review 36 (1983): 26-46. Campbell, Bruce M. S., ed. Before the Black Death: Studies in the ‘Crisis’ of the Early Fourteenth Century. Manchester: Manchester University Press, 1991. . Herlihy, David. The Black Death and the Transformation of the West, edited by S. K. Cohn. Cambridge and London: Cambridge University Press, 1997. Horrox, Rosemary, transl. and ed. The Black Death. Manchester: Manchester University Press, 1994. Hunt, Edwin S.and James M. Murray. A History of Business in Medieval Europe, 1200-1550. Cambridge: Cambridge University Press, 1999. Miskimin, Harry A. The Economy of the Early Renaissance, 1300-1460. Cambridge: Cambridge University Press, 1975. Platt, Colin. King Death: The Black Death and its Aftermath in Late-Medieval England. Toronto: University of Toronto Press, 1996. Poos, Lawrence R. A Rural Society after the Black Death: Essex 1350-1575. Cambridge: Cambridge University Press, 1991. Ziegler, Philip. The Black Death. London: Penguin, 1969, 1987. Citation: Routt, David. “The Economic Impact of the Black Death”. EH.Net Encyclopedia, edited by Robert Whaples. July 20, 2008. URL http://eh.net/encyclopedia/article/Routt.Black.Death

An Overview of Existentialism Theory

In a clearer sense “Existentialism” is a 20th century philosophy that is examined the idea of existence and of the way people found themselves existing in the world. The idea is that people as individuals exist first and then each person spends their existence varying their understanding of that their life’s nature or essence was meant to be. In a simpler term, existentialism is a philosophical thinking that a person might experience when worried with finding their self and what the meaning of life may be through, life choices, free will, and the undertaking of personal responsibility. The principle is that we as humans are searching to discover who and what we are throughout life, as we make choices based on experiences, attitude, and sometimes beliefs. What is more individual choices becoming distinctive without the need of a detached form of truth. An existentialist might consider that a person ought to be required to decide and be accountable for their own existence without the assistance of other things such as laws, cultural rules, or rituals. Existentialism takes thought of the basic notions: Human free will Human nature is chosen through life choices A person is best when struggling against their individual nature, fighting for life Decisions are not without stress and consequences There are things that are not rational Personal responsibility and discipline is crucial Society is unnatural and its traditional religious and secular rules are arbitrary Worldly desire is futile Existentialism can mostly be described in a multiplicity of perceptions and really there can’t be one given answer as to what it really is, but still it does not embrace any of the idea: wealth, pleasure, or honor make the good life social values and structure control the individual accept what is and that is enough in life science can and will make everything better people are basically good but ruined by society or external forces “I want my way, now!” or “It is not my fault!” mentality (All About…, n.d.) There is a varied diversity of philosophical thinking, religious beliefs, and political ideas that make up what existentialism is, so there is no general agreement in a subjective set of beliefs and ideals. Since beliefs vary, each gets that the individual’s best freedom is what’s important for people within a society. Existentialism’s Influence on Humanity Existentialistic beliefs came at a time where in society there was a sense of hopelessness following World War II and the Great Depression. There was an essence of confidence in people whose life that was devastated by events of World War I and its tragedies. This depression had been voiced by existential philosophers such as Kierkegaard, Dostoyevsky, Nietzsche and Sartre well in to the 70’s and has remained on to this day as a common way of thoughtfulness and reasoning. With freedom to decide one’s desired belief and lifestyle, an existentialist could a very of things from being a “religious moralist, agnostic relativist, or an amoral atheist.” With Kierkegaard being a religious philosopher, Sartre an atheist and Nietzsche an anti-Christian. Being credited for their workings and literatures on existentialism. With Sartre being noticed for taking the philosophy to global attention in the 20th century era. With a philosophy work based on a lecture called “Existentialism is a Humanism” he gave in Paris, 1945. Then a well-liked starting point for debates on Existentialist views, his work has been criticized by some philosophers. Even Sartre later disapproved of some of the views he stated and had regression over its publication. Each basically agrees that human life cannot be fully complete and completely pleasing since due to misery and past or current suffering that occurred when reflecting on ones lack of power, control and perfection over their lives. While they did approve on that life is not always satisfying, it nevertheless has a meaning. The hunt and journey one takes for find their true self and true personal meaning in life. The arbitrary act when someone or society attempts to insist or demand that their rules or beliefs are to be closely accepted and observed. Existentialists trusted that this destroyed individuality and makes a person become what the people in power desired, (similar to Michel Foucault on docile bodies) thus dehumanizing them and reducing them to being an object. A person’s decision is the important factor when taking into account what is to be trusted rather than religious or cultural rules. References All About… (n.d.). Existentialism. [online] Available at: http://www.allaboutphilosophy.org/existentialism.htm [Accessed 10 Jan. 2017]. Burnham, D. and Papandreopoulos, G. (n.d.). Existentialism. [online] Internet Encyclopedia of Philosophy. Available at: http://www.iep.utm.edu/existent/ [Accessed 10 Jan. 2017]. CrashCourse, (2016). Existentialism: Crash Course Philosophy #16. Available at: https://www.youtube.com/watch?v=YaDvRdLMkHs [Accessed 9 Jan. 2017]. Foucault, M. (1995). Discipline and Punish. 1st ed. New York: Vintage Books. Sartre, J. (1948). Existentialism and Humanism. 1st ed. London: Methuen. Slow cinema is a cinematography style which stems from the artist film genre and which involves conveying a sense of a designed slowness to its viewer. Films in this genre often involves a lot of resistance to the use of movement and sometimes emotions, the absence of “causality” and focus on realism, such as, silent in a car. (ÇaÄŸlayan, 2014) This affect is normally achieved through the practice of using long takes, minimalist acting, slow or inexistent movements of the camera, and sparse editing along with unconventional music. Slow cinema came from the slow movement which encouraged a social change toward slowing down one’s life pace. It apparently began in the year 1986 with Carlo Petrini’s protest against an opening of a McDonald’s in Rome. This eventually sparked the creation of what was called the “slow food movement.” And over time, this had established into sub cultures in other areas, like “slow cities,” “slow fashion” and of course “slow cinema.” The “slow” moniker has successively been related to a range of activities and parts of culture, especially in a world that now release on things being so fast, such as “action movies” and “fast food.” I happened to then look for books and even thesis’s relating to slow cinema, being delighted to read “The Multisensory Film Experience” a book that argues that it is the “experience” one feels from the viewing of film that is inherently multisensory and not the medium, contained a great deal of significances to materials and elements that is also appropriate for use in Slow Cinema, or that comes specially from slow films. The book even discusses Slow Cinema, which hadn’t shocked me at all. With the help of its supporting video so to help get a better understanding of how these techniques would work, it claims that the multisensory experience in viewing a film can be felt mainly in ones with little to no dialogue. Films which have permitted time for its viewer’s experience and films which are often seriously concerned with “beauty” or the appreciation of “beauty” in its cinematics be in colourful landscapes or thoughtfulness of subject framing. That is not to say that other genres of films created don’t create or give this experience. It is simply more challenging to identify with blockbuster styled action movie as multisensory experience rather than as a product which uses image and sound extremely, nevertheless that doesn’t mean it isn’t there. Particularly, Antunes states that “By using non-verbal communication and the senses, these films capture the interest of various audiences. The experiential appeal of these films is universal.” (Antunes, 2016:7). The point that it is the “experiential” aspect is universal describes to me why there seems to be a relatively sizable group of people fascinated by slow cinema based films, and when asked why they are attracted to it, it seems that they may all feel the same way. Surely to different degrees, nonetheless it’s constantly about the individual’s own experiential characteristic towards the films, not about how they feel towards the actress looks, or how staggering the use of movie cuts occurred. There is a feeling that lies within these individual’s own identity in a way, who appreciate slow cinema, and I believe that me reading Antunes’ book is a very good start to discovering this “feeling”, the same way with discovering the feeling relating to Existentialism. Although the video above isn’t a fair comparison it is to gain an understanding of the major scenes of slow cinema verses Hollywood blockbusters might entail. Different genres give a different experience especially when it comes to the use of cinematic framing and even acting. The viewers are there to experience the film in a different light. To me the experience you acquire from viewing slow cinema is subjective and generally individual; so, I can’t prove anything or write a neutral scientific review backed up with facts I can only show you the style and methods it uses in hope that you can experience it in a similar way to me. But film viewing isn’t fact, it’s experience. It always has been and it will always will be, be it that we’re discussing films of from the popular mainstream releases or to niche art house cinema. References Antunes, L. (2016). The Multisensory Film Experience. 1st ed. Chicago: University of Chicago Press. Antunes, L. (2016). The Multisensory Film Experience: A Cognitive Model of Experiential Film Aesthetics (Luis R. Antunes, 2016, Intellect Books). Available at: https://vimeo.com/166639673 [Accessed 5 Jan. 2017]. Alayan, O. (2014). SCREENING BOREDOM: The History and Aesthetics of Slow Cinema. Ph.D. University of Kent. JoBlo Movie Trailers, (2014). Night Moves Official Movie Clip #1 (2014) Jesse Eisenberg, Dakota Fanning HD. [image] Available at: https://www.youtube.com/watch?v=zU96c-uEWxc [Accessed 5 Jan. 2017]. Keene, S. (2015). Slow Cinema vs Hollywood. Available at: https://www.youtube.com/watch?v=W-YTt8zfCOw [Accessed 5 Jan. 2017]. Existentialism being a catch-all word used for those philosophers who consider the nature of the human condition as the crucial philosophical problem and who share the opinion that this problem is best tackled through what is called “ontology.” With existentialism being a philosophical theory that a person is an unrestricted being who have power over their own choices and actions. Existentialists believe that people should not limit their individual’s life or actions and that limitations constrain a person’s free-will and the growth of that person’s real potential. To get a better understanding existentialism, it was important for me to look into examples of existential situations, activities and questions. It was also fun to look into how the media industry use of this theory is done and which movies and directors were famous for their use of existentialism. Common Existential Actions Taking charge for your own actions. Deciding your career based on what you think is the most significant way to spend your future. Living your life without concern on following all if any of commonly-held religious or social beliefs Trusting in yourself that as educator you are offering a positive and critical role in the growing of your students. And more “extreme” behaviors such as releasing all of your belongings and going on some sort of self-journey. Existential Questions To get an understanding of how existentialism view life, here are instances where existential questions may come into play: Who am I? What is my real purpose or identity? What is the meaning of life? What is the meaning of existence? What is my greater purpose? What is death? And what happens when to a person when they die? Is there a god? And if there is a god, what is the nature of god? Existential Crisis Examples An existential crisis is when a major changes relating to life or tragedy happens and causes us to start questioning our real identity. Such as: Being in education you entire life and have become so used to the routine however when you’ve come towards the end you not entirely sure which path you want to continue with. You fall in love and want to live with that person forever. Then you discover that person does not feel the same way. You identify yourself as an athlete and have a promising career. Then you have a severe injury and your career is over. At that point, you would have an existential crisis because you have defined yourself as an athlete. If you are raised to believe that God rewards good people and punishes bad people, you may have a problem coping with injustice or cruel acts inflicted by bad people on good people. You see yourself as a parent so when the children leave the home, you are faced with a crisis in how you perceive yourself. You are a soldier and you have been told that you will be considered a hero by people you are trying to help. Then you find out that they hate you. Existentialism x Media Monty Python dealt with existentialism in their 1983 film “Monty Python’s The Meaning of Life” Alice in Wonderland – Alice wishes she hadn’t come there but it was her decision and no one else’s. In Natasha Bedingfield’s song, “Unwritten” where in the lyrics she explain that no one else can take the blame since it was a person decision out of their own free will to do it. “Feel the rain on your skin, No one else can feel it for you, Only you can let it in… No one else, no one else” In the movie “Stranger than Fiction” – the character Professor Hilbert implies that Harold can do whatever pleases him, even if it just means eating nothing but pancakes. This is to point out that he should go out and live his life. The movie “I Heart Huckabees.” In this movie a character uses a blanket to represent the universe and that each part of the blanket is a person or thing. Theatre of the Absurd has roots in existentialism as shown in “Waiting for Godot” by Samuel Beckett, where characters discuss their lives while waiting for Godot. In Jean-Paul Sartre’s “No Exit” , people are left in a room and they think it is hell but no one arrives to torture them. They soon see that they really there to torment one another but instead they converse about each other’s lives. Directors of Existentialist Films Some movie directors are well-known for their existentialist films such as: Christopher Nolan Stanley Kubrick Woody Allen Wes Anderson Jean-Luc Godard Charlie Kaufman These are all different examples that can help gain a better understanding of what existentialism is and how it has been used in the media, both in film and music, also who is known for using elements of this theory in the process of their creative process. References: Burnham, D. and Papandreopoulos, G. (n.d.). Existentialism. [online] Iep.utm.edu. Available at: http://www.iep.utm.edu/existent/ [Accessed 4 Jan. 2017]. CrashCourse, (2016). Existentialism: Crash Course Philosophy #16. [image] Available at: https://www.youtube.com/watch?v=YaDvRdLMkHs [Accessed 4 Jan. 2017]. YourDictionary. (n.d.). Examples of Existentialism. [online] Available at: http://examples.yourdictionary.com/examples-of-existentialism.html [Accessed 4 Jan. 2017]. With my idea following the styling of slow cinema, its meaning even more importance is put on the use of cinematic and well as how the characters are framed in order for the viewers to get the emotions and feelings of the character without having to use dialog, so i began researching how best to do this has I have loved the work of Tom Campbell. There are many different techniques to express emotions on screen, from obviously expressing it with dialog to tapping into the use psychological effects related to colour. But framing shots in specific ways can also be really effective at communicating a character’s emotional and mental state. Though it might seem like a bit of a puzzling idea, of communicating feelings through visuals however it is relatively straightforward. There are a number of elements in filmmaking that do the job, and filmmakers, like Steve McQueen, Frank Darabont and Alfonso Cuarón combined them to produce some of the most effectively moving and emotional scenes in cinematics. From watching the video by Simon Cade DSLRguide, one of the main pieces of information that was just briefly touched upon, is that storytelling with the use of cinematography is basically the art of visually portraying some sort of change. If your characters happen to go through an important change during the script, let your cinematographic selections reveal that change. Let’s say that a character starts out, terrified, shy or timid of the world around him. You could start off with framings that minimizes the character’s size while accentuating and increasing the situation around him. The use of “Wide-angled” lenses are great for this purpose as they capture more of what’s in view. Then, as the narrative develops and the character becomes self-confident, your framings and lens choice should begin to develop with that change. Instead of using wide-angles, you choose a longer focal length that separate the character from their foreground and background, and frame them so that they are equal or even larger in the frame as the other characters around them. The other important insight from watching this video shows is that with cinematography, none of these “rules” are set in stone. As we’ve seen from many other experimental pieces and even TV shows, rules are meant to be broken, and in fact, many filmmakers overlooked these conventions in their own work such as cinematographer Tom Campbell on Mr. Robot. The essential thing is that you make knowledgeable use of cinematic choices based on what’s happening in the story and what your character is undergoing emotionally. James Manning discusses a bit on how the producers of the award-winning TV show Mr. Robot uses framing, namely quadrant framing, to communicate the social anxiety and distrust experienced by its protagonist, and we me taking inspiration from the show on how to frame my characters to help show they’re emotions on scene without having to using dialog. As we have seen there are numerous different recognised concepts about composition and storytelling with just cinematics, that looks to enlighten us on how a character’s placing within a frame affects the audience’s understanding of the scene. The general view of the “Rule of Thirds” states the frame is split into horizontal and vertical guide lines that create a multi-quadrant grid, the crossings of them then serves as the focal point for anything of significant to the image such as faces and objects. There are many ways to play around with this perception such as placing the things of main importance at a crossing, but you can also communicate different things by placing your subject inside a certain quadrant. An example by, how the creators’ placing Elliot in the bottom left quadrant gives the feeling of how he is isolated, and even untrusting of what is around him. The reason for this stems from the relationship between “positive space” and “negative space” with negative space being the space that surrounds a subject, while positive space is usually the subject itself. If a character, which is conventionally the focal point of the framing, simply takes a small portion of the frame, the negative space enhances and becomes much more noticeable and even consuming, which can result in provoking emotions such as isolation, loneliness, suspicion, distrust and powerlessness. References CineFix, (2016). 3 Brilliant Moments in the Visuals of Emotion. Available at: https://www.youtube.com/watch?v=NDFTFFA0LtE [Accessed 3 Jan. 2017]. DSLRguide, (2015). Composition Framing – Storytelling with Cinematography. Available at: https://www.youtube.com/watch?v=MfIanZimZR8 [Accessed 3 Jan. 2017]. Manning, J. (2016). Mr Robot: Unconventional Framing (Video Essay). Available at: https://www.youtube.com/watch?v=Se6ftrRd5KM [Accessed 3 Jan. 2017].