...Scene for Narrative I received my first report card of high school and inscribed on that paper was five bold A’s. I sat at the kitchen table holding that piece of paper in my hands and a shiny, toothy smile. Weeks later I sat in Spanish 2, taking Chapter 3 test while my mind filled with images of my dad lying in a hospital bed with his leg amputated. I heard the bell ring and looked down at my test to see question 10-20 empty. The next day Mrs. Anderson handed me the two-page test upside-down. I whipped that stapled test over and instantly my stomach fell to my toes. A big, red F was scribbled on the first page. Every test I took for the next year and a half, my mind filled with the horrid images of my father injured or laying in a casket covered with a crisp, new American flag draped over the dark chestnut casket. My mind filled with the thought of not having anyone to make proud or show my successes to at home. At midterm of my sophomore year, I sat at the kitchen slowly opening up the envelope. I pulled the piece of paper out and the first letter I saw was a C. As I continued down the line, there were two B’s, three C’s, and two D’s. I was startled by the buzzing of my phone vibrating on the wooden table. I answered, “Hello?” “Sweetie it is your dad. How was your day?” replied my father. “Well Dad, I got my midterm report today. And well, I have two B’s, three C’s, and two D’s.” I whispered. “Hunny, it is just a midterm report which means these grades do not show up...
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...Officer Palafox was dispatched to 347 Bay Ridge Drive, Daly City on the report of domestic violence. I observed the following issues when we arrived on scene; • Officer Palafox drove passed the target address and then stopped in a position which exposed his back potential shooting positions from the residence. • I exited our patrol vehicle and stood behind a parked vehicle for cover, several houses from the address. Officer Palafox stood behind me, using a residential mail box as cover. Officer Palafox asked me if I was standing in cover “Just in case”. I responded that our vehicle was parked in an unsafe location. He then proceeded to go back to the vehicle and move it. This exposed him to the same unsafe situation for a second time. • While waiting for a cover unit, the garage door opened to the target residence and a vehicle began backing out. A female exited the vehicle and looked over...
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...wishes he could go back to high school and change it. He wakes up one day and is seventeen again and gets the chance to rewrite his life. The genre of this film is comedy romance, which is a hybrid genre as I can find lots of signs and conventions in the movie. For examples, the kissing scenes and some silly reactions of the characters can be found in the movie. What’s more, the lighting in this film is high-key lighting which connotes the meaning of happiness and serenity. Moreover, the mode of address in this film is indirect to the audience which was used the third person angle to encode the meaning to the audience. On the other hand, I choose this movie because of few reasons. Firstly, I love the main character- Zac Efron very much. He has acted in many teenage romance films before, for instance, High School Musical 1, 2 and3. After I watched the High School Musical, I admire his out-looking and his acting skills. Therefore, I choose this film. Besides, the narrative of this movie is very special, which is a non-linear structure and always include some flashback scenes. Firstly, I am going to analyzing the narrative structure of this text. As Todorov mentioned; narrative structure can be divided into 5 parts, which are equilibrium, disequilibrium conflict, recognition of disequilibrium, attempt to...
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...COMM120 Zarchfel N. Lumasag 2FREE1 TH 8:00 -11:00 AM Narrative Analysis of Night Crawler Night crawler opens with the image of an unaltered billboard that is draped in white. The billboard that would normally promote, advertise or represent something is instead blank, emotionless. This could not be a more appropriate image to open this film with consideringNightcrawler is a film that is devoid of emotion, sentiment or integrity. This form of detachment from human emotion does not stem from the film’s content, but rather from Jake Gyllenhaal’s portrayal of the film’s main character, Lou Bloom. Even in the strictest of definitions, the character is a sociopath who feeds off the vulnerability of others. By proxy of Gyllenhaal’s performance, the film transforms itself into an unapologetic film that chronicles the plight of its lead character without ever throwing judgment or morality upon his actions. A sociopath, in many regards, is opportunists. They craft a narrative and use their persuasive social skills to create an entry into individual’s lives, companies or corporations. Typically such personalities are perceived to be harmless, such as being personable and generating attention towards them. Also, their inability to feel guilt often feeds into their confidence, which allows for them to present themselves as being more than they actually are. Gyllenhaal’s performance occupies many of these qualities, to which the viewer...
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...1) I believe that although there is no dialogue or actors in this film, there is still a discernable narrative that guides the film. The first shots in the film are entirely of naturally occurring landscapes and phenomenon that occur on Earth. Although no dialogue is ever spoken, the music combined with the scenic nature shots create a sort of “build up” to the next element introduced to the film, humans. The narrative throughout Koyaanisqatsi, seems to be a reflection of the increasing impact that sentient life has on a planet. It is interesting, however, to observe which footage Reggio used to depict this mounting involvement of humans and technology into the plot. At first, I thought Reggio was attempting to make a statement about the harmful impact of environmental pollution caused by man. However, as the film progressed, the footage of technology and man seemed to play an indifferent role towards nature. The footage of factories and vivid time-lapse shots of city skylines at night are not portrayed in a negative light but instead in more of a chaotic one. In my interpretation, this chaos of the human impact on nature and the growing complexity of technology are depicted because that is simply how life has become for modern humans. Life is chaotic and the addition of increasingly intelligent beings trying to make order out of chaos will ultimately be futile. In other words, the very attempt at creating order out of chaos is chaotic in and of itself. The footage of nature...
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...Is Meg presented simply as a comic fool? In The Birthday Party, Pinter makes Meg a fool so that the audience can feel above her. The establishment of the audience’s feeling of superiority is, for me, best exemplified in the discourse between Meg and Petey: PETEY. ‘there’s a new show coming to the Palace….’No singing or dancing’. MEG. ‘What do they do then?’ PETEY. ‘They just talk (pause)’ MEG. ‘Oh’. This device ridicules Meg, as the audience obviously comprises a group of people who enjoy shows in which ‘they just talk’. Pinter therefore uses mockery of class and lack of intelligent understating as a comedic device with Meg. Pinter uses dramatic irony to push this, like Meg’s speech in Act 2, which confirms her naivety. This conforms to conventional clichés of the comedy genre, in which class and social aspects are frequently used. Studies have shown[1] that the middle class use comedy to assert social authority as a form of veiled snobbery, suggesting that Meg is simply a comic fool. However, I see Meg less as a simple source of humour but more as a moving representation of isolation. A lot of the humour when Meg is portrayed as a comic fool, and thus the conforming to the comic genre arises out of her general social awkwardness. The non-sequiturs and awkward pauses highlight her social ineptitude, contrasting deeply the mellow tones of Petey, like in the discourse: ‘PETEY: Yes, it gets light later in winter’, to which Meg replies simply ‘Oh. (Pause) What are you reading...
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...and preservation of the evidence while it is in their possession. Initial Collection * Before any evidence is removed from the crime scene, there should be an evidence custodian designated as the person in charge of initiating and maintaining all evidence. This person needs to document the crime scene location, as well as his time of arrival. There should also be a crime scene log established, witness list and documentation of identification, arrival and departure times of all law enforcement crime scene personnel. Record Keeping * The investigator who handles the evidence initially should affix her name, badge number and assignment to the package containing the evidence. When the evidence leaves the officer's possession, a record should be made in her case notes identifying to whom the evidence was given, the date and time, and the reason it was turned over. A signed receipt should be obtained from the person accepting the evidence and another signed receipt should be obtained when the item is returned. When the item is returned, the officer should examine the item and determine if the item is in the same condition as when it was discovered DNA Evidence * DNA evidence can have a critical role in determining a person's guilt or innocence. Many states now require permanent storage of any DNA collected at crime scenes. The chain of custody documentation for biological matter collected at a crime...
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...Author Note This paper is being submitted March 9th, 2014 for Mr. Zimmerman’s ENC 1102 English II course. Poetry Essay Death. Death is the ultimate end of a living creature or a process. With death, once what was can never be again, just a mirror or similar shadow. Death is the final scene and emotional goodbye. Even though depressing, death is both necessary, and sometimes rewarding in a sense of cleanse and beginning of a new state. PARAGRAPH Mid-Term Break is a poem relating to my theme by the death of a young boy. This poem happens to capture the normal reaction to death, although shown differently by random people. The father taking it the worse, “In the porch I met my father crying – He had always taken funerals in his stride.” The boy was seemingly confused by death, and what it actually was to behold until the end of the poem. “He lay in the four foot box as in his cot. No gaudy scars, the bumper knocked him clear. A four foot box, a foot for every year.” A hard line to read as we learn in the end that he was a young boy, while his brother realizes that death is definitely not forgiving. He also notices that death is not always violent or shocking in appearance, but cold and unchangeable due to the pale and empty look of his brother. A very sad poem and challenging time for family and friends. PARAGRAPH Let Evening Come is a less depressing poem relating to death. It is more of a poem in acceptance of death, and reaffirmation that it is normal and ok. Death...
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...achieved through the use of a seamless narrative which is accomplished by not just the script or story itself, but includes every aspect of what goes into making a successful movie. Mise en scene encompasses everything that goes into creating the movie, the actors and also those behind the scenes; the director, producer, the set and costume designers, camera and lighting people, editors and how they all interact to deliver a smooth flowing story that is in the classical Hollywood style. The seamless storytelling format depends on many variables. The set design can be very important and objects that are seen on camera can enhance and advance the narrative. Sometimes these objects are written in the script as objects to be used, while other times they are there merely to provide ambiance. The use of the camera and expressive shooting angles can also provide us with different views of the scene. A wide angle lens can show us the bigger picture as in a panoramic view of the whole scene. A rule that many Hollywood producers follow is the 180 degree rule in which the camera remains on the same side of an imaginary line which runs through the center of the scene. This insures continuity from one shot to the next and keeps the narrative flowing smoothly. The camera is not the only prop that is utilized to advance the narrative. The lighting also plays an important role in how we see the characters of the movie in a particular scene. Classical Hollywood style uses a three-point...
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...killed 99% of the whole of human population in the year 1996. The scientists of the year 2035 seem do have a hidden agenda throughout the film as it is unclear why they believe and insist that the deadly virus cannot be stopped but can only be cured. Such sentiments bring out the hidden plot, which unfolds in the nail-biting finale of the movie. At the end of the movie, Cole meets his death in the arms of his lover Dr. Railly. In the last scene, it seems as though the scientists from Cole’s time had set him up to his death. This raises question over the real reason why the scientists sent Cole back to the past. The scientists confess to developing the virus 30 years ago to Cole as well as implicating Mr. Goines, who is Cole’s friend from the past. When Cole closes in on the truth he meets his demise. After Cole’s death, Dr. Peters meets with a scientist from the past in the plane. Railly then poses a question to Peters of whether humanity is doomed or not. This question remains in the minds of the viewers as there is no obvious answer to it. Narrative Structure The structure of most films can be broken down into three major steps. The first step is the initial problem which is the pivot of the plot of the story. It is followed by a conflict, dilemma or complications that the character’s face in a bid to solve the problem. The...
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...Unit: Point of View Introduction In this unit we will examine point of view. The perspective from which the story is told is a key facet of narrative. “In telling a story, who tells it is of paramount importance” (Bohner and Grant 15). Narrator “Choosing a narrative point of view is perhaps the most important and most difficult decision a writer of a story makes. Point of view—like plot, character, setting, and language—is a creative decision; however, it is also a very much a technical decision” (Bohner and Grant 15). “Someone has to tell the story. That someone is called the narrator. But the question is who will that narrator be and what does the narrator know” (Bohner and Grant 15). Mediation Drama and film unfold directly before our eyes. In narrative fiction there is always something (a viewer, a speaker, both) between the reader and the action: a point of view other than our own has already been imposed. This is mediation. Point of view involves the angle of vision (the point of view from which the people, events, and other details are viewed). This view is called the focus. The words of the story lying between the reader and the story is the voice. Focus Focus acts like a camera. It chooses what we can look at, the angle at which we can view it, and how it is framed. In this case, a tv screen vs. a movie screen. Details and emphasis change depending upon the frame and the focus in both text and film. Angles in film...
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...Cigarette smoke, dark, alleys, and linear shafts of light seeping through half-closed venetian blinds--these are the visual elements we typically associate with film noir. More often, however, the genre can be defined thematically, usually relating to the protagonist’s futile efforts against forces out of their control (Defining Film Noir). The world portrayed by these films does not make much sense and there is no apparent rhyme or reason behind the inevitable twists and turns. This atmosphere of uncertainty is intensified by the use of a restricted point of view. We experience the narrative through the eyes and voice of the protagonist, rarely surpassing him in awareness. The protagonist is often motivated by a sense of justice that goes...
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...Another Form of Narrative Mise-en-scène is everything that is shown on camera. However, mise-en- scène is more than just the staging of scenes. The important functions of mise-en- scène are shown in the film The Secret in Their Eyes (2009), directed by Juan José Campanella. Without a good mise-en- scène, it would be more difficult for the film to narrate the story and highlight the theme; this is because mise-en- scène plays an important role in the development of narrative, upgrading of dramatic effects, and the presentation of theme. By unfolding the contents of narration, the setting, one of the components of mise-en- scène, helps the viewers’ understanding of the narrative. The old-school objects and items, such as the characters’ costumes, the vehicles, and the black-and-white photos, in The Secret in Their Eyes, told the audience that the story was taking place in an earlier time. According to David Bordwell, a famous film theorist, and his wife Kristin Thompson, the combination of setting and costumes would “reinforce narrative and thematic patterns”. One of the important settings in the movie was the soccer stadium, where Benjamin and Pablo captured Gomez. The size of the crowd and the stadium allowed Campanella to show the viewers how challenging it was to spot and capture Gomez. In addition, the loudness of the noise at the stadium was effective for intensifying the dramatic effect during the chase scene, or in this case, the climax. Lighting is also crucial...
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...first person narrative that begins as a prolepsis paragraph that also has a mysterious tone to it. “It's past midnight. Over the whump of the wipers and the screech of the fan belt, we lurch through the side streets of Southeast Portland in a battered white van,”. This direct quote is a “flashforward” and a narrative hook. The reasons for these two narrative styles is because the quote describes the scene of what is to come in the story and it convinces the audience to continue to read the story. “Well, yes. Technically, this is a journalistic exercise--at least, that's what we keep telling ourselves”. This quote proves that Lydgate and Budnick are narrating this story in first person because they continued to use the pronoun ‘we’ several times throughout the narrative....
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...time of human progression byway of revolution, sexuality, and violence. Spartacus launched the trajectory of Kubrick's career as well as sparked his creative style, which he then perfected in 2001. Both of these films, the largest productions Kubrick worked on during the 1960s, are therefore exemplary in understanding the evolution of Kubrick's style. There are certain key traits that can be found throughout Kubrick's work, regardless of when said work was filmed or produced. These traits begin as subtle, fostered notions in Spartacus, culminating to a unique method of entirely visual storytelling in 2001. The first of which is Kubrick's use of color. Kubrick uses color intentionally, to reflect the mood or convention of the cinematic narrative. Examples of this will be given in accordance with examining both Spartacus and 2001, but it should be noted that Kubrick's use of color is not simply for aesthetics. Second is Kubrick's use of extended tracking-shots or extended stationary shots, the subject of which is often complex and intricate. Both the symbolic use of color and the style of shooting might appear merely as stylistic markers, but Kubrick uses them to further convey his theme. The theme, to which Kubrick adheres through most if not all is work is simple: man's attempt to control chaos, however militaristically strategic or technologically advanced, is eventually laid to waste via human error or chance. These aspects--the use of color, the extended camera shots, and the...
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