...Bonnie and Clyde retains several direct links to Breathless: its influence can be felt in the editing of Bonnie’s bedroom scenes, where nervous jump-cuts suggest her sexual restlessness; in the headlong driving scenes, conveying the exhilaration of the open road; in the exciting acceptance of mistakes, as when a fight spills out of frame and the camera must scurry to catch up. As if to openly state it’s a relationship to Godard’s film, Bonnie and Clyde replicates the scene in Breathless where Michel and Patricia hide from the police in a movie theater, the onscreen dialogue offering ironic counterpoint to the characters’ situation. There’s even an odd reference near the film’s end, when the lens in Clyde’s sunglasses pops loose, just as Belmondo’s does in Breathless. But by comparing two lead characters from each movie you find major contrasts. On Characteristics alone you have some similarities: Both Clyde and Michel are trying to fulfill the dapper gangster look, by wearing suits and fedoras and fancy sunglasses. The comparisons go deeper than that as well, but more specifically the fact that they both rely on a strong female character for support is a major comparison. Although, with that, it brings to light one of the biggest contrasts: how different each of the lead male character’s relationship with the lead female character is. Michel is a more of a playboy and will lay with nearly anyone he can make a quick buck on. But with Patricia who he has slept with before,...
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...” abrupt transitions from one scene to another, Jean-Luc Godard's "Breathless" is one of the most influential films of la nouvelle vague, New Wave cinema, which rejected the "well-made traditional French cinema and embraced a rougher, more experimental personal style" (Ebert). “Breathless” is a film that dared to break away from the conventions of traditional cinema, which consisted of characteristics such as “invisible editing”, three-point lighting that enhances clarity and visibility of subjects, and the notion that the film “had to be inhabited by psychologically-consistent ‘characters’” (Connolly). These techniques were used to reduce the audience’s awareness that they are watching a film, maintaining the illusion that reality is...
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...All the breathless coverage of Elon Musk’s Powerwall battery brouhaha last night is missing the most important thing: a sober discussion of real-world costs. So let’s take a look at the costs and see if this world-shaking, game-changing innovation really makes any sense. Musk said Tesla’s 7 kwh capacity battery would cost $3,000, while the 10 kwh capacity one would be $3,500. (That doesn’t include the cost of a DC-AC inverter – about $2,000– plus professional installation.) The implication is that a 10 kwh system could supply 1,000 watts of current to your home for 10 hours. That’s a good amount of energy. The average American home draws an average of 1,200 watts of power around-the-clock, according to the U.S. Department of Energy. For a sense of scale, a desktop computer draws about 100 watts, a big TV 200 watts. Refrigerators cycle on and off, but average about 100 watts. So how much is that battery power going to cost? Setting aside for a moment the cost of making that electricity in the first place, let’s look at just the cost of using the battery to store it and get it out again. Researcher Winfried Hoffman, the former CTO of Applied Materials , has done some interesting work on the falling costs of battery power. He figures that for a lithium-ion system with an initial installation cost of $400 per kwh capacity, 80% efficiency and ability to run 5,000 cycles, the average cost of stored electricity will be 15 cents per kwh All the breathless coverage of Elon Musk’s...
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...The term French New Wave is also known as La Nouvelle Vague. It refers to the work of a group of French film-makers between the years 1958 to 1964. The film directors who formed the core of this group are François Truffaut, Jean-Luc Godard, Claude Chabrol, Jacques Rivette and Eric Rohmer. They all where once film critics for the magazine Cahiers du Cinéma. Other French directors, including Agnés Varda and Louis Malle, soon became associated with the French New Wave movement. They momentarily transformed French cinema and had a great impact on filmmakers throughout the world. During the late 1950s and early 1960s young film-makers in many countries were creating their own "new waves", but the new wave movement in France turned out to be the most influential. The French New Wave directors' background in film theory and criticism was a major factor in this. They changed notions of how a film could be made and were driven by a desire to forge a new cinema.The term ‘New Wave’ was coined by a journalist named Françoise Giroud who, in late 1957, wrote a series of articles on French youth for the weekly news magazine L’Express. The Cahiers du Cinéma critics were highly critical of the glossy, formulaic and studio-bound French cinema of the 1940s and 1950s, but praised the work of 1930s French film-makers Jean Renoir and Jean Vigo and the work of the Italian neo-realists, including Roberto Rossellini and Vittorio De Sica. They also championed certain Hollywood directors, for example...
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...Artistic Ability Breathless; I lie face down in a stew of my own self protruded filth~ Lifeless; I scream but only lies come out~ I cant seam to find the fire that lies,lays deap within. Self confidence was the enemy and you were the one that gave me all the energy~ Selfless, a quality I lacked without your eyes upon me An audience was what it seamed i needed to give life, live motivity. Dignity and Honesty; I thought I could live without Hang me by the tongue with your nails, and i'd let it all out, A follower I was never good at, as a leader I could never find my way back but I could pretend, follower-Folloher a con to even the A-rabs. I found bravery at the depths of my feet, so low level that it took a piece to knight me, night the trimuph of darkness Cowards natural cloak, like a hard on for the dude sweatin at the park while your children are runnin' a muck, nasty. Filth is all I've left to give after the media sent true artistic ability to the guilotine of commercial disapibilty. Fuck i'm runnin' off track Breathless; I lie face down in a stew of my own brains Suicide, no it's not, that shits just my artistic train of thought nasty, like the lifeless fucks that can't put a foot ahead of themselves in-U-End-Oh Selfless pricks raped of dignity they deviate from star-dumb into bottles named Ass-prin, recovering from an overdose the kid lacked honesty, No I in team but there is a me, a Knight with a piece stood proud at my feet the man...
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...Breathless is a french movie that was released in the 1960. It talks about a sociopathic criminal who steals a car and murders a motorcycle policeman who tries to pursue him. He then returns back to his American girlfriend and begins hiding from the police while continuously trying to seduce her. Towards the end of the film, she discovers what he has done and turns him over to the police. He then accepts the fact that he’s going to get arrested. The police accidentally shoot him and ends up killing him. The movie has very different shooting style from a lot of movies. Instead of having long scenes, Jean- Luc Godard, the director of this movie, constantly uses jump cuts which results in the movie either jumping into a new scene or cutting to the same scene from other places. These cuts show the passing of time like the, for instance, in the car driving scene. Now in the scene where the girl meets up with the American man in the cafeteria, the scene is meant to keep the audience focused on the story by disorienting them with the rough sound and the visual differences and abrupt cuts. The movie was made in france and shown in black and white, it shows to the use of a lot of jump cuts to keep the audiences interested since the movies back then were somewhat longer than they are today. The film has a lot of humorous moments made especially the main character which is interesting because it contrasts what he does to the narrative storyline. Another interesting thing about the movie...
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...socioeconomical factors, environmental factors, biological factors and her employment status. All these factors affect her physical, emotional, intellectual and social development. Genetical Factors: Sophie’s Asthma Medical Condition Asthma is a genetical inherited medical condition that affects her physical development throughout her life stages. Asthma affects the small airways, bronchioles, which carry air in and out of the lungs. Therefore Sophie’s airways can become inflamed, swollen and constricted; this physically puts extra strain on her body when she exercises, making her breathless and dizzy because there is not enough oxygen within the body to make her muscles work properly when exercising. Sophie’s asthma affects her emotional development; this is shown as she still gets embarrassed and frustrated when out in public. When Sophie exercises her asthma causes her to become breathless and light headed very easily. Sophie therefore keeps an inhaler on her. Emotionally she has become slightly unstable at times when faced by embarrassment in front of others. Sophie’s intellectual development shows how she has learned to understand her condition and how to try to avoid triggering an attack. Through support and advice through health care professionals such as health visitors; she has come to terms with accepting that she can manage her condition but may never be able get rid of it as she knows her condition was inherited from her parents. Sophie’s social development...
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...The Life and Death of Flappy Bird February 10,2014 I was late to the Flappy Bird party. I only started playing the annoyingly compulsive chart-topping game on Friday morning because we were featuring it in a discussion about the games business on our new weekly radio programme Tech Tent. But after a couple of hours I, like members of my family, colleagues and just about everyone else, was hooked. It was the crudest game imaginable, with graphics that might have been created 25 years ago. You tap continually on the screen to keep a bird from flapping into a series of pipes. But it was the fact that it was so darned hard that made it addictive - and so lucrative for its developer. Then on Saturday the Vietnamese inventor of the game Dong Nguyen tweeted this: "I am sorry 'Flappy Bird' users, 22 hours from now, I will take 'Flappy Bird' down. I cannot take this anymore." It wasn't clear exactly what he couldn't take any more - after all, he had earlier said he was earning $50,000 (£30,467) a day from the adverts that appeared on the free game. But by Sunday night, true to his word, he had removed Flappy Bird from the Google Play store and from Apple's App Store. If you have just heard about the game and want to play it, tough - it is now only available to the hundreds of thousands, or probably millions who've already installed it. What can we learn from Flappy Bird's brief...
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...4. What exactly makes the creature so horrific to him? He’s afraid of the monster because it’s so ugly - it should have been beautiful -“But now that i had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room, and continued a long time traversing my bedchamber, unable to compose my mind to sleep. A length lassitude succeeded to the tumult I had before endured: and I threw myself on the bed in my clothes, endeavouring to seek a few moments of forgetfulness.” - Page 11, Line 24-30 - “Catching and fearing each sound as if it were to announce the approach of the approach of the demoniacal corpse to which I had so miserably given life.” - Page 12, Line 17-19 - “Pacing them with quick steps, as if I sought to avoid the wretch whom I feared every turning of the street would present to my view.” - Page 12, Line 36-38 5. How does the creature react when seeing Frankenstein? - In what way is the scenario reminiscent of childbirth? In the book "Frankenstein" Victor had intended to create the perfect being, but instead he created a vile creature whose existence he deplores. He tries to distance himself from the creature, but he knows that he is tied to its existence. Initially he tries to teach the creature. He intends to make him react and act more normal. Victor has no patience in developing the creature. Victor pulls away more and more until he abandons...
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...Cinematic Innovations in A Bout de Soufflé A bout de soufflé by Jean-Luc Godard (1960) is full of new attempts both in its form and contents as he made it with such intention: A Bout de Soufflé was the sort of film where anything goes: that was what it was all about. … What I wanted was to take a conventional story and remake, but differently, everything the cinema had done. Apparently, the film has novel, innovative features in almost every aspect of cinema including shooting, editing, narrative structure, and characters. It achieves such creativity by breaking stereotyped rules of film-making. Godard’s shooting style was innovative. It was rather that of documentary. He used location shooting, which means shooting in real geographical locations, like real, uncontrolled streets in the city, not in artificial studio sets built for filming. As A bout de soufflé was filmed in famous locations in Paris such as the Champs Elysées, uncountable number of ordinary people appear in the film. They look back at Michel Poiccard (Jean-Paul Belmondo) and Patricia Franchini (Jean Seberg) with curiosity in their faces, some even stare directly at the camera, or some cut in front of the camera. All these things blur the border between the reality and the diegesis, making the latter imperfect. So, the film not only shows real city countenance of contemporary Paris—streets crowded with busy people and roads occupied with an endless cycle of cars, but also remind the audience that they are...
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... This extract is constructed around the single theme, which can be formulated as procedure of the exams. Besides the basic theme, the text touches upon many very important secondary themes: the psychological types of students, cheating at the exams, students’ prejudice, disadvantage of women student at the exams, the psychological pressure of the process of the examination on the students etc. 5. The exposition contains the general information about students’ attitude to the final examinations and the way of preparation for this important event. The exposition begins with “To a medical student the final examinations are something like death: an unpleasant inevitability to be faced sooner or later…” and ends with “… and ran a final breathless sprint down the well-trodden paths of...
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...Handsomest Drowned Man in the World,” by Gabriel Garcia Marquez the villagers are changed by their experiences with the drowned man, and they begin to question the quality of their own lives and their village. Beginning with the children, Marquez hints that there is something different about this drowned man. When the drowned man first washes up on the beach the children were the first to see the corpse, but they are not frightened by the dead man. In fact, “they had been playing with him all afternoon,” (1). When the men carry him to be scraped clean by the women they notice “that he weighed more than any dead man they had ever known,” (1). After the women finish cleaning him off, they realized “what kind of man he was and it left them breathless,” (1). Marquez uses imagery to describe what the women saw in the drowned man: “Not only was he the tallest, strongest, most virile, and best built man they had ever seen, but even though they were looking at him there was no room for him in their imagination,” (1). The women see the drowned man as a hero and they visualize him being a man living in their village. They see him doing impossible tasks. They think “he would have so much authority that he could have drawn fish out of the sea simply by calling their names,” (1). The women believe the drowned man is so incredible that “they secretly compared him to their own men,” (1). The women start to doubt their own men. The drowned man makes the women think “that for all their lives theirs...
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...sell me out and I'll lay your shit bare See how I leave with every piece of you Don't underestimate the things that I will do There's a fire starting in my heart Reaching a fever pitch And it's bringing me out the dark The scars of your love remind me of us They keep me thinking that we almost had it all The scars of your love, they leave me breathless I can't help feeling We could have had it all (You're gonna wish you never had met me) Rolling in the deep (Tears are gonna fall, rolling in the deep) You had my heart inside of your hand (You're gonna wish you never had met me) And you played it, to the beat (Tears are gonna fall, rolling in the deep) Baby, I have no story to be told But I've heard one on you And I'm gonna make your head burn Think of me in the depths of your despair Make a home down there As mine sure won't be shared (You're gonna wish you never had met me) The scars of your love remind me of us (Tears are gonna fall, rolling in the deep) They keep me thinking that we almost had it all (You're gonna wish you never had met me) The scars of your love, they leave me breathless (Tears are gonna fall, rolling in the deep) I can't help feeling We could have had it all (You're gonna wish you never had met me) Rolling in the deep (Tears are gonna fall, rolling in the deep) You had my heart inside of your hand (You're gonna wish you never had met me) And you played it, to the beat (Tears are gonna fall, rolling in the deep) ...
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...in the distribution of patients according to clubbing as a sign in both the groups (Table and Fig. No.17). III ASSESSMENT PARAMETERS: 1) CLINICAL / SUBJECTIVE PARAMETERS: Dyspnea The severity of dyspnea was assessed and graded as per “MRC-D Scale”. The MRC-D contains 5 statements that describe varying degrees of breathlessness (Gabriel Ortiz -2011; Goldman -2010; Longo et al-2012; Alfred P. Fishman et al-2008). Modified Medical Research Council Questionnaire for Assessing the Severity of Breathlessness Grade I I only get breathless with strenuous exercise Grade II I get short of breath when hurrying on the level or walking up a slight hill Grade III I walk slower than the people of same age on the level because of breathlessness or I have to stop for breath when walking on my own pace on the level Grade IV I stop for breath after walking about 100 meters or after a few minutes on the level. Grade V I am too breathless to leave the house or I am breathless when dressing or undressing. At day zero (day 0), the distribution of patients according to MRC-D Scale in the test group was 15 (60%) in Grade-II, 9 (36.0%) in Grade-III and 1 (4.0%) in Grade-IV whereas, in the control group patient was 7 (31.81%) in Grade-II, 15 (68.18%) in Grade-III and no patient in Grade-IV in the control group. There was no statistically significant difference observed between the groups with reference to dyspnea at day zero (day 0) (Table No.18 (a) and Fig No. 18). At 21st day (Mid visit) the improvement...
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...used. This is arguably more prevalent in ‘April’, the shortest of the two poems, in its intense presence of such language: ‘Smiles turned to fire, kisses to fierce earnest- Of sultry swoons, pauses, and strange suspense’ The descriptive context of ‘fire’, one of earth’s elements, within the romanticized metaphor displays clearly Carpenters love for the natural world and its interaction with human consciousness. The repetition of ‘kisses’ littered in the entire body of ‘April’ acts as a transference of the physical world into that of the psychological, personifying nature in this interaction. The intensity of this metaphor makes clear the all-consuming power nature has over man: ‘of breathless moments, hotter and hotter growing-‘ The strong and physical reaction displayed is ‘breathless moments’ displays the power of nature and carpenters apparent awe struck response to it. The repetition on ‘hotter and hotter’ shows the progressive intensity o the poems link between man and nature. Both quotations also highly representative of the second level of consciousness, self-consciousness, as it displays carpenters self awareness of the significance of man however dominated by the power of nature characterised in this symbolism. This further emphasises Carpenters love for nature and its all-consuming involvement with all levels of consciousness and society also displayed in ‘sultry swoons’. It is also reflective in his belief of the purity and sanctity of love shown in his gay...
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