...Film Critique ENG 225 Introduction to Film Instructor: Lynette Cahill Abstract This essay is a critique on Zack Snyder’s movie, 300. This is a film on Leonidas, who is the Spartan King alongside 300 Spartan Warriors that willingly volunteered to stand up against a Persian army, which were almost ten times as many as they were. After a careful look at the film for the following critique, it is clear that there is a general theme prevailing in the whole movie that, sometimes one has to make sacrifices to gain freedom. Film Critique The movie “300” finds its roots from a graphic novel named 300 also, that was written by Frank Miller in 1998. The movie is based on one of the fierce Persian Wars in 492-449 BC in a battle known as the Thermopylae Battle. This battle went down in the historical books as a war that was characterized with plenty of bravery. The Spartan King, who was known as Leonidas, was the leader of 300 Spartan warriors who engaged the Persian Army in a war, which intended to block them from going into Greece via a two-meter wide pass in the Thermopylae Mountains. In as much as the Persian Army greatly outnumbered the Spartan soldiers, they were held back for two days, and in those two days they encountered major losses, which outweighed that of the Spartan warriors by far. However, on the third day, all was lost when a traitor informed the Persian King of a Path...
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...My name is XXX and this is my 3rd year at DMAC. I am currently pursuing a bachelor’s degree in Fine Arts with my concentration and focus being advertising. DMAC is great for students that want to focus on digital art, fine art, and animation and video production. Classes tend to be smaller in size and most of the teacher’s actually work in the field, which I think is crucial for student to get a real world outlook. At DMAC my recommendation would be to have class on teaching students how to professionally critique fellow classmates work and how to handle criticism of their own work. Most classes require students to present their assignments or projects to the entire class and students are encouraged to give their opinions and thoughts on the presented work. This is where I’ve noticed that many students struggle or fall short. Many are afraid to comment on others work, either because that is their friend or because they feel if they say something that isn’t boosting the presented work then others would do the same when it comes to his or her turn. Students need to able to give constructive criticism in a professional manner and not be concerned about it sounding harsh or “I did not want to hurt his/her feelings”. In the real world being able to criticize presented artwork or design work in the right manner is very important as it shows knowledge in the topic and being able to make one understand where him or her can get better. The same goes for accepting criticism. I experienced...
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...Baldonado 1 Joseph D. Baldonado Professor Jenia De Silva, M.Ed NAV 501 16 March 2016 Is Criticism Beneficial? In every part of the organization, there will always be criticism involved from someone else whether that criticism is regarding business, politics, sports and among others. Most of the time people consider criticism in a negative aspect since it usually creates anger, resentment, frustration and among others to the one who usually received the criticism. Therefore, whenever we receive criticism from someone else, we immediately create an unfavorable outcome towards that person. But did you know that not all criticisms are harmful or produced a negative consequence; in fact, it would still be beneficial to the person who received the criticism? There are two types of criticism namely constructive and destructive criticism. Constructive criticism is the one that intends only to give feedback for improvement/suggestion whether positive or negative about a particular product, service or event/performance. On the contrary, destructive criticism does not intend to give feedback for improvement/suggestion to someone else’s work but rather it intends to harm someone’s feelings by giving direct insult to his/her work or personality. Both types of criticism can be beneficial; it just depends on how it was handled by someone else when the situation arises. The criticism if properly managed can give several benefits to someone who usually received...
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...Andres Hernandez Eng.101 Critics agree that the symbolism helps bring out the message in the story. The waiting room can be a symbol of purgatory for some. “The doctor’s waiting room, which was very small was almost full when the Turpins entered and Mrs.Turpin, who was very large in her presence” (revelation 191) If O’connor would not have put in the story wouldn’t have as much meaning “it takes every word in the story to say what the meaning is.” (O’Connor 334) This critic being O’connor herself, implies it takes everything necessary to establish the meaning in the story. Without the waiting room Mrs.Turpin revelation would not have been a reality. The key to the waiting room is when Mary Grace throws the book at Mrs.Turpin, another example of symbolism. “The book struck her directly over her left eye.”(206) It is with this act that helps Mrs. Turpin achieve her revelation. The throwing of the book is seen as symbolism because that violent act opens the eyes of Mrs.Turpin. “the short story requires more drastic procedures then the novel because more has to be accomplished in less space.”(333) This critic feels this act of symbolism must be drastic enough because it will be the only thing capable of showing the error of her ways. It was essential that the book was thrown, Mrs.Turnpin being how full of herself as she was, because the violence was the only way it would be the only way to get her revelation. What Mrs.Turpin dialogue is key, without her smug talk there...
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...Booth is a critical pluralist; he believes that there is more than one valid way to evaluate works of art. Booth's position has been denounced both by dogmatists, who claim that there is only one way to view artworks, and by skeptics, who think that neither side can be reconciled and that every critical opinion is based on certain fallacies. Booth's criticism is characterized by clear, concise prose, a strong argumentative technique, and a wittiness which relieves the heavy intellectualism of his topics. The Rhetoric of Fiction, Booth's first book, immediately established him as a true "Chicago Critic," a designation which indicates that Booth follows the neo-Aristotelian thought championed by R. S. Crane, Booth's instructor at the University of Chicago. The Aristotelian critics believe that art must contribute something to life beyond immediate pleasure; it has a function of the highest order, to instruct as well as to entertain. Art, as Aristotle believed, is essentially imitative; it is, as Booth says, "a living out of how some problems of life can be represented." The Rhetoric of Fiction discusses the way in which the author's meaning is expressed and conveyed to the reader. Booth's key concept involves the "implied author," or the reader's conception of the author's values and attitudes. A Rhetoric of Irony also analyzes authorial intention and the bond between reader and writer that occurs when the reader understands both literal and ironic meanings in works of literature...
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...Peer’s Critique Feedback COMM/110 Peers Critique Feedback Peer review would refer to the many habits in which peers can share their creativity for constructive feedback then uses that feedback to revise and improve their work. The writing process, the modification is necessary as the draft of presenting, but peers often feel that they could not let go of their original words for introducing. Peers offer productive feedback, accept constructive criticism. Methods on critiques a presentation speech, to critique a speech or a presentation it's necessary to evaluate the presenters abilities in both speech and delivery. On determining whether the presenter is using facts and narratives to make a case. One method will be evaluating the content, by including word choices, references, and sketches should tailor to the audience that will be listening to the speech or presentation. Then it will follow the evaluation the speech or presentation clarity. The presenter should use correct grammar and easy to understanding language, making it pleasant to listen to the speech and follow what it is. Other would be on seeing if the statement is convincing and educational, in a well-written speech or presentation arguments are skillfully put forth to prove high points. The implementation that I would plan on the suggestions that my teammates have mentioned and will be adding to my future presentations. The tone of voice was the critiques that my teammates comment on my tone of voice was...
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...Unit 2 Notes -To create a safe space- *Note when others withdraw or attack* -both are responses to threat *Not how you feel in response to others* -What makes you feel at risk?- *Note the effect you are having on others* -diminish the threat *Show respect for others* -recognize your own challenges, weaknesses, or errors (mistakes) *Consider other points of view with an open mind* -check that you understand clearly *Look for common interests and mutual benefits* -To Build Trust- *Acknowledge feelings-emotional response* -Never pretend they don’t show -If you ignore your own or the other parties emotional response to that of another you damage trust between both. -Accept Criticism- Constructive criticism is key between both parties. -Evaluate its merit -Choose to *ignore it, follow it or take issue with it -Acknowledgement- *Difficult Conversations* -Require Trust- -constructive criticism -Safety – view as threat (communication not working, must revise approach) -respect -Acknowledgement -Requires Mutual Interest- -Common ground -Win-Win -Relate to other party(s) of the conversation (stay open-minded) *Exchange of information by 2 or more parties through a medium of transmittal such as writing, speaking, or signing. -pay attention to other party -If other party is withdrawing or starts to verbally attack you, communication is not effective at the moment you may need to revise approach… -Thinking of how you would feel in the same situation…Listen...
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...First Essay Discovery Draft “Young people need models not critics,” has got to be everything I’ve ever tried to explain to other adults in six simple words. I feel as though it’s in an adult’s nature to judge the younger generation in ways that no one would like to be judged. Although their assumptions could be true some assumptions are literally ridiculous. Some adults criticize our every move, some not as much as others, but for the ones who do there’s a pattern in their behavior. After they point out our flaws and mistakes, adults switch up and do the same thing they never told us to do. Now I completely understand when an adult wants us to do the right thing and not follow in their footsteps, but a lot of the younger generation goes with the slogan “seeing is believing.” In my own opinion talk is cheap, and I would rather see something actually happen in the case of critiquing. Fix yourself before you try and fix somebody else’s mistakes. Being the age that I am, I’m only speaking from the younger generation’s side. I may be wrong but my opinion on “Young people need models not critics” still holds. I do however slightly understand when adults want us to know right from wrong, and know to do the right thing. My problem with this is after or in some occasions before they preach to us about being the best we can be, they demonstrate the total opposite. Being part of the younger generation I’m not sure if I’m speaking for myself when I say we don’t need a how to. What we...
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...Writing a Theater Critique What Is a Critique? A critique is a thoughtful and fair accounting of what you saw and an insightful analysis of your own reaction to the play. Who or What Can I Critique? 1. Playwright and play: (Also see below) 2. Direction: Look for pace, unity, and overall quality of the production. 3. Acting: Who stood out? Which performance affected you the most and why? Separate the actor from the role. 4. Design elements: How did they contribute to the production? 1. Scenery: Sets and properties 2. Costumes: Correct for the play? Correct for the character, place, and period? 3. Lighting: Emphasis, color, movement, and mood. 4. Music and/or sound: Correct for the play? Correct for the character, place, and period? How Do I Critique? Here are two approaches you can take. Each represents a different way to achieve the same goal: Method 1 1. Start with the play: Define the basic theme or idea. (e.g. “This play is about [greed, romance, politics, etc.]) If the play is a well-known classic, what new insight does this production present? If it is a new play, what, if anything makes it unique? 2. Select and prioritize any or all of these subjects according to what you think is most important to the success and/or failure of the production: 1. Acting 2. Costumes 3. Directing 4. Lighting and Sound Effects 5. Setting or Environment 6. Stage Business (movement or spectacle) ...
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...immediate deadline for filing a feature-length album review, it’s nearly impossible for a young critic to stunt. At Jezebel, Clover Hope just wrote the truth. With bits of personal and political context interspersed, Hope framed her review as a first-take impression of the “overwhelming blackness” of an album about funk and self-destruction. “This initial feeling is suffocating,” Hope wrote. “It’s the essence of Dis Tew Much.” I think most fans and critics would agree that Kendrick Lamar's To Pimp a Butterfly is, indeed, overwhelming. I reviewed To Pimp a Butterfly in about 72 hours. In that narrow band of time, I "got" the album's messages and themes but couldn’t grasp the motivations for the album’s sound. Why, in. You’ll recall that To Pimp a Butterfly leaked just 24 hours before its official release date, March 15, and that most major music websites published their reviews of the album within three days of the leak. On such an immediate deadline for filing a feature-length album review, it’s nearly impossible for a young critic to stunt. At Jezebel, Clover Hope just wrote the truth. With bits of personal and political context interspersed, Hope framed her review as a first-take impression of the “overwhelming blackness” of an album about funk and self-destruction. “This initial feeling is suffocating,” Hope wrote. “It’s the essence of Dis Tew Much.” I think most fans and critics would agree that Kendrick Lamar's To Pimp a Butterfly is, indeed, overwhelming. I reviewed...
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...dogs): the #1 The Rules of the Game September-October 2006 FILM COMMENT 33 Sunrise PREFACE THE BOOK I DIDN’T WRITE I n march 2003 i was having dinner in london with Faber and Faber’s editor of film books, Walter Donohue, and several others when the conversation turned to the current state of film criticism and lack of knowledge of film history in general. I remarked on a former assistant who, when told to look up Montgomery Clift, returned some minutes later asking, “Where is that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to separate personal favorites from those movies that artistically defined film history. Compiling was the easy part—then came the first dilemma: why was I selecting these films? What were my criteria? What is a canon? It is, by definition, based...
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...Byzantine Art Egyptian Art European Art Greek and Roman Art Islamic Art Medieval Art Modern and Contemporary Art Oceanic/Pacific Art Prehistory By Geographical Region & Time Period By Department View Slideshow The political climate in India has been volatile in recent years. The hard-line Hindu nationalist Bharatiya Janata Party (BJP) took over the government. Ongoing tensions with Pakistan escalated to the brink of nuclear war in 2002. At the same time, India is a growing democracy with a population reaching a billion. Indian mass culture has also expanded, as its commercial film industry, known as "Bollywood," becomes the most productive in the world. Some artists take inspiration from or appropriate actual elements of local mass culture; some also address current events in their works. A few artists and art critics in India have begun to conceptualize their unique position in international contemporary art. Related Cited Works of Art or Images (4) Nalini Malani, Remembering Toba Tek Singh Nalini Malani, Remembering Toba Tek Singh Ravinder Reddy, Appayamma Rummana Hussain, A Space for Healing Timelines (1) Primary Thematic Essays (5) Other Thematic Essays (21) Maps (2) Index Terms (14) Share A few artists and art...
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...Art Dealers INTRODUCTION In the modern world of art, the dealers are not less important than the artists themselves. They normally have to be aware of the history of art and establish relevant relationships between artists, collectors, and museums. Normally, their role is to follow the market needs and respond to the demands. Some outstanding dealers can even influence the tastes of the audience. They often travel internationally, visiting exhibitions and auctions, searching for good pieces of art. The peculiarities of the job are that the dealers can sometimes develop from art academics and art critics. As any market, the art market has its own rules and values. In order to be successful, a dealer has to be able to evaluate the prospective value of the piece he is buying. It is important to be also knowledgeable of art and monitor the works correctly. INTERVIEW REPORT The interview with a popular Los Angeles art dealer Nicholas Wilder is to prove the above-stated and provide more details of the job. - How important is a professional education for an artist? - First of all, it is important for stability and support in a professional environment. This makes it possible to communicate more with established colleagues, professors of art academies. An artist creates his works in proximity to those who can truly appreciate its potential and help develop it. - Do you think that a dealership contract with an artist means some limits...
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...The 18@8 exhibition signified the inauguration of Wei-Ling Gallery at Brickfields in 2005. Hermetic readings of every chapter for the past few years portrayed varied concerns channelled into different themes. This landmark exhibition has exhibited some of the most compelling works by many a local artist. An important milestone was created when this very same event was replicated beyond the shores of the country, bringing Malaysian Art to Karachi, Pakistan. A show that demarcates the objectives of Wei-Ling Gallery to promote contemporary Malaysian Art, previous instalments provided a platform to two dimensional art works that vetted specific matters. The artists strived to create dialectic works with characteristic impulses. In concurrence with the 5th instalment of the 18@8 exhibition, the gallery posed a new challenge to the participating artists and itself. A turning point for Wei-Ling Gallery is its initiative to orchestrate and curate shows based on its own direction, heartening the artists to widen their tangential perspectives with conceptualized shows. As the gallery is taking the road less travelled in more experimental and cutting edge shows, so do the artists. This vehicle (18@8) presents the artists with an avenue to work beyond the boundaries of individualistic concerns, transgressing beyond the norm of what we expect. With an exploratory ardour, Wei-Ling Gallery conceptualized and challenged the artists to partake in thematic investigations that result in...
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...JAMES L. HESKETT RICHARD LUECKE Porcini’s Pronto: “Great Italian cuisine without the wait!” In January 2011 Tom Alessio, marketing vice president at Porcini’s, Inc., of Boston, was pondering issues raised by a potential expansion of his company’s restaurant business. The domestic market for full-service chain restaurants was nearing its saturation point at both in-city and shopping mall locations. The big chains were looking overseas for growth, but as a small regional player, Porcini’s had neither the resources nor brand power to pursue that option. It needed a domestic avenue for growth. Alessio had persuaded Porcini’s senior executives to consider opening limited-menu outlets, Porcini’s “Pronto,” to serve interstate highway travelers. Most competitors serving this market were fast-food or low-end outlets. Alessio believed that Pronto could offer a quality difference that travelers would value, but the challenges were substantial. Could Pronto’s profitably provide a limited selection of Porcini’s standard menu at moderate prices without jeopardizing the company’s reputation for excellent food? Could it maintain Porcini’s famously high service standards? Could it profitably break into a market occupied by established competitors? Food and service quality were only two aspects of the challenge. Porcini’s—a slow-growing, privately held enterprise—would need to roll out its new restaurants quickly in order to establish itself as a powerful brand. With limited capital and access...
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