Analysis Of The Fifth Quarter By Rick Bieber

Analysis Of The Fifth Quarter By Rick Bieber
Loss, desperation and hope – this is the heart–warming story of the football champion playing with his brother's number 5 jersey – Jon Abbate. The
Fifth Quarter follows the story of the Abbate family losing their son and brother, Luke, to a car accident. It also uncovers the story of how Jon Abbate
conquered his loss and became a football champion to play for his brother and himself. In this movie, young people have been portrayed as emotional
and desperate but also able to find hope and direction with the guidance of a senior. Robert Koehler (2011) from Variety states, "The softness that
plagues so many sports movies is in evidence yet again in the soporific The Fifth Quarter." In The Fifth Quarter (2010), Rick Bieber has taken the
events from a true story and cleverly manipulated shot types, camera angles, non–diegetic and diegetic sound to portray youth as resilient, brave and
courageous people.
The first tool that Rick Bieber employs is different kinds of shot types. Since this is a quite emotional movie, he uses a variety of shot types to portray
the character's feelings. An example of this is the long–shot of the Abbate family in the hospital. The Abbate family is sitting around Luke's bed
discussing organ donation. They are very discouraged, and Rick has portrayed this by using a long shot, which shows the audience the slouched posture
of the characters, displaying discouragement and sadness. In one of the mid–scenes, a medium shot of the Abbate family and Jon's
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Ticking Tension And Silent Screams
Sara Frank
Dr. Schreiber
Film 270
23 October 2016
Ticking Tension and Silent Screams: Examining Sound in We Need To Talk About Kevin In director Lynne Ramsay's We Need To Talk About Kevin
(2011), dialogue serves as just one of many modes of sound used to guide the narrative. Through a series of flashbacks and flash–forwards,
orchestrated by diegetic and non–diegetic sounds, the film follows Eva Khatchadourian (Tilda Swinton), mother of baby Kevin (Ricky Duer) and,
later, teenage Kevin (Ezra Miller), as she recalls the influential events leading up to and the aftermath of Kevin murdering his peers and family with his
bow and arrow. While this gruesome film actually displays little violence on the screen, the properties of sound create the horror and trepidation
experienced by the audience. Perceptual properties of sound, including loudness and timbre, internal diegetic sounds, Eva's thoughts and sonic
flashbacks, and the use of silence when viewing interactions between Eva and Kevin, shape the audience's understanding of the film. The film employs
on–screen and off–screen diegetic sounds such as screaming, crying, and ticking and highlights objects/sounds which act as motifs. Additionally,
non–diegetic sound created through the soundtrack lends a sense of irony to different scenarios. While visuals and audio work together to create the
film, sounds in particular shape the spectator's perspective while allowing opportunities for further interpretation. In the opening

Suspense In The Third Man
External action is when thing happen in the world and provide narrative information. Internal action is what occurs to a character mentally. The
narrative of a film can either be linear or nonlinear. Linear is when the events of a film are explained from the beginning to the end. Nonlinear films
are when the events are told out of order. An example of nonlinear is when afilm utilizes flashbacks. When creating the screenwriter uses several other
options to aid in the story. These include the struggle for human dignity, a complexity in human relationships, a truth in human nature. They could use
social problems which reflect conversations that are currently occurring in society. They could use moral problems to question what is right or wrong....
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In The Third Man the tool of suspense is used to propel the entire plot. The suspense begins when Holly Martin discovers that his friend Harry
Lime is dead when he first arrives in Vienna. Holly is immediately suspicious of the claim that Lime's death was an accident, and this suspicion
leads the audience to wonder what really happened. Was Lime murdered or was it just an accident? As the story moves forward the film does a
wonderful job of keeping the audience and Martin in the dark as to what is actually happening. When the porter tells Martin that he has more
information the viewer believes that they will finally know what is going on. However, the porter is killed and once again the audience is left in
suspense. Suspense is also present when Anna is revealed to have forged her papers. Because the police do nothing right away the viewer does not
know what her fate will be. Is she going to get away with it or are the russians going to send her away? Suspense in the movie is also created by the
set and lighting. The film takes place in vienna, and many scenes take place in shadowed windy streets. Because the viewer can't see everything, they
are left with a sense of mystery. This adds to the feeling of suspense that is already created by the plot.Suspense is important in this film because it
helps to keep the audience engaged. The movie would be boring if everything was revealed right away. If

Telling In River Of Smoke
There are just two methods of portrayal in narratology irrespective of any dialect and these modes are "diegesis" i.e. "telling" and mimesis i.e.
"showing". In "telling" a story the author/narrator frequently meddles, comments and gives data about the anecdotal material in the span of account.
While in "showing" the author minimizes his /her presence in the narrative and it is upon the reader to encounter and comprehend the narrative own his
own. Both the methods of portrayal "telling" and "showing" are utilised though much inclination is given to "telling". In River of Smoke the author
recourses to "telling" in a remarkable way as he wishes to impart and share maximum data of the period with the readers with respect to opium trade
and war,

Review Of First Person Narration Of 'Bang'
Kiss Kiss Bang Bang(2005) Short Response Essay The narration of Kiss Kiss Bang Bang is told through a First Person narration by Harry Lockhart,
protagonist of the movie. The narrative is categorized into three parts such as the Setup of the film, the Conflicts and Obstacles the protagonist faces
throughout, and the conclusion of the film, also known as the Resolution. The setting begins with a flashback at a county fair with a young Harry
dressed as a magician and performing a saw trick involving a girl. The flashback ends with the girl yelling that she wants to become an actress before
cutting into the opening. The setting then flashes forward to the 21st century, this time, at a celebrity party in Los Angeles. Throughout the film, Harry

Treasure Planet Movie Analysis
Many films that are created have multiple thematic driving forces that are consistent– sometimes hard to differentiate, this can make a film lose a large
amount of its emotional impact... Treasure Planet uses a unique method of intervening two separate integral thematic forces. Treasure Planet, directed
by Ron Clements and John Musker, is an animated science fiction retelling of the famous Treasure Island. We accompany a boy named Jim Hawkins
on his journey to find Treasure Planet, a childhood dream that was forced by a fateful encounter with someone bearing a map. A map to the "Loot of a
thousand worlds." Throughout this thrilling adventure, you also learn about Jim's family situation, his father leaving, and how it affects the way he...
For instance: When we are first introduced to Jim in his current age, he is sailing skillfully over land, with a non–diegetic electric guitar playing in the
wake of his sail to accentuate his skillful movements. The guitar leads into a full blown heroic sounding orchestral piece, halted by a cutscene where
we see Jim being essentially arrested for trespassing. This pairs the electric guitar with Jim– further establishing his rebellious nature, the opposite of
what we would expect with the exposition of Jim's character being a kind, curious, and slightly impatient child. Whenever an electric guitar is heard
after this scene, it is because Jim is doing something reclass– but substantial. The next time we learn about Jim and his background– it is to the backing
soundtrack of a song written by The Goo Goo Dolls, an American rock band. With multiple themes consistently at play, if not for the intervening of
spectacularly placed music and directing, it would be confusing to the viewer to follow all three of the themes. This could become problematic, if
you want to frame multiple themes or plots, you must be able to easily identify them. It's the difference between having a necklace braid in all grey
and having a necklace braid that is color coded– without further inspection, at first glance, it would be hard to trace one string down a complicated
braid. But, with each cord being a different color, it would be a breeze to identify any singular cord down

Video Analysis: 11 Things Jewish Friends Just Get
This video analysis is about the BuzzFeed Yellow clip titled, "11 Things Jewish Friends Just Get" (BuzzFeedYellow n.p). The sounds in the video are
both diegetic and non–diegetic. From all the noise in the background, one can hear the diegetic sound while the added soundtrack serves as the
non–diegetic sound. The soundtrack adds to the mood and theme of the video, based on holocaust jokes and a sense of self–deprecation to create
comic relief. The language used in the video is mostly American English, however, being that the video is focused on Jews, the Jewish language also
forms part of the context. The language in the video also carries a lot of imagery which seems to accentuate a graphic and vibrant criticism of being
Jewish.
Some of the

Technical Analysis : The Hunger Games
Technical Analysis: The Hunger Games Emotions are powerful tools and can be expressed in a multitude of ways, but an extremely effective tool of
conveying emotions is through soundtrack. A soundtrack is not only entertaining for an audience, but also can give them insight on what a character is
feeling. A prime example of conveying emotions through soundtrack is in thefilm adaptation of The Hunger Games. The Hunger Games novel is hard
to effectively portray through a film because the writers and producers are limited in what they can do to. They are expected to, both, keep Katniss'
hard exterior and expose her inner thoughts and feelings. Although subtle, the use of soundtrack, diegetic sounds, and non–diegetic sounds within the
film adaptation prove to be effective tools in helping the audience to relate to Katniss Everdean and to let them explore the deeper character beyond her
expressionless exterior. The use of sound in The Hunger Games film adaptation provides the only insight into Katniss' inner feelings and emotions,
whereas the novel lets people know her thoughts explicitly through first person point of view. Something that is very prominent throughout the entire
movie is the use of supporting non–diegetic sound. A scene that sticks out in this category is when Katniss is performing for the important capitol
officials in order to receive her score. It begins in a very suspenseful and subtle manner with light music, which is an accurate representation of how

Andromeda's Subsequent Marriage To Perseus
This passage contains both Andromeda's rescue and her subsequent marriage to Perseus. In essence, then, we might say it is transitory. Yet Ovid marks
this shift, the first sustained perspective change in 141 lines, merely with the main caesura of 758. Arguably, such a fluid movement means that it is
unhelpful to think of this passage simply as a marker between the dГ©nouement of one narrative and the exposition of another; to do so would be to
ignore the poet's structural indentation in addition to the 'gobbetting' of the passage itself. The implication is that Ovid treats the gods in Perseus'
Homeric sacrifice with the same narratological brush as the bacchanalian excess animi...laeti. Could this invite a direct comparison with Bacchus, the
purveyor of rituals?
The end–stop on line 756 lends itself to this sort of reading. Indeed, the definitive placement of altae for Mercurius, Minerua and Juppiter, juxtaposes
Ovid's use of the enjambment lyraeque /tibiaquae on 760 – 761; evoking the excess, the spilling over, of marital festivity. This is strongly reflective of
Ovid's hymn (9–30) to Bacchus at the beginning of Book 4. There, the chants and rhythms may have worked to produce a rhyme stressing the ... Show
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Hence, just as the very nature of the poet's knowledge tears at the fabric of his Metamorphoses, so do the conflicting elements of his narration –
whether the epimythium is showing or telling for example – surface here. These arise from the genre–bending essence of the opus itself. In this sense
the macroscopic function of this passage (rituals and wedding) may not really be about the daily lives and real world experiences which Homer
broadly portrays. Instead, the two end–stops but eleven clauses within the passage suggest that it may work structurally to delay Medusa's beheading, to
embellish and to characterise Perseus with Callimachean

Harriet The Spy Louise Fitzhugh
Question 1: Harriet the Spy In her text Harriet the Spy Louise Fitzhugh treats tropes of the public self and the private self –the secretive part of the
self– in and throughout Harriet's status/occupation as a gender queer spy. Harriet –as a gender queer spy– is utilized by Fitzhugh as a grounds for
negotiating the supple separation between societal expectations of the public self, and the private/secretive realities of that very self. Consider, for
example, Mrs. Gibbs' assertion that Janie and Harriet "need a few graces" especially as they are becoming "young women" (Fitzhugh 80). Harriet then
defensively introjects– after Mrs. Gibbs further asserts that Harriet's mother Mrs. Welsch "worried about the way [Harriet] moved"– and defensively
states that she moves "fast" (Fitzhugh 80). Ole Golly eventually intervenes and tells Harriet her that "girl spies" need... Show more content on
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Indeed, the first time Harriet spies on the club, Harriet comments on the unsettlement she feels at having heard herself being referred to as a 'she' by
her class mates (Fitzhugh 200). The indication, therefore, is that Harriet is still very much and will always be an Other –a she– in relation to this club;
a club that seems to function much like heteronormativity, especially when/if someone is outed. Harriet is also an Other as she unlike Rachel, Laura,
and Carrie –the most feminized characters of this work– and much like Sport, Pinky, and Janie –the most masculinized/queer characters– detests the
thought of bridge. Hence, we witness here a parallelism being drawn between Harriet and the masculinized/queer, that functions not only in relation to
Harriet's spying – and her outing as a spy– but also functions in relation to the queerness/masculinization of these

The Mimetic Tradition
The mimetic tradition in classical western literary criticism
The word mimesis means to imitate. As a critical and philosophical term mimesis may carry several meanings such as representation, imitation, and
mimicry, the act of resembling, the act of expression and the presentation of the self. Mimesis as criteria of literary criticism refers to interpreting a text
in relation to a particular literary or cultural model. The tradition of mimetic criticism begins with plato.
In ancient Greece the idea of mimesis referred to a reflection of the ideal world in the physical
Both plato and Aristotle however differentiated between mimesis and diegesis i.e. imitation and narration. Mimesis means the act of imitating an event
or action. Diegesis on ... Show more content on Helpwriting.net ...
It is a speaking picture whose aim is to teach and delight. Sidney classifies poetry into three types. First is religious poetry that imitates the
incredible excellence God. Secondly poetry that deals with philosophical matters either moral or astronomical. The third type of poetry according to
Sidney is that which imitates for the sole purpose of teaching and delighting by telling not what has been or shall be but which may be or should be.
Thus he echoes aristotle's view on a poet's function carrying forward the mimetic tradition in classical western literary criticism. Sidney also adds that
a poet is one who is capable of feigning images of virtue and vices in a didactic yet entertaining

What Is The Diegesis In The Third Man
viewer is in a state of suspense they are also more likely to appreciate the big reveals that occur throughout the film.
The diegesis of the Third Man displays externally observable truths. The diegesis in which the film takes place closely resembles what Vienna would
have been like at the time. The diegesis is first introduced at the very beginning of the film. A narrator describes vienna and shows different parts of the
city. This is important because it introduces the physical structure of the city with its four different sectors. It also introduces the presence of a black
market, and when it shows a dead body floating in the water the viewer understands that the city isn't necessarily safe.
In The Third Man Harry Lime is a foil character to Holly Martins. Though they were close friends they appear to have nothing in common. Harry
Lime is wealthy because of his participation in the antibiotics black market. This wealth is apparent when he pays for Martin's plane ticket. It is also
apparent when the viewer sees his living space. It is large and appears to be expensive. Holly Martins is ... Show more content on Helpwriting.net ...
This is best illustrated in the scene where he meets Lime in a ferris wheel. Martins asks Lime if he knew about the police handing Anna over to the
russians, and Lime claims that there is nothing he could do. Martins appears to be shocked that Lime wouldn't do anything to help a person he
supposedly loved. This shock is furthered when he discover that in order to protect himself he told the police about Anna. Lime then justifies his
illegal activities by claiming that no one actually cared about people. He believed that his actions were worth it because he was able to make money.
To Martins who values the goodness in people, these actions were unforgivable. Despite many years worth of good impressions, this one bad
experience was enough to change Martin's perception of Harry Lime into a bad

In The Mood For Love Narrative Structure
The narrative structure and mechanical elements of In the Mood for Love portrays the theme of the impossibility of a romance in the frame of the
thriller genre. The elliptical narrative structure of the film develops suspense as the central romantic relationship is developed. The narrative gaps force
the audience to interpret the events that transpire between the two protagonists, prompting uncertainty of the fate of the relationship. The disruptive
use of jump cuts and overlapping editing accentuate the unpredictability that is a result of hybridity (Marchetti 2013). For instance, the scene in which
a reluctant Su ascends a staircase at a hotel where she is to rendezvous with Chow serves as a reminder of the temporal and spatial plasticity

Bucho's Use Of Cinematography In Desperado
Throughout Desperado cinematography is exhibited in a multitude of various ways that limits the percentage of the diegesis that is shown. It is the
deciding factor that determines what will and what will not be in the film. The aspects of cinematography are utilized in constructing our emotions of the
film, directing our focus, and in creating the entirety of the space.
The camera is the main element in cinematography that directs our attention in different scenes. For example, in the beginning of the film we see
Bucemi enter a bar. As he tells the story of the unknown man who killed everyone in the other bar, the camera goes back and forth to Bucemi's and
the bartender's face. This is done so that the auidience's attention is mainly on their facial expressions as the story is being told. Another example is
when the main character tells Carolina that Bucho's men killed the women he loved and shot him in the hand. In this scene, a close up distance is used
to show only the mariachi's face. That way our concertation is solely on his face and the emotions that are displayed. ... Show more content on
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For example, there is a long shot at the end of the movie that shows the mariachi walking and the truck that they drove approaching. The truck stops
in front of him and the audience gets a close up of Carolina's face. This shapes the audience's feelings in a way in that causes them to feel satisfied
that the mariachi and the girl will stay together. Another example is when Bucemi informs the bartender of what he experienced in the other bar. There
is a flashback of the event that shows the mariachi walking into the bar. A shadow is casted over his face which alludes to his menacing and threating
character. This causes the audience to feel that he is dangerous and

Argument Against Laura Mulvey Theory On Male Gaze
The video essay argued against Laura Mulvey theory on male gaze and was mainly centred on the article of visual Pleasure and narrative cinema
writer by Laura Mulvey. According to Mulvey(1975,p348) "The female is displayed for his enjoyment(connoting male phantasy) and that of the
spectator fascinated with the image of is like set in an illusion of natural space, and through him gaining possession and control of the woman within the
diegesis". She went further stating that "in film the women as object of the combined gaze of spectator for all the male protagonist. She is isolated,
glamorous, on display, sexualised" (p3488). Examples of such films given in the video essay is the skin I live in (Pedro AlmodГіvar), Spain 2011. The
idea of female

Theme Of Metatextuality In The Castle Of Otranto
The purpose of this paper is to draw upon the metatextual connection between desire, as the omnipresent drive of the novel and the narrative itself in
the novel. Desire and lust are not working only at the level of the diegesis, of the story and characters, but also influence the narrative style and
techniques, the intertextual and metatextual level and also the language. All these aspect create a seductive narrative that captivates the reader. The Eros
and Thanatos coordinates not only manifest themselves only in relation to the story but also in relationship between the text itself, the author and the
Gothic genre at large. The novel also cannot escape the pleasure of drawing upon itself as a literary work and as a representative of the Gothic ... Show
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The answer can found in the prefatory advertisement of the novel, where Lewis, very consciously gives the name of his sources, the German legend
of the Bleeding Nun, different Danish ballads and Spanish poems aware of the accusations of plagiarism that can be intended against him. We
encountered this method before in The Castle of Otranto where Horace Walpole presents his novel as a resurfaced medieval manuscript; in essence
the authorship of the novel is usurped. Lewis does the same thing hiding behind his sources; in this way he renounces to the authorship of the text.
The novel is intertextual not only in the Romantic disclosure of the literary sources, but also in the many allusions scattered around in the narrative
texture and in the paratextual elements. The text is narcissistic in the sense that it cannot refrain from drawing not only upon itself, but also upon
literature in general. An example of this reflexivity is the playful poem in the style of Horace that opens the romance, where Lewis makes a rather
dark prophecy for the future of this literary offspring. Lydenberg states that fact that the gloomy atmosphere and the Gothic imagery of the poem are
just a "literary joke" (67), which proclaims his superiority "to the very devices of Gothic terror he will use in his novel"

Literary Analysis : Ella Cinders By Bill Conselman And...
Every comic has a unique style that makes the comic to stand out to readers. A comic's style is made up different pieces that come together and give
the comic the uniqueness that the readers fall in love with. Comic writers have to decide what type of framing style, transitions, emanata, layout and
cartooning style they need to have in their comic to fit the story. Ella Cinders by Bill Conselman and Charlie Plumb has a very interesting narrative and
cartooning style that fits well with the story the comic portrays. Throughout this paper I am going to explore the narrative and cartooning styles in
Ella Cinders to understand why the styles were chosen and how they enhance the story. Framing is how the artist of the comic choose to illustrate the
diegesis. There are different types of framing that artists use to stress certain aspects of the diegesis. Ella Cinders has depth of field and angle framing
to depict the diegesis. Most of the panels in Ella Cinders are seen at eye level however sometimes the artist changes the framing style to point out an
important aspect of the story to the reader. An example would be in panel 3 on tier 4 in comic 1 where the panel is seen at a low angle to show that Ella
Cinders has to look up to see the gorilla who is in the tree. Charlie Plumb usually puts great detail into the background of Ella Cinders which is
important when using depth of field framing. In panel 2 on tier 1 in comic 2, Plumb shows how crowded and big room is by adding

Essay on Analysis of Two Advertising Strategies
Analysis of Two Advertising Strategies ThePeugeot and the Ford Fiesta are advertised in very different ways despite being similar products. Analyse
the ways each product is advertised and say what the differences between the two say about their brand identity.
Advertising is a multi–million pounds business in Britain. Advertising expensive products is something that producers are willing to spend a lot of
time, effort, ... Show more content on Helpwriting.net ...
This reflects on to the point that there's always more than what meets the eye. There are subtitles at the bottom, which says, 'A driver is not just a
driver', which means that there's more to the driver than what meets the eye. There is a freeze frame in this scene and it's of the doctor's face to focus
on the point that there is a multi–ethnical background. At the end, the doctor says 'moyen bien', which means very good in Spanish, which reflects on
to the fact that Peugeot is a very good car.
The third scene is a close up of a man's face and then the camera pans out to reveal that the man is really a prisoner in jail. He is painting a picture
of mountains, which links to the opening scene. The subtitle at the bottom of the screen says, 'A prisoner is not just a criminal', which, again,
means that there is more than what we see. The fourth scene first starts off in a distant shot of a couple that are kissing, and then it zooms to a
close up of the kiss. The camera pans around to the back seat and a small child is sitting there, which shows a close up of the car. This shows that
the car is a family car, which means that the car is big enough for the family. As we see the couple there is a sudden magnetism. The couple is used to
reflect the fact that love lasts and so does the

Masculinity And Identity In Moonlight
Humans are constantly criticized for being "different," so forming an identity within a judgemental and violent community proves to be mentally
exhausting. Moonlight (2016) by renowned director Barry Jenkins, vividly depicts three different stages of the life of a boy named Chiron while he
transforms from a young boy to a man who struggles with coping to find who he truly is. Living in a poor crime–ridden neighborhood in Miami,
Florida, Chiron goes through many trials and tribulations throughout his life to find who he is in a society that gives no mercy to anyone in it.
Throughout this story, Chiron battles with forming an identity for himself as he comes to terms with being a homosexual black male who is trying to
conceal the utmost fragility of who he really is. Through clever techniques used within the diegesis and mise–en–scene, Moonlight illustrates the
difficulties a low–class homosexual African American man must experience throughout his life to be accepted into society as a result of not always
conforming to ideas surrounding gender and race. Masculinity is presented throughout this film in a manner that forces Chiron to become isolated
from his peers. As it is shown in opening of the "i. Little" chapter, he is instantly being ridiculed and severely bullied for being weaker than the rest of
the boys in his class. It is stated in "Machismo and Hollywood's Working Class" that, "Images of men are neither domesticated nor 'sensitized." This
statement forms a parallel

German Expressionism
Introduction
Film, as an art form, demonstrates gradual change and the development of new techniques that propel it forward in society. Within film, multiple
different movements include technical and plot elements that are unique to that specific time period. Two of the most iconic film movements, the
german expressionist and the film noir movement, demonstrate highly stylistic elements that are only used or seen in that volume during the time
periods of the 1930s and 1940s. Mise en scene, diegesis, and musical score are important aspects of each of these film movements and were
implemented to create a unique style of film. Films within a movement are distinguishable due to the physical elements seen on screen that reflect the
public feelings ... Show more content on Helpwriting.net ...
The most important overarching theme with the Dark Knight trilogy is the corrupt city. This idea stretches all the way back into the beginnings of
german expressionism. The influence of industrialization created negative effects on the citizens of Germany and that is reflected in the disoriented
perception of the cities. Similarly the Dark Knight Trilogy employs the same motif and narrative focus of the dark city along with the corrupt elements.
Gotham city is one of the most dangerous cities in the DC universe. It is filled with everyday criminals along with other main antagonists that oppose
justice and continue corruption. Within the city we also see the insignificance of any lawful or government authority. They are portrayed as clueless to
the problems that occur within the area they are supposed to protect. This results in an outside force coming into the narrative of the film and saving
the distressed city. Within the Dark Knight Trilogy the protagonist who works to stop this corruption is the Batman. The base narrative around Nolan's
trilogy connects to Film Noir the

Ironic Hero In David Lynch's Twin Peaks
Since the emergence of David Lynch's Twin Peaks franchise,the notion of self–conscious narrative first popularized by postmodernist writers like
Gaddis, Gass, Pynchon and DeLillo has enjoyed the privilege of being a fully–formed filmic object for viewer review. Its logic is that of the quixotic
hero and its desired Other, whether it be a lost love, unfaithful wife or husband, moribund career, or the realization that oneself has lost all significant
connection to the world, that the ironic hero is ironic because his or her role in the world has become otiose; the point in this self–conscious aesthetic
is that the plot signifies an element in the story long enough for the protagonist's gaze to create both linguistic and visual alienation. Repeat a word
enough times and it becomes unfamiliar, Other: jamais vu. The lover of cinema feels her gaze returned, as if film is conscious of the viewer's entry into
its narrative–the diegesis. ... Show more content on Helpwriting.net ...
Take the case of Ansel Roth, PhD., protagonist and ironic hero of the film Faults. Here's acharacter that launched his entire career as a writer on a
rather adorably antiquated notion of volition and ego. Indeed, if his name is adjusted for ontology, Ansel's pathos begins to intimate a medieval
comedy, with an atonement Saint Anselm himself might be satisfied by. But so here's a modern day diminution of Ansel//m, spouting a half
–baked
self–help philosophy of radical freedom which mistakes the will to happiness for that of justice, as if he actually believes anyone can simply choose
to be in happy control of one's socio–economic context in toto, who is himself without money, friends, family, or even the willpower to dodge a right
hook to his face at his own book's

Zombieland Essay
The movie Zombieland (2009) is one of the several movie which accounts for the zombie apocalypse. The director took his own different approach
to the creation of the story. His take on the movie, was more of a survival guide if a zombie apocalypse actually happens. In the following paragraphs
I'll exploring the film's plot and how it creates particular ideas about the film's diegesis and the meaning the film's narration creates about love and
survival.
The film makes use of first person voice over narration which was the protagonist Columbus Ohio. The movie began by showing the American flag and
the white house which symbolizes the power of the country. The narrator then goes ahead and explains the situation of things in the U.S that instead ...
It symbolizes the dead, terrible and scary place it had turned into. He gives us the feeling that all hope for humanity was lost and that it'll just be a
matter of time before the zombies would completely take over the country leaving no humans alive. You could not trust anyone anymore, this was the
case of the protagonist. Whilst trying to survive, he came across different people. First of all, he met a guy, who had lost his only son to the zombies, at
gun point. Both of them after teaming up met two sisters who ended up conning them into taking all their weapons and means of transportation. This
ended up happening twice but the second time the girls were generous enough to take them along and not leave them stranded. These girls were on
their way to an amusement park which they thought was zombie free. During their journey, the protagonist started having feelings for one of the girls
who conned him into taking his means of survival twice. She gave him reasons for him to hate but it did just the opposite which she found very
attractive but didn't make a move until he saved her from a zombie in the final scenes.
This director did a very good job in the arrangement of the story (plot). He used the diegesis to give the audience a feel of the whole world of the
film, with the background music and the lighting. He also used the diegesis to show survival, love and bonds which

Literary Analysis Of Amores Perros
Come to Clarity
Typically, photographs are considered nothing more than tangible items that invoke nostalgia. Having a character ponder over a photo typically gives
the image no more value than a McGuffin. Alejandro GonzГЎlez IГ±ГЎrritu's Amores Perros (2000) on the other hand, asks the viewer to re–evaluate
the concept of 'the photograph' both literally and figuratively throughout the film. The meaning of a 'photograph' can be considered the glue on this
story; the symbol is dynamic enough to provide each character with a moment of reflection, and the audience a window into the subjective
perspective at the peak of a character's diegesis. Using the photograph loosely in this fashion allows it to be one of the key elements to tie together
three radically different stories, despite the symbol's lack of dedicated screen time. Before diving into each individual character's world, it helps to
look at the background of the new, circa 2000, director Alejandro IГ±ГЎrritu. Alejandro started his career with a passion for music working with radio;
that original passion is visible throughout Amores Perros as sound is used to articulate the set space and time. Sound mimics patterns found throughout
the story and Alejandro frequently positions it to juxtaposition the narrative. With that being in mind there are few scenes where we are met with no
background noise, and no dialogue. Looking at these we can see Alejandro graces the film with three powerful character defining images, each

Analysis Of The Kings Of Summer
Two components that have an immense impact on the quality and caliber of a film are the editing and sound found within the film. These two aspects
alone can make or break a film. In the film The Kings of Summer, directed by Jordan Vogt–Roberts, these two elements collaborate to highlight certain
emotions and key moments in the film's plot. Some of the sub–elements of these two components that can easily be identified within the film include
the flashforward, the flashback, both nondiegetic and diegetic sound, semi diegetic sound, graphic matching and voice offs. Within the film The Kings
Of Summer, editing and sound are methodically and tactfully utilized in order to produce a film that is both entertaining and meaningful for the
audience. Two of the most prominent aspects of editing that can be identified within this film are the flashforward and the flashback. At the
commencement of the film, a flashforward is employed. It shows drums being played in a forest by the three characters that were yet to be introduced
to the audience. Then the scene quickly cuts to the main character, Joe, in the shower at his house. This flashforward is used in order to provide the
audience with an idea of what is to come in the not–so–distant future of the film. Another flashforward is utilized when Joe, Patrick, and Biaggio are
living in the forest. This flashforward shows Joe and the female lead, Kelly, in the woods. It portrays the two in a romantic light, and includes a
confession from Kelly that she wants to stay and live in the forest with Joe. This flashforward, unlike the previous example, does not come true.
However, it is used to portray the deep emotions of Joe, and his longing for female companionship. These emotions become relevant when Kelly falls
for Joe's friend Patrick instead of him. During the conclusion of the film, a flashback is employed so the audience can relive the previous events that
occurred within the film. When Biaggio is in the hospital, a flashback reminds the audience of when Joe and Patrick first entered the forest, at the
onset of their adventure. This flashback brings the audience back to a happier and lighter point in the story line. In the film The Kings of Summer,
flashfowards and

Nora Roberts's Use Of Syntax, Sentence Structure, Semantics
Step through as the curtain is pulled back, the wizard considered, and the tools used to create worlds are examined. Nora Roberts has had a long and
successful career as a writer and novelist since her first novel, Irish Thoroughbred, was published in 1981. Since then her readers have been rewarded
for their loyalty with hundreds of other gems including The Return of Rafe MacKade, and Blood Brothers. Using excerpts from the aforementioned
novels, the linguistic elements employed by the author will be carefully looked at to provide explication on how Ms. Roberts created such a unique
voice in the wealth of talented writers. In this paper, a detailed analysis of Nora Roberts' usage of syntax, sentence structure, semantics, the meaning in
language,... Show more content on Helpwriting.net ...
"Dinner?" (The Return of Rafe MacKade 58–59) The development of writing techniques and skill is apparent in the exchange above. The lack of
dialect detection within the conversation indicates Nora Roberts decision to have her characters on an even playing field when it comes to
conversation and intellect. Roberts uses syntax, semantics and double meanings to show the brotherly affection between Rafe and Jared, in the form
of teasing, as well as the unspoken attraction Rafe feels for Regan when he says he goes after the things he knows he wants. While Regan was
speaking of the restoration process, Rafe was speaking of his intentions toward her. In the final novel, Blood Brothers, there's a further semantic and
syntax development. Blood Brothers shows Roberts mastery of mimesis and diegesis as she explains the complicated nature of the plots core conflict
while creating intensity and drama through her descriptive scenes to creative fear. The section of dialogue coming up uses very little supporting text
and focuses on the dialogue itself creating both tension and focus. The following excerpt shows Quinn meeting Caleb for the first time after a
particularly shocking encounter with a paranormal entity: "Let me take your

Jeff Erbach's The Nature Of Nicholas
In Jeff Erbach's The Nature of Nicholas we witness a treatment of the queer or gay as Other. Indeed, the film takes on a very literal representation of
what Diana Fuss calls "the homosexual as abject". The implications of Fuss' claim on The Nature of Nicholas, therefore, calls for an analysis of how
the abject as non–normative is schematized, and used to negotiate the ontological boundaries between Self and Other. Indeed, Fuss' claim in
juxtaposition with the film's diegesis, produces a discussion of how western narratives of sexuality often require a certain repression of the elements
that trouble the stability of the heteronormative "I", both within one's self and with in society. Consider, for example, Erbach's treatment of zombie
Tommy.

Ella Cinders By Bill Conselman And Charlie Plumb
Every comic has a unique style that makes the comic stand out to readers. A comic's style is made up by different pieces that come together and give
the comic the uniqueness that readers fall in love with. Comic writers have to decide what type of framing style, transitions, emanata, layout and
cartooning style they want to have in their comic to fit the story. Ella Cinders by Bill Conselman and Charlie Plumb has a very intriguing narrative and
cartooning style that fits well with the comic's story. Conselman and Plumb use simplistic drawings and storylines which allows the comic to be read in
a short time.Throughout this paper I am going to explore the narrative and cartooning styles in Ella Cinders to understand why the styles were chosen ...
Transitions show time passing or different actions taking place. Ella Cinders uses a little action to action transition and mainly scene to scene
transition. Action to action in Ella Cinders shows turning points in the comic. In panels 1 and 2 on tier 4 in comic 2, the detective turns around the
girl,who looks like Ella Cinders,only to find out the girl is not Ella Cinders.The transition takes place in the same scene but the characters are doing
different actions which is why the scene is action to action. Scene to scene transition is mainly used in comics to show the readers the diegesis and
explain the story in a clearer way. In comic one, scene to scene transition is used to show how many animals are in the forest. If the scene did not
change in the first comic the readers would not be able to see all of the animals Ella Cinders comes across. Without the animals in comic one the
story line would be bland and boring to readers. Ella Cinders is a comic that gets to the point and uses illustrations to help tell the story. The Story is
told equally by illustrations and by simple yet ironic dialogue. Transitions with a speech is not needed in this comic because the dialogue is not the
most important form of telling the story. Also characters talk in short dialogue instead of long speeches.. Transitions are meant to interest thereader and
tell the story in a clear way. However, since Ella Cinders is a simple comic that needs little dialogue to tell the story transition with a speech in not used
in this

Nondiegetic Music Of The Doors In The Scene Waiting In...
Nondiegetic music of the Doors in the scene waiting in Saigon
Sound plays a significant part in all movies and one of the most interesting of all the sound techniques would be the use of nondiegetic music. In the
movie Apocalypse Now, there is a double disc soundtrack with thirty tracks on it. The one song on there that has the most meaning would TheDoors
song "The End". This song not only set the mood for the scene waiting in Saigon and the move as a whole but is also used to foreshadow the death of
Coronal Kurtis. Mr. Coppola, the director of the film, was a genius for picking this song to represent the movie. It not only fits the movie with the
sounds of helicopter but the words alone have significant meaning to the movie. Along ... Show more content on Helpwriting.net ...
This music is used to bring a hallucinatory intensity to the movie. Without the song in the background all we would see is the destruction that the war
had on the jungle. With the music we get more of feeling of the destruction that it had mentally, not only physically on Willard mind. We get the sense
that Willard knows something that we as viewers don't and is trying to forewarn us that something is going to end. The first spoken words of the song
add the needed intensity to the sequence and the whole movie. To let the viewers know that something is going to end. Whither it is the end of the
war, or the end of a life.
As we move into the montage sequence of shots, the music words are used to express what we are seeing on screen. Mr. Coppola uses the rest of
the sequence to foreshadow what is going to happen at the end of the movie. This is the main function of the song in the movie, which is to get the
viewers mind thinking about the end of the movie. It starts out with an overlapping dissolve from the burning jungle into Willard's burnt wet face.
As the dissolve leads to Willard's face we hear the song say, "I'll never look into your eyes...again." This symbolizes death. We get the sense through
the music that someone, either Willard or someone else in the move, is going to die. The music is still playing as we get a delusional view of what
Willard is thinking about. Then we get to another shot where we see a

Film Analysis Of The Movie Kingsm The Secret Service
The movie "Kingsman: The Secret Service" is a thriller and action–packed movie revolving around Kingsman a spy agency which for decades has been
in action undercover to save the mankind from its enemies. The theme of the film revolves around the triumph of good over evil and how the good side
eventually wins, diminishing the evil. The movie evokes a feeling of thrill and anticipation through the mise–en–scene it has to offer. Mise–en–scene is
the information that the film provides through the medium of vision. Mise–en–scene plays an important role in this movie as a lot of visual effects are
used in the film to show a technologically advanced world filled with high–tech gadgets, weapons, and systems.
The movie takes place in multiple locations be it Kentucky, London, Argentina or more. The audiences are introduced to these locations before each
scene through extremely long establishing shots with the name of the geographical location appearing on the side. As most of the scenes are taking
place indoors this introduction of the geographical location provides an in–depth of the diegesis to the audiences. It also helps in the creation of space
as closed indoor spaces cannot convey their locations according to the need of the story, whether they are actually shot there or not. The movie starts
off with a fight sequence in the Middle East, making the subject of the film clear and thus preparing them for the violence that is yet to come. The
movie has two crucial characters

What Is Sound Used In The Little Mermaid
The sound design in The Little Mermaid attempts to bring the viewer into a brand new world, under the sea. The film seeks to relate the Atlantic
utopia to the viewer by assigning sounds, such as movement under water or the crash of a wave onto the bow of a ship, that corresponds to the audible
experiences viewers encounter as they navigate through the real world. Although the music originating from the animals and objects in the respective
character's vicinity doesn't seek to achieve a sense of realism, it does call attention to the unveiling of certain character traits and emotions of specific
characters. Through the utilization of sound techniques, The Little Mermaid hopes to reveal character traits, shape the audience's attention, and establish
the space/time of the story, ... Show more content on Helpwriting.net ...
The sounds of those movements accentuate the space of the story, and immersing the viewer's auditory senses into the obviously fictional time of the
diegesis. Furthermore, the environmental sounds better establish the space and time of the story by assigning distinct pitch levels and loudness to
objects and characters, based on their size. For instance, consider the scene in the beginning of the film, when the ship is navigating through the open
seas. The movement of the ship enforces a loud, low pitch sound, as the waves crash onto the bow of the boat. Moreover, at another point of the film
where Ariel is swimming along the surface of the ocean, a high pitched, somewhat quiet sound is applied to her

Theme Of Manipulation In The Truman Show
Peter Weir's 1998 film, 'The Truman show' effectively manages to portray the message of audience manipulation both through the internal and external
audiences of the show. This essay will be critically analyzing the techniques used to manipulate the audience in 'The Truman Show". Firstly, by
analyzing the sound techniques, then by analyzing the camera shots used. Finally, by discussing how the symbolism used manages to successfully
manipulate the audience's views. There will now be three critical and analytical arguments supporting the statement that 'The Truman Show' manages to
effectively manipulate the audience.
In the Truman Show, the theme of audience manipulation is demonstrated through the use of sound. Non–diegetic sound is used when Truman is too
scared to go on the boat that will take him to Harbor Island. Heavy repetitive beats are used in the background to showcase Truman's fear of the ocean.
These sounds manage to give the audience a similar feeling to what Truman would be feeling at that moment. However, diegetic sound is also used
effectively throughout the film in order to inform the audience about the sounds used in the story itself. Diegetic sound is used in the scene where
Lauren (Sylvia) is taken away by her so called father. In this scene, the actors are in distress and start shouting and sharing their emotions, whilst still
manipulating the audience through these very emotions. The use of non–diegetic sound in the Truman Show is highly manipulative as it takes the
audience into the world of Truman by making them feel the same emotions of fear as Truman. The use of sound in the background makes it evident
that its main purpose is to manipulate the viewers' emotions. It is then evident that the use of sound in the Truman show is highly manipulative over
the audience as it forces them to also feel the same emotions as Truman. It is highly effective as the non–diegetic sound is merely focused on affecting
the viewers.
In the Truman show, the theme of audience manipulation is greatly portrayed through the different camera shots used. The director uses many different
camera shots to emphasize specific actions throughout the film. Eye–level shots, close–up shots, and high–angle shots are

Summary: The Man Who Shot Liberty Valance
In John Ford's 1962 western, "The Man Who Shot Liberty Valance," the audience experiences a narrative with a flashback retell for most of the film.
Ford uses diegesis storytelling to portray details about the taming of the western frontier and the experiences of his characters in the modernization of
the frontier through narrative.
This film uses a social ideology that it is time for the taming of the western frontier, with law and order. The audience learns through a flashback
sequence that one of the main characters, Ranse Stoddard, has come west to open a law practice in a "lawless" town. This character travels by a
stagecoach. Before arriving in town the stage coach was robbed by the villainous Liberty Valance. After being beaten and left for dead, our other
main character, Tom Doniphon arrives to save the day. From that day forward Ranse Stoddard vows to put Liberty Valance behind bars. Tom
Doniphon assures Stoddard he will need a gun to settle this fight. These two characters represent the new kinder west and the current violence ridden
west respectively. The opening and closing scenes are not ... Show more content on Helpwriting.net ...
Tom Doniphon nominated Ranse Stoddard for political office because he was, "the man who shot Liberty Valance." He did not want a nomination on
the premise of killing a man and walks out. Meeting in the hallway Doniphon explained Stoddard had never shot Liberty. Again Ford uses a flashback
within a flashback to show Doniphon's angle of the shootout. Doniphon had a shotgun and shot Valance at the same time Stoddard attempted to shoot
his gun. After finding out that he had not killed a man he stormed back in and accepted the nomination. The lie that created Ranse Stoddard and
created the demise of Tom Doniphon. Ford uses cause and effect to create this part of the story. One cause created two different effects for the two

Realist Realism In The Movie : Grizzly Man
The film Grizzly Man is documentary about a person named Timothy Treadwell. His admiration and love for the bears portrayed some of the
wonderful characteristics about Timothy Treadwell. He was driven by his ambiguous thoughts and unfortunately lossed his life by doing so. By using
the realist aesthetics of Grizzly Man, we can explore the meaning of this by showing different examples shown throughout the film. We can
immediately acknowledge the fact that the film is non–fiction. As shown in the film, the mise–en–scene of the footage is entirely real. For example, we
are shown with real life bears, grass, trees, and many other humans displayed in the film. The nature in the background is real allowing for it to relate
to the audience. ... Show more content on Helpwriting.net ...
The present footage used many interviews of the acquaintances and family of Timothy Treadwell. As the narrator spoke to the people in the film we
are shown that the people in the filmed instantly responded to the narrator depicting that they were being interviewed by the narrator named
Werner Herzog. This also adds how the people that were getting interviewed gave a direct message to the camera. This further more shows how the
film utilizes direct address to the camera to describe the aesthetics of realism. The sound used in the film is comprised of a mixture of diegetic and
nondiegetic music. The music was also composed entirely of instrumental sounds.The sound is dependent on the time of the footage of the film
because it then defines what sound is diegetic or not. This allows for the tone of the film to be changed. The fluctuation of the tone of the sounds
depicted somber sounds to show the realism of Timothy's death, and joyful and uplifting sounds when at times when Timothy is alive and shown in
the film. In turn, this changes the meaning of the film by influencing the audience to feel a certain type of way. By the use of a combination of the
long take footage of shown in the film, and sound, we can further see a change of the meaning of the film. For example, when Timothy was informing
us on the bears, and all while taking a long shot of the film, we can see

Maus Elements
Art Spiegelman's Maus is a famous, Pulitzer Prize winning tale about the journey of a Jewish Holocaust survivor. Despite the amount of similar
storylines, Spiegelman's creativity with the normal elements of comics has won him high praise. This analysis will focus on Spiegelman's unique twist
on icons, layouts, diegesis, abstraction, and encapsulation as displayed by Maus. Icons are pictures that are used to embody a person, place, thing, or
idea. McCloud hammers this concept home by drawing random things, such as a cow (McCloud, pg. 26), but reminds the reader that it is technically
not a real cow. It is just an image.
In Maus, Spiegelman's characters are icons; he utilizes everyday, commonplace animals to represent the humans in ... Show more content on
Helpwriting.net ...
Additionally, by including less detail, Spiegelman makes his characters easier to relate to, or as McCloud references, more universal. After Vladek
recalls the hanging of a few of his associates, Spiegelman illustrates a very plain, bleak image of him mourning their loss in present day. The image
consists of the most basic character features, making it effortless for the reader to mentally input their face on Vladek's. Overall, this "amplification
through simplification" (McCloud), aids the reader in feeling the emotion of the character, finding a deeper connection to the story as a whole, and can
reveal universal truths. The layout of a comic is the relationship between one panel to the rest of the panels in the sequence, the page, and the rest of
the book. Spiegelman constructs the layout of his panels to bring his story to life. When Vladek is telling the story about the mandatory registration of
all Jews, which led to the disappearance of many close friends (pg. 91), Spiegelman places Vladek at the bottom right hand corner of the page. This
establishes the imagery of the boxes weighing down on him in present time, as he appears to be struggling to get through the story and contain his
emotions. Furthermore, when Anja's father is telling Vladek that the Germans intend on making an example of the Jews who ran the black market.
Spiegelman enlarges the panel of the Jews hanging in the town center, and depicts their dangling feet in the two panels below (page 83),

Essay on Raiders of the Lost Ark
Jon Rohrbaugh
Raiders of the Lost Ark 57:33–1:01:00
"Uncovering the Well of Soles"
I have chosen to evaluate a scene from Indiana Jones, Raiders of the Lost Ark where Indiana and Sallah uncover the Well of Soles where the lost
ark is hidden. We open the scene at 57:03 with Indiana leading a team of diggers up a hill to the spot where they will dig for the ark. As the scene
opens we hear the diegetic sounds of the diggers and commotion taking place in the background. We also hear non–diegetic music that will be referred
to as the "ark theme" playing as Indiana climbs the hill and has his men start to dig for the ark. The slow and sort of creepy tone that makes up the ark
theme reminds us of the continuing quest for the ark and ... Show more content on Helpwriting.net ...
The thunder and lightning and building anticipation seem to foreshadow the discovery of the ark yet again, which we initially think is a good thing,
however, the dark and evil sounds of the storm represent bad things will eventually come from the ark and show us that in hindsight, the ark should
not be disturbed. Anticipation continues to build as we hear more diegetic sounds of thunder and a spooky wind howling in the background. We see a
shot of Indy and see the worried look on his face as the storm continues to approach. At 58:56 Sallah informs Indy that they hit stone and here we see an
eyeline match from Indy leading to the next shot of the uncovered stone. As the workers continue to uncover the stone, the diegetic sounds continue.
The lack of non–diegetic music emphasizes the roar of the thunder and helps the view focus on the big find that is about to occur. As the stone is lifted
and the tomb is uncovered, we hear the diegetic sound of an animal howling in the background at 59:50. This gives the viewer a spooky feel of the
tomb. At 59:55 we see and hear a stinger brought on by non–diegetic music. The thunder roars with a lightning strike which lights up the opening of the
tomb which reveals a scary–looking creature with jagged teeth. As this is revealed the non–diegetic music spikes and Sallah shouts from being startled
which all creates this stinger effect. The stinger

Essay Effective Use of Sound Techniques in Fritz LangвЂ™s...
Effective Use of Sound Techniques in Fritz Lang's Film, M
M was directed by Fritz Lang and was released in Germany in 1931. M follows the story of a strand of child murders in a German city. In a hunt for
the murderer the police as well as the organized criminal underground of this German city search rapidly for the killer of these innocent children. The
specific elements that Fritz Lang uses to express his view of what the sound should be are, how particular sound techniques shape the film, and how the
sound affects the story. In a shot by shot analysis of a series scenes that uses diegetic sound the audience can understand what Lang's intentions for
sound was for this film.
Initially the audience is witness to how particular sound ... Show more content on Helpwriting.net ...
Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts,
sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the
background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots
of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and
sound put together to make an incredible component.
By offering a shot by shot analysis of a scene that uses diegetic sound the audience can understand why the director used these sound aspects to tell
his story. This analysis does not just follow one scene but rather a series of scenes in order of what is relevant. First we are witness to the mother in her
apartment washing clothes on the washing board and the camera then cuts to the clock, which is striking time and making an animated noise that brings
the audience into this important element of the film. The story then cuts to Elsie being honked at on the street with horns that are overly dramatic in
sound, yet another way for the director to use the sound technique. Another way the director uses sound in a dramatic way is when he presents Elsie
bouncing her ball down the sidewalk and on the

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