The document discusses how the 1999 film American Beauty portrayed gender roles in families and how representation has changed since. It analyzes the characters of Carolyn, the wife and mother, and Lester, the father and breadwinner, finding that while they outwardly conform to stereotypes of the time, symbols and their unhappiness suggest the roles trap them. It also discusses how modern shows like Modern Family portray a wider variety of family types and changing gender roles, with men now able to stay home and women to be breadwinners. Overall, while American Beauty was limited by its time, comparing it to Modern Family shows the progress made in representations of gender and families over 20 years.
The document discusses props, costumes, settings, stock events, and stock characters in short films about teenagers. Props like a phone, letter, and pregnancy test represent themes of social media influence, dreams and aspirations, and life-changing mistakes. Costumes reflect social class and personality. Settings like homes and a bedroom show restrictions and passions in conflict. Stock events like drinking, drug use, and fights present realistic but negative aspects of youth culture. Central characters often care for ill family members, and disabled teenagers can offer sensitive representations that blur fiction and reality.
This document provides guidance for writing a comparative analysis of the films "Knocked Up" and "Forgetting Sarah Marshall" focusing on how they represent gender. The analysis should include an introduction briefly describing the characters and narratives. The main body should analyze how the films similarly and differently represent the male gender through specific scenes, using relevant film theory. It should then analyze female representation in the same way before concluding by looking back at points made in the introduction and focusing on a stereotype example for each gender. Relevant film theorists like Mortimer and Gauntlett should be referenced throughout.
The document provides a comparative analysis of the representations of gender in the romantic comedy films Knocked Up and Forgetting Sarah Marshall. It summarizes that in both films, the male protagonists are portrayed as lazy and carefree, in contrast to the hardworking female protagonists who are superior. Both films present examples of the "new man" archetype through characters like Seth Rogen's slacker character in Knocked Up and Jason Segel's lazy character in Forgetting Sarah Marshall. The analysis examines how the films use techniques like camera shots, dialogue and character behaviors to represent the gender dynamics and "battle of the sexes" between the male and female leads.
The document provides a comparative analysis of the representations of gender in the romantic comedy films Knocked Up (2007) and Forgetting Sarah Marshall (2008). Both films depict male protagonists that are "well meaning, but immature" - Ben lives a carefree lifestyle until he gets a woman pregnant, while Peter experiences a dramatic breakup. Through analyses of scenes, the document finds that both films portray the male characters as "emasculated" and generate laughter through highlighting their lack of maturity and masculinity. The portrayal of the immature, emotionally vulnerable male is a common theme and gender representation in the romantic comedy genre.
This document provides an overview of theories for a comparative analysis of the romantic comedy genre. It discusses several key elements of romantic comedies, including antagonism between central couples, unrequited love, and the theme of the battle of the sexes. The document also analyzes characters and their representations in the romantic comedy Knocked Up, discussing how characters like Ben Stone conform to or challenge stereotypes. It references several critics and their perspectives on romantic comedy conventions.
The document discusses the representation of male and female genders in two romantic comedy films, "Knocked Up" and "Forgetting Sarah Marshall". It notes that the male lead in "Knocked Up", Ben, can be described as challenging stereotypes by being "well meaning but immature". Examples from the films are given to support how the male characters are portrayed as immature. The female characters are said to be represented in binary opposition to the males. The impact of these gender representations on the target audience is discussed.
Raymond Mirra was an Italian American. When he immigrated to the United States in the late nineteen seventies, he came to Hillsboro Beach, Oregon and bought a modest two bedroom house on Fitch Street.
The trailer summarizes the film as follows:
Therese, a young department store clerk in 1950s Manhattan, meets and falls in love with Carol, a beautiful but unhappy housewife. As their forbidden romance deepens, Carol musters the strength to leave her oppressive husband. However, he threatens to take away her daughter in retaliation. The trailer conveys the forbidden nature of their lesbian relationship through subtle glances and narration, establishing it as a story of star-crossed lovers hindered by the social norms of the era.
The document discusses props, costumes, settings, stock events, and stock characters in short films about teenagers. Props like a phone, letter, and pregnancy test represent themes of social media influence, dreams and aspirations, and life-changing mistakes. Costumes reflect social class and personality. Settings like homes and a bedroom show restrictions and passions in conflict. Stock events like drinking, drug use, and fights present realistic but negative aspects of youth culture. Central characters often care for ill family members, and disabled teenagers can offer sensitive representations that blur fiction and reality.
This document provides guidance for writing a comparative analysis of the films "Knocked Up" and "Forgetting Sarah Marshall" focusing on how they represent gender. The analysis should include an introduction briefly describing the characters and narratives. The main body should analyze how the films similarly and differently represent the male gender through specific scenes, using relevant film theory. It should then analyze female representation in the same way before concluding by looking back at points made in the introduction and focusing on a stereotype example for each gender. Relevant film theorists like Mortimer and Gauntlett should be referenced throughout.
The document provides a comparative analysis of the representations of gender in the romantic comedy films Knocked Up and Forgetting Sarah Marshall. It summarizes that in both films, the male protagonists are portrayed as lazy and carefree, in contrast to the hardworking female protagonists who are superior. Both films present examples of the "new man" archetype through characters like Seth Rogen's slacker character in Knocked Up and Jason Segel's lazy character in Forgetting Sarah Marshall. The analysis examines how the films use techniques like camera shots, dialogue and character behaviors to represent the gender dynamics and "battle of the sexes" between the male and female leads.
The document provides a comparative analysis of the representations of gender in the romantic comedy films Knocked Up (2007) and Forgetting Sarah Marshall (2008). Both films depict male protagonists that are "well meaning, but immature" - Ben lives a carefree lifestyle until he gets a woman pregnant, while Peter experiences a dramatic breakup. Through analyses of scenes, the document finds that both films portray the male characters as "emasculated" and generate laughter through highlighting their lack of maturity and masculinity. The portrayal of the immature, emotionally vulnerable male is a common theme and gender representation in the romantic comedy genre.
This document provides an overview of theories for a comparative analysis of the romantic comedy genre. It discusses several key elements of romantic comedies, including antagonism between central couples, unrequited love, and the theme of the battle of the sexes. The document also analyzes characters and their representations in the romantic comedy Knocked Up, discussing how characters like Ben Stone conform to or challenge stereotypes. It references several critics and their perspectives on romantic comedy conventions.
The document discusses the representation of male and female genders in two romantic comedy films, "Knocked Up" and "Forgetting Sarah Marshall". It notes that the male lead in "Knocked Up", Ben, can be described as challenging stereotypes by being "well meaning but immature". Examples from the films are given to support how the male characters are portrayed as immature. The female characters are said to be represented in binary opposition to the males. The impact of these gender representations on the target audience is discussed.
Raymond Mirra was an Italian American. When he immigrated to the United States in the late nineteen seventies, he came to Hillsboro Beach, Oregon and bought a modest two bedroom house on Fitch Street.
The trailer summarizes the film as follows:
Therese, a young department store clerk in 1950s Manhattan, meets and falls in love with Carol, a beautiful but unhappy housewife. As their forbidden romance deepens, Carol musters the strength to leave her oppressive husband. However, he threatens to take away her daughter in retaliation. The trailer conveys the forbidden nature of their lesbian relationship through subtle glances and narration, establishing it as a story of star-crossed lovers hindered by the social norms of the era.
This document provides a long synopsis and production details for the film "This is England". It begins with a short synopsis describing the film's story of 12-year old Shaun who finds friendship and male role models in a group of local skinheads in 1983 England. The rest of the document discusses the film's production, including how director Shane Meadows was inspired by his own experiences growing up, and how he cast mostly non-professional actors such as Thomas Turgoose in the lead role of Shaun after an extensive search. It also discusses how the cast bonded during filming and the director's commitment to supporting the young actors beyond the production.
This is england youth sub representations 2hhunjan07
The document discusses representations of youth subcultures in 1980s Britain as depicted in the film "This is England". It explores how the working-class skinhead subculture originated as a reaction to the political and economic climate of the time, including rising nationalism, Thatcherism, deindustrialization, and increased immigration. The film portrays the skinhead youth as aggressive, violent, and disenfranchised from society due to lack of employment opportunities and family/community structures in Britain at the time. It also examines how Shane Meadows uses these representations to convey the ideologies of the era.
The document provides an analysis of the front cover and contents page of the October 2010 issue of XXL Magazine. The front cover features Kanye West in black and white, portrayed as a "king" and "very powerful." The contents page has a sophisticated design that breaks conventions of hip hop magazines by referencing pop culture and using intellectual vocabulary. A two-page article by Kanye West is summarized as having a clean, classy black and white design befitting of a "gentleman's magazine," distinguishing it from typical rap magazines.
Marilyn Monroe was a famous American actress who rose to fame in the 1950s. She endured a difficult childhood living in foster homes. She married young but pursued a modeling career after her husband left for war. This led to her film career where she became a major Hollywood star known for her beauty, charm, and sexuality. However, she struggled personally with mental health and relationship issues. Marilyn passed away young at the age of 36, becoming a global icon and inspiration.
The document discusses how the media product represents different social groups. It represents gangsters by adding depth to the main character Nico McNamara, making him younger than typical gangster portrayals. It represents men as the main characters and focuses on strength and dominance, following gangster film conventions. It also represents youths by making the characters younger than typical gangster films to provide a fresh perspective. Additionally, it represents the importance of family through the theme of a son reluctantly taking over the family business, similar to The Godfather.
Discourse and Dis-course: Revisiting Black Identity through Milkman’s Quest i...inventionjournals
This document summarizes Toni Morrison's novel Song of Solomon and analyzes the protagonist Milkman Dead's quest for identity. It discusses how Morrison uses myths, songs, renaming, and family reunification to help Milkman restore his black identity and history, which had been distorted by slavery. Through exploring his family's past, connecting with his aunt Pilate, and learning his grandfather's true name, Milkman moves from having a false identity imposed by whites to achieving self-assertion and pride in his black identity and culture. The document analyzes how Morrison uses these elements to deconstruct racist myths and empower her black characters.
Aspects of modernism in the great gtasby by f. scott ftizgerald.Mohamad Akharraz
This document provides an introduction and analysis of themes and literary devices in F. Scott Fitzgerald's novel The Great Gatsby. The introduction discusses the Modernist period and Fitzgerald's use of modernist techniques to depict issues after World War I like materialism and the failure of the American Dream. The analysis focuses on three themes: the corrupting influence of money, spiritual shallowness in the characters, and the failure of Gatsby to achieve the American Dream. It also examines literary devices like point of view, narrative structure, symbolism, and intertextuality used in the novel.
The title sequence uses simple yet detailed vector graphics in black and white to introduce the characters and set the tone. James Bond is shown to be well-dressed, prepared, and seeking justice after a murder is shown, contrasting with his more relaxed opponent. Through variations in shots, lighting, and sound, the opening builds tension and emotion to engage the audience and set expectations that Bond will bring violence and justice.
This document analyzes how the BBC mockumentary "People Just Do Nothing" represents the social class and status of its working class characters through various aspects of its mise-en-scene and narrative. It discusses how the costumes of tracksuits and baseball hats, the rundown flat setting in west London, and dim lighting portray the characters as lower-class. It also explains how competing to be godfather and opening a car door signifies differences in status, and how a homemade paper streamer decoration reveals the characters' inability to afford nicer options due to their working-class social standing.
Arthur Penn's 1967 film Bonnie and Clyde depicts the personal rebellion of Bonnie Parker and Clyde Barrow against social conventions in Depression-era America. The film symbolizes the emerging 1960s counterculture and its hunger for change. Bonnie is first shown applying lipstick, expressing her boredom and desire for more. She joins Clyde after seeing him try to steal a car, hoping he can provide excitement and freedom from her restricted life. Throughout the film, Bonnie and Clyde struggle to establish their own identity apart from social norms as they live outside the law. Their unconventional sexuality and habits further mark them as outsiders rebelling against traditional values of their time.
The document discusses the British film "This is England" and provides discussion questions about key themes in the film including representation of people and places, skinhead subculture, masculinity, national identity, and characterization of the main characters and gang. Learning outcomes include explaining who and what is represented in the film, exploring the skinhead movement and Shane Meadows' portrayal of masculinity. Questions probe the gang's actions in context of unemployment and circumstances, how Meadows conveys the subculture, and competing ideas of national identity in the film.
The document analyzes Madonna's 1984 album cover "Like a Virgin" in three sentences:
The album cover depicts Madonna wearing a wedding dress and holding flowers while lying on satin sheets, contradicting symbols of innocence with her dark makeup and disheveled hair in a pose that appeals to the male gaze. Typography on the cover supports theories that celebrities are created as objects for financial gain rather than individuals. The photo and Madonna's revealing clothing present her as both an object of male desire and a woman who desires something herself.
Phillip Ross and Jack O'Connell are suggested to play the main character Luke Ryan due to their similar ages and appearances fitting the role. Channing Tatum is also proposed due to his ability to show strong emotions. Sam Riley and Jaime Winstone are put forward for their experience in gritty, low-budget British films aiding their suitability. Kara Tointon and Kaya Scodelario are recommended for Stacey Greene based on their portrayals of emotional roles in British soap operas and dramas. Adam Deacon, Russell Tovey, and Ashley Walters are proposed for supporting roles due to their experience in urban British films.
This document discusses Madeleine Ross' presentation of her work for the York Museum Trust exhibition. She summarizes her involvement in planning the exhibition layout and display of her piece. She also discusses promoting her documentary online by creating a website, uploading it to YouTube, and making a Twitter account to share information and images about her piece.
The document discusses Madeleine Ross' FMP project where she created a poetic documentary exploring themes of progression of time and the experiences of women over generations by interviewing her grandmother. Her project went through many changes as her initial plans fell through, but she was ultimately happy with the outcome of telling the stories of women from different eras. She learned valuable lessons about adapting to challenges and gained experience working with an outside partner through this project.
This document provides context for a student's contextual research project surrounding Grayson Perry and his early life and work.
The student looked at background information on Perry through quotes, reviews, and articles. Images of favorite works were included for inspiration. A mind map was used to brainstorm ideas, with transvestism and Thatcher's Britain recurring themes.
The student found clips from a Perry documentary discussing gender and identity helpful. A meeting was held to narrow the project focus, deciding to use Claire as a Soldier as a focal piece and link it to themes of masculinity in the 1980s.
Research was refocused on how Claire might be different 40 years later. Tutorials on documentary filming techniques were reviewed
This shot list contains 17 shots planned for the production "Here to There". Shot 1 involves close-ups of Claire's face and details. Shots 2 and 12 feature medium close-ups of Emma and Madeleine facing the camera with their environments in soft focus behind them. Shot 3 shows Emma from behind as she walks through fields with wind turbines visible in the distance in Shot 4. Shots 5-7 form a walking sequence with Emma from different angles and distances as she climbs a hill. Shots 9-10 give side and front views of Emma overlooking a reservoir in slow motion. Shot 11 is a tracking pan of moving water. Shots 13-14 feature Madeleine overlooking a forest and river from a
The document is divided into three scenes introducing three women at different points in time: Claire from the 1980s, Emma who was a teenager in the 1980s and is now 50 years old, and Emma's daughter Madeleine who is currently an 18-year-old woman. Each scene includes visual b-roll of the subject and an interview where they discuss their experiences as a woman in their respective era, allowing comparisons across the decades from the 1980s to present day.
Madeleine Ross is planning her final documentary project. She has done research on topics like masculinity, women's issues, and documentary techniques. Her tutors have emphasized making the project personal. She will focus on issues personal to her and interview her mother about what it was like to be a young woman in the 1980s. She will compare their experiences to the artwork "Claire as a Soldier." For her planning, she will provide great depth and detail about every aspect of the project.
She will use complementary colors like orange and blue to set tone. Orange will represent youth and happiness in discussing her own experiences, while blue will represent the past when discussing her mother's experiences. She will use soft, natural lighting
The document discusses several theoretical problems that may arise when filming outdoors during the COVID-19 pandemic. These include lighting issues due to uncontrolled natural lighting; audio issues from wind and traffic noise; weather restrictions from rain, snow, etc. that could damage equipment or endanger crew; and challenges working with actors/crew while maintaining social distancing guidelines. Potential solutions are provided, such as filming at golden hour, using reflectors and wind shields, checking the weather forecast, having backup indoor locations, and communicating safety procedures to cast and crew.
This document outlines contingency plans for potential issues that could arise during an outdoor film shoot. It identifies issues such as unpredictable natural lighting, audio interference from wind/traffic, weather disruptions, reduced crew size due to COVID-19, conducting remote interviews, technical equipment failures, and obtaining usable footage. For each issue, it proposes solutions such as scheduling around golden hour, using wind shields/directional mics, checking weather forecasts, sanitizing equipment, bringing backup batteries/memory cards, and building in reshoots. The document stresses having backups, testing equipment beforehand, clear responsibilities, and flexibility in the schedule.
This document discusses different styles of documentary filmmaking. It describes poetic documentaries as eschewing linear continuity in favor of mood and tone created through juxtaposed imagery. Poetic documentaries often have little or no narrative content, instead using highly composed, visually striking images that can tell a story without words. Expository documentaries establish a point of view through voiceover, while participatory documentaries involve interaction between filmmakers and subjects. Observational documentaries act as a fly-on-the-wall, reflexive documentaries examine the filmmaking process itself, and performative documentaries use the filmmaker's relationship with the subject.
This document provides a long synopsis and production details for the film "This is England". It begins with a short synopsis describing the film's story of 12-year old Shaun who finds friendship and male role models in a group of local skinheads in 1983 England. The rest of the document discusses the film's production, including how director Shane Meadows was inspired by his own experiences growing up, and how he cast mostly non-professional actors such as Thomas Turgoose in the lead role of Shaun after an extensive search. It also discusses how the cast bonded during filming and the director's commitment to supporting the young actors beyond the production.
This is england youth sub representations 2hhunjan07
The document discusses representations of youth subcultures in 1980s Britain as depicted in the film "This is England". It explores how the working-class skinhead subculture originated as a reaction to the political and economic climate of the time, including rising nationalism, Thatcherism, deindustrialization, and increased immigration. The film portrays the skinhead youth as aggressive, violent, and disenfranchised from society due to lack of employment opportunities and family/community structures in Britain at the time. It also examines how Shane Meadows uses these representations to convey the ideologies of the era.
The document provides an analysis of the front cover and contents page of the October 2010 issue of XXL Magazine. The front cover features Kanye West in black and white, portrayed as a "king" and "very powerful." The contents page has a sophisticated design that breaks conventions of hip hop magazines by referencing pop culture and using intellectual vocabulary. A two-page article by Kanye West is summarized as having a clean, classy black and white design befitting of a "gentleman's magazine," distinguishing it from typical rap magazines.
Marilyn Monroe was a famous American actress who rose to fame in the 1950s. She endured a difficult childhood living in foster homes. She married young but pursued a modeling career after her husband left for war. This led to her film career where she became a major Hollywood star known for her beauty, charm, and sexuality. However, she struggled personally with mental health and relationship issues. Marilyn passed away young at the age of 36, becoming a global icon and inspiration.
The document discusses how the media product represents different social groups. It represents gangsters by adding depth to the main character Nico McNamara, making him younger than typical gangster portrayals. It represents men as the main characters and focuses on strength and dominance, following gangster film conventions. It also represents youths by making the characters younger than typical gangster films to provide a fresh perspective. Additionally, it represents the importance of family through the theme of a son reluctantly taking over the family business, similar to The Godfather.
Discourse and Dis-course: Revisiting Black Identity through Milkman’s Quest i...inventionjournals
This document summarizes Toni Morrison's novel Song of Solomon and analyzes the protagonist Milkman Dead's quest for identity. It discusses how Morrison uses myths, songs, renaming, and family reunification to help Milkman restore his black identity and history, which had been distorted by slavery. Through exploring his family's past, connecting with his aunt Pilate, and learning his grandfather's true name, Milkman moves from having a false identity imposed by whites to achieving self-assertion and pride in his black identity and culture. The document analyzes how Morrison uses these elements to deconstruct racist myths and empower her black characters.
Aspects of modernism in the great gtasby by f. scott ftizgerald.Mohamad Akharraz
This document provides an introduction and analysis of themes and literary devices in F. Scott Fitzgerald's novel The Great Gatsby. The introduction discusses the Modernist period and Fitzgerald's use of modernist techniques to depict issues after World War I like materialism and the failure of the American Dream. The analysis focuses on three themes: the corrupting influence of money, spiritual shallowness in the characters, and the failure of Gatsby to achieve the American Dream. It also examines literary devices like point of view, narrative structure, symbolism, and intertextuality used in the novel.
The title sequence uses simple yet detailed vector graphics in black and white to introduce the characters and set the tone. James Bond is shown to be well-dressed, prepared, and seeking justice after a murder is shown, contrasting with his more relaxed opponent. Through variations in shots, lighting, and sound, the opening builds tension and emotion to engage the audience and set expectations that Bond will bring violence and justice.
This document analyzes how the BBC mockumentary "People Just Do Nothing" represents the social class and status of its working class characters through various aspects of its mise-en-scene and narrative. It discusses how the costumes of tracksuits and baseball hats, the rundown flat setting in west London, and dim lighting portray the characters as lower-class. It also explains how competing to be godfather and opening a car door signifies differences in status, and how a homemade paper streamer decoration reveals the characters' inability to afford nicer options due to their working-class social standing.
Arthur Penn's 1967 film Bonnie and Clyde depicts the personal rebellion of Bonnie Parker and Clyde Barrow against social conventions in Depression-era America. The film symbolizes the emerging 1960s counterculture and its hunger for change. Bonnie is first shown applying lipstick, expressing her boredom and desire for more. She joins Clyde after seeing him try to steal a car, hoping he can provide excitement and freedom from her restricted life. Throughout the film, Bonnie and Clyde struggle to establish their own identity apart from social norms as they live outside the law. Their unconventional sexuality and habits further mark them as outsiders rebelling against traditional values of their time.
The document discusses the British film "This is England" and provides discussion questions about key themes in the film including representation of people and places, skinhead subculture, masculinity, national identity, and characterization of the main characters and gang. Learning outcomes include explaining who and what is represented in the film, exploring the skinhead movement and Shane Meadows' portrayal of masculinity. Questions probe the gang's actions in context of unemployment and circumstances, how Meadows conveys the subculture, and competing ideas of national identity in the film.
The document analyzes Madonna's 1984 album cover "Like a Virgin" in three sentences:
The album cover depicts Madonna wearing a wedding dress and holding flowers while lying on satin sheets, contradicting symbols of innocence with her dark makeup and disheveled hair in a pose that appeals to the male gaze. Typography on the cover supports theories that celebrities are created as objects for financial gain rather than individuals. The photo and Madonna's revealing clothing present her as both an object of male desire and a woman who desires something herself.
Phillip Ross and Jack O'Connell are suggested to play the main character Luke Ryan due to their similar ages and appearances fitting the role. Channing Tatum is also proposed due to his ability to show strong emotions. Sam Riley and Jaime Winstone are put forward for their experience in gritty, low-budget British films aiding their suitability. Kara Tointon and Kaya Scodelario are recommended for Stacey Greene based on their portrayals of emotional roles in British soap operas and dramas. Adam Deacon, Russell Tovey, and Ashley Walters are proposed for supporting roles due to their experience in urban British films.
This document discusses Madeleine Ross' presentation of her work for the York Museum Trust exhibition. She summarizes her involvement in planning the exhibition layout and display of her piece. She also discusses promoting her documentary online by creating a website, uploading it to YouTube, and making a Twitter account to share information and images about her piece.
The document discusses Madeleine Ross' FMP project where she created a poetic documentary exploring themes of progression of time and the experiences of women over generations by interviewing her grandmother. Her project went through many changes as her initial plans fell through, but she was ultimately happy with the outcome of telling the stories of women from different eras. She learned valuable lessons about adapting to challenges and gained experience working with an outside partner through this project.
This document provides context for a student's contextual research project surrounding Grayson Perry and his early life and work.
The student looked at background information on Perry through quotes, reviews, and articles. Images of favorite works were included for inspiration. A mind map was used to brainstorm ideas, with transvestism and Thatcher's Britain recurring themes.
The student found clips from a Perry documentary discussing gender and identity helpful. A meeting was held to narrow the project focus, deciding to use Claire as a Soldier as a focal piece and link it to themes of masculinity in the 1980s.
Research was refocused on how Claire might be different 40 years later. Tutorials on documentary filming techniques were reviewed
This shot list contains 17 shots planned for the production "Here to There". Shot 1 involves close-ups of Claire's face and details. Shots 2 and 12 feature medium close-ups of Emma and Madeleine facing the camera with their environments in soft focus behind them. Shot 3 shows Emma from behind as she walks through fields with wind turbines visible in the distance in Shot 4. Shots 5-7 form a walking sequence with Emma from different angles and distances as she climbs a hill. Shots 9-10 give side and front views of Emma overlooking a reservoir in slow motion. Shot 11 is a tracking pan of moving water. Shots 13-14 feature Madeleine overlooking a forest and river from a
The document is divided into three scenes introducing three women at different points in time: Claire from the 1980s, Emma who was a teenager in the 1980s and is now 50 years old, and Emma's daughter Madeleine who is currently an 18-year-old woman. Each scene includes visual b-roll of the subject and an interview where they discuss their experiences as a woman in their respective era, allowing comparisons across the decades from the 1980s to present day.
Madeleine Ross is planning her final documentary project. She has done research on topics like masculinity, women's issues, and documentary techniques. Her tutors have emphasized making the project personal. She will focus on issues personal to her and interview her mother about what it was like to be a young woman in the 1980s. She will compare their experiences to the artwork "Claire as a Soldier." For her planning, she will provide great depth and detail about every aspect of the project.
She will use complementary colors like orange and blue to set tone. Orange will represent youth and happiness in discussing her own experiences, while blue will represent the past when discussing her mother's experiences. She will use soft, natural lighting
The document discusses several theoretical problems that may arise when filming outdoors during the COVID-19 pandemic. These include lighting issues due to uncontrolled natural lighting; audio issues from wind and traffic noise; weather restrictions from rain, snow, etc. that could damage equipment or endanger crew; and challenges working with actors/crew while maintaining social distancing guidelines. Potential solutions are provided, such as filming at golden hour, using reflectors and wind shields, checking the weather forecast, having backup indoor locations, and communicating safety procedures to cast and crew.
This document outlines contingency plans for potential issues that could arise during an outdoor film shoot. It identifies issues such as unpredictable natural lighting, audio interference from wind/traffic, weather disruptions, reduced crew size due to COVID-19, conducting remote interviews, technical equipment failures, and obtaining usable footage. For each issue, it proposes solutions such as scheduling around golden hour, using wind shields/directional mics, checking weather forecasts, sanitizing equipment, bringing backup batteries/memory cards, and building in reshoots. The document stresses having backups, testing equipment beforehand, clear responsibilities, and flexibility in the schedule.
This document discusses different styles of documentary filmmaking. It describes poetic documentaries as eschewing linear continuity in favor of mood and tone created through juxtaposed imagery. Poetic documentaries often have little or no narrative content, instead using highly composed, visually striking images that can tell a story without words. Expository documentaries establish a point of view through voiceover, while participatory documentaries involve interaction between filmmakers and subjects. Observational documentaries act as a fly-on-the-wall, reflexive documentaries examine the filmmaking process itself, and performative documentaries use the filmmaker's relationship with the subject.
Madeleine Ross proposes a poetic documentary exploring issues facing contemporary women. She will examine the artwork "Claire as a Soldier" and how its message may have changed from the 1980s. Research will analyze masculinity in the 1980s, challenges of career and motherhood today, and how the internet both harms and supports women. The documentary will be evaluated through weekly reflections, behind-the-scenes footage, and a final review of each section's success. Production will include interviews, b-roll, editing, feedback, and final presentation.
Madeleine Ross proposes creating an audio project exploring coming of age during Margaret Thatcher's time as prime minister in the UK and how her policies impacted young people's understanding of gender and sexuality. The project will feature interviews with LGBTQ people and research the social and political climate of the 1980s. Madeleine will evaluate her progress through weekly reflections and behind-the-scenes footage, and upon completion will provide an in-depth evaluation of each project element and create a longer visual blog to showcase the entire process. The project will be completed over 16 weeks through research, production, evaluation, and presentation stages.
Grayson Perry explores themes of social class, gender, and identity in his early works known as The Pre-Therapy Years. Perry creates a foundation for subjects he would continue exploring such as masculinity. His works challenge conservative ideas of masculinity and embrace femininity. Researching the socio-political climate of 1980s UK provided important context, as it was a tough time for British working-classes and masculinity under Thatcher's government. Perry's works commented on the crisis of masculinity and issues of that era.
The document discusses how the 1999 film American Beauty portrayed gender roles in families and how representation has changed since. It notes that while the film showed characters fulfilling stereotypical roles of the time like Carolyn as the homemaker, it also suggested these roles trapped and limited them. Modern family representations show more diversity, like stay-at-home dads. Overall, the film both reflected and challenged gender norms of its time to some degree, but representation has advanced further since, reflecting society's changing views on families and gender.
The document discusses Madeleine Ross' research for a documentary project. It includes slides on the Georgian expansion and Royal Baths that she found through in-depth research. It also discusses how she looked at different documentary genres but wished she focused more on historical documentaries. Examples of initial music choices and issues with using a green screen during filming are provided.
The document summarizes the production log of Madeleine Ross for her first project involving filming, audio, lighting, and post-production work. Some key points:
- Filming day 1 had audio issues with background noise drowning out her voice in some shots. She decided to re-film presenting segments at home with a green screen.
- Filming day 2 went better and she was able to get establishing shots of landmarks, though some were overexposed from the sun. She plans to re-shoot parts of the high street.
- Filming day 3 at home with a green screen went well, with clear audio and multiple takes, though the green screen may be difficult to key due to lighting
Gender in american beauty research pro formaMadeleineRoss7
The document contains notes and potential topics for an essay on the portrayal of gender in films. It discusses several films from the 1990s and 2000s and how they portray gender roles and stereotypes. Theories from Gaye Tuchman, Laura Mulvey, and David Gauntlett on media representation of gender are summarized. Notes are provided on specific characters from American Beauty, including Angela Hayes, Carolyn Burnham, and the film's depiction of masculinity in the 1990s context. The family dynamic in the film is analyzed in relation to functionalist perspectives on the nuclear family model.
The document provides instructions for a film festival task that requires watching a minimum of 9 film collections from at least 5 different genres, 2 masterclasses, 1 university showcase, and 1 guest programme from November 3-6. It outlines scheduling films from different genres each day and references pages from the festival programme for event details. Guidelines are provided for choosing films relevant to the individual's career interests and essay topic.
This document contains a shot list for a video production about Harrogate, England. It includes 31 shots ranging from close-ups to long shots, with descriptions of the shots, estimated durations, and notes on camera movements and directions for performers. Shots include the presenter walking around Harrogate and introducing different landmarks, a tracking shot along the street, time lapses of traffic and the sunset, old black and white images of the town, and establishing shots of various iconic locations.
Harrogate was once a major spa town that attracted wealthy Victorian visitors seeking treatments from the town's mineral waters. The documentary explores some of Harrogate's historic spa buildings, including the Royal Baths which offered electric hydrotherapy baths, and the Pump Rooms where the public could drink freely from the town's sulphur well. While no longer a major spa destination, the town has adapted to become a commuter town and center for horticulture, preserving remnants of its history through museums and buildings like the old theatre.
The document provides details on the planning and preproduction for a documentary about the history of Harrogate, UK. It includes a mood board analysis discussing the use of car light photography, flashbacks comparing old and modern images, black and white footage, and color schemes. Location scouting identifies several areas of historical significance to film, such as the Pump Rooms, Tewitt Well, and Valley Gardens. A timeline outlines the documentary structure in 4 minutes 20 seconds and includes an intro, several topic segments, and an exit statement. Music and sound effect options are also listed. A shooting schedule details locations to film over three days.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
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1. How does the 1999 film American Beauty perpetuate
gender roles within the family, and how has representation
of the family change in 2020?
INTRODCUTION
The 1999 picture American Beauty (Sam Mendes) was an absolute hit, gaining
5 Academy Awards for Best Writer, Best Director, Best Actor and Best Picture.
Italso raked in $356.3 million in the Box Office, an astounding number!The
film was made in a time when the working American public felt as though their
lives weremeaningless, with the Clinton era bringing nothing but prosperity for
middle class America, the film doing a good job at reflecting the thoughts and
feelings of the time. But the film was also made in a time of changing social
structures, mostnotably the gender roles and stereotypes within family
households, the workplaceas well as normaleveryday life.
INTRODUCTION TO STATEMENT
Over the years, fromthe firstemergence of popular Hollywood cinema in the
1930’s, to the beginning of New-Wavecinema in the 60’s, and to the
convergenceof popular film genres such as Sci-Fi and horror in the 80’s, men
and women have been portrayed very differently within cinema and in the 90’s
we saw this happening rapidly with new typecasts for men and women
developing and disappearing. In this essay, using sources from theorists such
as Laura Mulvey, George Murdock and a series of online written articles and
video essays, I amgoing to specifically look at how those gender stereotypes
are perpetuated within the family unit, and comparethe family unit from the
mid 20th
century, to the time when the film was produced, and today in 2020.
To begin with, I am going to take a deep look into how family dynamics have
affected gender roles within the American family, and therefore the characters
in the film, this ideal model being known as The Nuclear Family. The American
anthropologistGeorge Murdock broughtforward thefour essential functions
of the family unit and believed that they all needed to be presentotherwise
the people within could not function and grow into society properly. These
four functions were as followed:
2. 1. Stable satisfaction of the sex drive – within monogamous relationships,
which prevents sexual jealousy.
2. The biological reproduction of the next generation – without which
society cannotcontinue.
3. Socialization of the young – teaching basic norms and values
4. Meeting its members economic needs – producing food and shelter for
example.
He also theorised that this had to be conducted by a heterosexualpairing,
mother, and father, and that the older male figure or the Father was head of
the houseand the breadwinner. The mother should be second in command,
taking responsibility of socialising the young, or “teaching basic societal
norms”, so that the next generation can continue the cycle in their future. This
theory gained criticismfrom feminist theorists, as it is a model that typically
disadvantages women, and giving morepower to the male/s within the
household. Does American Beauty perpetuate these roles with the Father
Lester, The Wife and mother Carolyn, and the Daughter Janie?
The first character I am going to be discussing, is Carolyn Burnham, the
protagonistLester Burnham’s Wifeand mother to their daughter Janie. Carolyn
goes through a large character arc from the start of the film to the end,
regarding who she is as a woman, and the gendered roles shetakes on
throughoutthe film because of that. In the opening scenes of the film, we are
introduced to Carolyn as the homemaker, when we see her tending to the red
roses within her white picket fence garden. Looking closer, we can also see her
cutting the rosefromtheir stems, their rooted life forceto the ground. Seeing
Carolyn in this stereotypically female position, seemingly happy, the director
gives a positive connotation towards the Nuclear Family roles. Carolyn knows
what shemust do as a woman, and that is to make the home, and her being
solid in that knowledgeand knowing the extent of her role, keeps her happy.
She is fulfilling her duty as a mother and wife. It is suggested that Carolyn is
happy, due to her smiling and effortless frameas she tends her roses, as well
as her enthusiastically answering the question from her neighbour, who is in a
gay partnership and doesn’tfit the Nuclear Family model, “how do you make
them flourish?”. This question could be a metaphor, asking in fact how Carolyn
makes her family flourish, and how she keeps her family contently and firmly in
the societal family unit. However, in the symbolism of her cutting away the
3. roses, it could be suggested that she is cutting away her own life forceas a
woman, and her chance at having her own life away from society and the box
they have put her in as a female. The cutting of the red roses symbolises how
Carolyn is no longer desired by society or her husband, shehas done her job. It
also symbolises thecutting away of her youth, of her hope and vigour, a
different very picture to the one she puts out to the world. This firstimage of
Carolyn in the beginning is reinforcing the female stereotypeof mothers and
wives being the only person to take on the task of homemaker, however the
cutting of the rosesymbolismtells us that it is not a positivestereotype for
Carolyn, and the dangers of these gendered roles within the family that
Murdock initially theorised, trapping women in a life they may not have felt
content with.
Next, I will discuss our protagonistin the film, the head of the houseand the
father, Lester Burnham. In the beginning of the film, Lester fits in with
Murdock’s functionalistview of the Nuclear family, being the breadwinner, his
job supplying food and shelter for the next generation that is Janie. In the first
quarter of the film, we are shown scenes of Lester at work, and we hear him
state that he has a 14-year career in advertising. Wesee him sitting in his
cubicle, bored and talking to a customer with false enthusiasm. In the
reflection of his work computer, wesee his face mirrored in what looks almost
like prison bars, suggesting to the viewers he feels entrapped in his work,
which like Carolyn’s roses, telling us a different story to the one he is putting
out whilst talking to the customer. The same as his wife, Lester knows that,
according to Murdock, his role as the male in the Nuclear Family is simple: To
be the breadwinner and supply his family with a home and food. He should be
happy, he is fulfilling his role and has been for the last 14 years, however its
almost immediately clear that he is deeply unhappy in his role that he only
feels he must take and not the one he wants to. Lester’s thoughts and feelings
here reflect how many working men felt during this time. In the 90’s, therewas
a working generation of men, who unlike their fathers and grandfathers before
them, lived in the relatively peaceful suburban settings of the 1990’s. The
modern landscape of masculinity was changing, with young men not going off
to fight wars or partake in the heroic camaraderiethat their parents had done
before. In short, they had nothing to fight for, or against. To Lester, his life and
work aremeaningless to him, and they only keep boxing him into the expected
role of the Breadwinner, forcing him to partakein a career that brings him little
4. joy. Justlike with the character of Carolyn, on the outsidehe is preserving the
stereotype and social normof the 90’s thatthe male is the breadwinner,
providing for his family, however with the film being about Lester’s hatred of
this role he must play, his hatred for his job, his loveless marriage, wecan see
the director isn’t shedding light on this stereotype, and portrays it as
something negative and harmfulfor the character of Lester Burnham.
To counter arguethese last points, it could be stated that this is entirely
wrong, and that these characters do not portray a stereotype, however, just
reflect the period. For example, yes Carolyn is the homemaker, keeping her
garden tidy, cooking the meals, and keeping her home presentable, however
Carolyn justlike Lester also has a job working as an estate agent. We can also
see that this is a job sheis passionateabout, shown in the sequence whereshe
prepares a housefor viewing. In this scene accompanied with someanimated
cleaning, we hear her repeat “I will sell this house today!” Unlike when we see
Lester at work, Carolyn genuinely seems interested in doing well in her career,
in her desperation to make this houseclean and presentable as well as selling
it completely. According to Murdock’s theory, Carolyn doesn’tneed a job as it
is her husbands roleand duty to do that, however this displays a positive
stereotype of Carolyn breaking the mould and doing something for herself not
justwhat the Nuclear model requires. During the 90’s America saw the
emergence of third wavefeminism, these women embracing individuality and
diversity, redefining what it meant to be a feminist. This time saw more and
more women fromnot justworking-classbackgrounds, butmiddle-class
backgrounds maketheir way into the workplacefor the firsttime, somewhere
only men had gone before. We can see here that this is demonstrated in
Carolyn, taking the reins of her own life. Looking at this evidence, it could be
said that the character of Carolyn Burnhamdoes not fit the stereotypeof the
Nuclear woman, career focused and ambitious.
Although Murdock’s theory is an important one, discussing a family model that
has lasted generations, it is a dated theory today, and even in the 90’s during
the production of American Beauty, it would have been obsolete. In 2020,
twenty years after the film’s release, we can see a much wider variety of
ground breaking family representation within the media and the real world. A
5. popular American TV sitcom that does havethis new representation, is
Modern Family.
Modern Family is a great marker of justhow far gender representation of the
family has come, showing three different types of the “modern family”. In the
show wehave representation of the typical Nuclear Family, we have
representations of 2 gay men raising their adopted Vietnamese daughter, and
we also have representations of older parents and age gap marriage. Unlike
media from 20 years ago, that werenot perhaps as progressiveas they are
now, the show is unbiased and shows theups and downs, the struggles, and
rewards fromall three types of family, the creators not putting their agenda
into the show. Within the Modern Family, we can see over the 11 seasons it
ran for, from 2008 to 2019, how the characters live and how the roles they
take reflect the times they werebroadcastin.
During the 90’s, itwas a strangetime for masculinity and men’s roles within
society, both academic and popular writers suggested that there was a crisis,
men questioning traditional male ideas and trying to find their place in the
world. Due to more women than ever entering the workplace, men of the time
had never been in this situation, and they wereconfused at what their role
was. Women could also work now, women could also be the main
breadwinners, did they have a role as men anymore? Films such as American
Beauty, and another popular film Fight Club explored this masculinity identify
crisis felt by working men nationwide, giving a commentary to the thoughts
and feelings during the period. We can see this reflected in the male characters
of American Beauty. Our protagonistLester Burnhamgoes through whatcould
be considered a masculinity crisis, understanding his role as a man, however
not finding joy and happiness from this.
Although this would have been considered a crisis in 1990, and women
becoming sole breadwinners in the 1950’s being unheard of in middle America,
in 2020 women taking a more active role in making a living, and fathers staying
home to look after the children and the house, is becoming a lot more popular
and normalised.
In the book The Family on the Threshold in the 20th
Century written in 2013, it
states that “The number of house husbands and stay-at-home-husbandshas
gradually been increasing especially in Western Nations…they are a testimony
to the changes occurring in gender identities”. Although we do not see this
completely in American Beauty, we do see Lester break the mould and leave
6. his job to go work in a profession with less financial benefits for his family. This
is a topic that is poached a lot however, in Modern Family, morethan once
over its 11 seasons.
Cam, one half of the same sex couple, for mosttheir daughter’s early years, is
a stay-at-home-husband, and Mitchell continuing with his law career. We also
see it represented in the stereotypical way with the nuclear family The
Dunphy’s, Clairea stay-at-homewifefor the firstfew seasons, beforebreaking
the mould completely and taking over her fathers’ company later and
becoming the highest earner within the family. The book Family on the
Threshold states, “Employment has for a long time played a key role in the
construction and reproduction of masculinity. For example, traditionally male
jobs became a proving ground for masculinity, and organisationalstructures
and practices provided the means to demonstrateones virility” and that
“Women’s careand supportin the household wereseen as necessary pillars of
that identity.”, however evidently from the changing world around us
represented in Modern Family, this is no longer a problem for the men and
women of today, as it is widely accepted that men can have a spot in the
working world, butdon’t need it to know they are the epitome of masculinity,
and also know they have a larger role within the household. As well, women
can stay home and look after the children, but also know that there is a place
in the working world for them to explore whatmakes them feminine and a
woman further creating a new meaning of what it means to be a woman, a
wife, and a mother in the 21st
century. Thesetopics within the show aregood
at representing the constantly changing and developing family unit, without
enforcing strict gendered roles and stereotypes.
In conclusion, I believe that overall, American Beauty for the time it was
created in, when there were vastchanges and developments being made
inside and outside of the home quickly, its not justas simple an answer of
“yes” or “no” regarding how it perpetuates gender stereotypes within the
home. Carolyn is represented as a working woman, who still retains her
femininity in the formof her dress, in the form of her interests in keeping her
garden fresh and keeping her family flourishing. Lester is a working man, who
breaks the mould of the male father figurehead, rejecting it almostcompletely
by the end of the film, but at the sametime this creating a new form of
masculinity within him. The film American Beauty is no whereas progressive
7. with representing gender roles and stereotypes as Modern Family only
released eight years after, however these two pieces of media together is a
usefulindicator of how far society and America has come since Murdock first
pitched his Nuclear Family Model in 1947.