The unexpected
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Eisenstein was surprised by the techniques used in Japanese Kabuki theater that were similar to film techniques like montage. He admired how Kabuki actors would perform "mechanical cuts" by pausing and changing their emotional intensity or focusing different body parts to intensify drama. Eisenstein saw this as an early form of montage editing and believed it demonstrated how movements could be "heard" and sounds could be "seen" like in cinema, relating his film experience to elements of Kabuki performance.
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The document discusses key elements of Kabuki theatre including singing, dancing, makeup, costumes, and the use of simultaneity to tell stories. It also examines how Russian filmmaker Sergei Eisenstein studied Kabuki and was influenced by techniques like using costume and imagery to represent concepts. Eisenstein believed Kabuki mastered playmaking through multiple events happening simultaneously in a single shot. The document argues sound is as significant as visuals in Kabuki performances, with music and sound effects used to create a richer sensory experience for audiences. Examples are provided of how film directors have effectively used sound in movies to enhance scenes in a way inspired by Kabuki theatre.
Sergei eisenstien
Sergei Eisenstein was a pioneering Soviet film director and theorist in the early 20th century. He developed the theory of montage, which uses editing techniques to juxtapose short film segments to condense space, time, and information or to provoke emotional responses in viewers. Eisenstein believed montage could create ideas or impacts beyond individual shots. For example, in Battleship Potemkin, he stretched a sequence of people fleeing down the Odessa steps to over 7 minutes through montage, much longer than in real life. Soviet montage theory categorized different types of montage, including metric, rhythmic, tonal, intellectual, and overtonal montage. Montage remains an important film
Film essay1[1]
Eisenstein viewed film as composed of two elements - photo fragments of nature that are recorded, and these fragments being combined in various ways to tell a story. He believed that both film and theater rely on assembling smaller pieces, like frames in film or words and sounds in theater, to create a larger whole. Contemporary films and plays illustrate this by using events, emotions, gestures, and mimicry to realistically portray scenes and influence the audience. An example is Eisenstein's early film which started as a short comic piece and grew as he advanced in his filmmaking skills.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
09p2.Theater Kabuki, Bunraku, And Noh
There were three main types of traditional Japanese theater: Kabuki, Bunraku, and Noh. Each had its own unique characteristics. Kabuki began as a women's theater but is now performed by men and features elaborate costumes, makeup, and revolving stages. Bunraku uses life-sized puppets manipulated by three puppeteers each. Noh was performed for higher classes and featured minimal props and scenery, requiring actors to rely more on expressive costumes and masks to convey emotions. All three styles aimed to entertain audiences in their own ways and have remained popular over the centuries.
Kyle powerpoint film
Eisenstein viewed film as composed of two elements: photo fragments of nature that are recorded, and these fragments combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use recorded photo fragments put together through montage to create meaning. Contemporary theater and cinema employ similar techniques - through intonation, gestures, mimicry in theater or realistic depictions of fighting in cinema, individual elements come together to influence the audience.
Kyle powerpoint film
Eisenstein viewed film as composed of two elements - photo fragments of nature that are recorded, and the combination of those fragments in various ways through montage. This is similar to how other art forms like music, painting, and literature use basic elements combined to create a larger work. He cites his early short comic film as an example. Contemporary theater and cinema illustrate this by using realistic elements like fighting scenes, sweaty bodies, and props to create immersive scenes rather than purely illusionary settings, bringing a material realism to the performances.
Kyle powerpoint film
Eisenstein viewed film as composed of two elements - photo fragments of nature that are recorded, and the combination of those fragments in various ways through montage. He saw this as similar to how other art forms like music, painting, and writing use basic elements to create a larger work. To illustrate, the document discusses Eisenstein's early short comic film and describes a scene from the Mexican that used realistic elements like fighting bodies crashing and the shine of sweat on torsos to immerse the audience, rather than illusionary scenery, showing cinema's relationship to materialism in theater.
Kyle powerpoint film
Eisenstein viewed film as composed of two elements - photo fragments that are recorded from nature, and the combination and arrangement of those fragments. He saw this as similar to other art forms where individual elements are brought together to create something new. To illustrate his point, he discusses a contemporary theatre production that featured realistic fighting scenes with physical contact between actors, sweat, and the sounds of gloves hitting skin. This provided a materialistic and realistic element that replaced traditional illusionary scenery, and showed how cinema can capture realism through arrangement of recorded photo fragments, similar to other art forms.
Kyle powerpoint film
Eisenstein viewed film as composed of two elements - photo fragments of nature that are recorded, and the combination of those fragments in various ways through montage. This is similar to how other art forms like music, painting, and literature use basic elements combined to create a larger work. He cites his early short comic film as an example. Contemporary theater and cinema illustrate this by using realistic elements like fighting scenes, sweaty bodies, and props to create immersive scenes rather than purely illusionary settings, bringing a material realism to the performances.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
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Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
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The Moment of Capture
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The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
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The unexpected
- 2. WHAT IS IT THAT IS UNEXPECTED? Theatre turning into cinema and where cinema takes the latest step in its development. In Kabuki, Eisenstein saw a brilliant example of effects that might be achieved through the camera.
- 3. WHAT SURPRISES EISENSTEIN? It's also VERY important to understand that Eisenstein worshipped the Japanese for their instinctive practice. Eisenstein admired the mechanical cutting by the actors who broke up their acting without transitions. When an actor shifted their performance to a new emotional intensity, sadness to madness for example, similar to how Eisenstein shifted emotions in the way he cut shots together, they performed a 'mechanical cut' where they paused, hid their face, and applied different makeup. In keeping with montage, Eisenstein also admired the fragmented acting, where an actor would only act with a single part of his body in one moment, (his hands), then only with another part (neck, head), and each shift would last a shorter and shorter amount of time. This would break the actor's body up into 'shots', and as the 'shots' got shorter, the dramatic power intensified
- 4. HOW DOES HE RELATE THIS EXPERIENCE TO CINEMA? He relates this experience to cinema by using the Kabuki Theatre. In the Kabuki Theatre one perceives light vibrations as sounds and tremors of the air as colors. He puts it this way: One "hear movements" and "sees sounds."
- 5. PARALLEL THAT EXPLAINS THE CONCEPT. A parallel or example of this can be seen through the opening quotation. "Whatever notes I can't take with my voice, I'll show with my hands." “But here the voice does reach and the hands do point! ... And we stand numbed by such perfection ... of montage.” He credited the Kabuki performers for their use of visuals with sound, perfecting a very early form of montage. Sometimes there are intellectual questions that cannot be answered with intellectually analyzed answers. So at times we are forced to answer them through gestures. That's where we can truly understand the example Eisenstein used in the opening of this chapter.
- 6. KABUKI THEATER VIDEO FOOTAGE http://www.youtube.com/watch?v=67-bgSFJiKc http://www.youtube.com/watch?v=HoK3Pa9BK-U http://www.youtube.com/watch?v=DJmFeJQ6nJs